War
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This document discusses Philippine cinema during and after World War II. It notes that early post-war films focused on celebrating Filipino heroism against the Japanese and Americans. However, films also depicted the disillusionment of the post-war era as guerrillas returned home to poverty, corruption, and rebellion over land rights. Over time, films addressed darker topics like collaboration, amnesia, corruption, and the Huk rebellion, capturing the tragedy of the post-war period in the Philippines.
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War
- 2. Actors and Actresses – ™ Rogelio de la Rosa ™ Leopoldo Salcedo ™ Rosa del Rosario ™ Mira del Sol ™ Rosario Moreno ™ Carlos Padilla ™ Jose Padilla, Jr. ™ Fernando Poe, Lucita Goyena
- 3. Tatlong Maria – ™ Based on an novel by Jose Esperanza Cruz ™ Starred by Carmen Rosales, Jose Padilla, Jr., Norma Blancaflor, Liwayway Arceo and Fernando Poe, Sr.
- 4. The Opium War – ™ Only English movie allowed ™ Showed the Americans and British as villains in international trafficking with dope
- 5. Jose Nepomuceno – ™ Assigned by the Path News to film Japanese activities ™ Hand-operated Eye- Mo camera ™ Films shot were transported to the American authorities by submarine
- 6. Fernando Poe, Sr. –Cross medal ™ Member of an underground movement ™ Officer in the USAFFE, Gold awardee ™ Was a guerilla in Manila and the suburbs Gregorio Ticman
- 7. Bert Leroy – ™ Was tortured by the Japanese Ø Movie stars, directors, technicians and the bit players and extras turned to the stage ü 2nd Golden Age of Vaudeville
- 8. Alfonso Torrente – ™ Provided the Japanese soldiers’ uniforms, weapons, sound effects, make up ™ Were discovered by Jose Nepumuceno ™ “country’s top special effects artist” – Cry Freedom – Sunset Over Corregidor – Isang Dakot na Bigas
- 9. Alfonso Torrente – ™ Hollywood – Huk – Blackburn’s Gurerillas – Marco Polo
- 10. • December 8, 1941 Japanese bombs fell on Intramuros • Some movie houses closed but many opted to stay open • Manila was declared an open city • Japanese moved in on January 2, 1942
- 11. • Movie companies were allowed to operate by the Japanese high command under the supervision of the Central Booking Exchange • Mostly reruns of unpolitical Hollywood and Tagalog films • 1943- German and Japanese feature films as well as documentaries were brought in -“The Sky is Blue”,”Currents of Youth”, “Women of Japan”
- 12. • There were several movies nearing completion just before the war but whose productions were halted. These were shown either completed or unfinished -“Caviteno”,”Anong Ganda Mo”, “Caballero”, “Nina, Bonita”, “Princesa Urduja”,”Landas na Ginto” • Two films were produced: LVN’s “Tiya Juana” and “Prinsipe Tenoso” • Another film was shown right after the war: Sampaguita’s “Ang Tagala”
- 13. • Japanese demanded that movies, stage plays and vaudeville carried some form of Japanese propaganda • Most movies were transferred to the stage • This was “the golden age of Philippine theater” according to Lamberto Avellana • Some of the directors who worked on plays: Lamberto Avellana, Gerardo De Leon, Manuel Conde, Ramon Estella, Manuel Sillos, Tor Villano and Gregorio Fernandez
- 14. Some of the plays eventually got produced as movies in the postwar era: “Limpia Bota” story of Ernesto Bohol’s life. “Ikaw kasi” by Manuel Conde December 21, 1942-the Japanese decided to centralize the distribution and production of films in one agency: Eiga Haikyusha -Responsible for the importation of foreign films, mostly Japanese and German and later, Japanese propaganda for local consumption. The agency was launched with the screening of “Toyo no Gaika” (documentary) -“United States Routed from the Philippines”, “Stars and stripes downed forever in East Asia”,” A war epic which will live long in your memory” were some of the film’s claims.
- 15. • It was the Japanese policy to push Greater East Asia Co-Prosperity Sphere -Film was used as an instrument -The Japanese had three aims: -To unmask the Americans as real enemies -To emphasize Japan’s role as the leader of Asia -To recover the native character lost due to years of Occidental colonization • The Japanese propaganda corps planned a major film to push the three goals -“Ano Hatte O Utte” or “The Dawn of Freedom” (“Liwayway ng Kalayaan”)
- 16. – 16
- 17. First films were about… – • HEROISM / BRAVERY OF FILIPINO SOLDIER • WAR 17
- 18. – ™ 20 out of 34 films about bravery of fighting troops 18
- 19. Orasang Ginto – The first Post-‐war Filipino movie or the first movie to come out aAer World War II 19
- 20. – PATRIOTISM? 20
- 21. – • Discord and criminal activity? • Or Dearth of imagination? (T.D. Agcaoili in Literary Song Movie ) 21
- 22. Films shout be about… – Restoration of the normal and peaceful deportments and thoughts of people – Foster friendliness and goodwill – Emphasize the virtues and beauty of life (Jose Crisostomo in Literary Song ) 22
- 23. – EUPHORIA 23
- 24. – ™ Americans like Deities 24
- 25. Euphoria over the end of war and victory over the Japanese – • Heroism of Filipino guerrillas • Atrocities inflicted on guerrillas and civilians – Intramuros (The Rape of a City) • Heroism of media practitioners 25
- 26. – ™ “hanggang pier lamang” ™ Jeep girl 26
- 27. Also euphoria over the departure of Americans – ™ So Long America ™ Victory Joe ™ Honeymoon ™ GI Fever (Ay Kano) ™ “Magkaibang Lahi” 27
- 28. Euphoria over the Return of troops from Japan – Sa Tokyo Ikinasal (1949) 28
- 29. – AMNESIA 29
- 30. Amnesia – • Memory blackouts • Exchanges of Identities • Emotional traumas May umaga Pang Darating (1954) Isumpa Mo Giliw (1947) Isang Libong Pisong Kagandahan (1947) “Ulilang Bituin” (1956) 30
- 31. COLLABORATION –
- 32. – Collaborator depicted in the darkest of colors; despicable and loathsome; villain deserving his most dastardly fate
- 33. – Joseph Cordova depicts collaborators in many of his movies (particularly in "Hantik")
- 34. Eddie– Romero presented collaboration with respect to its complexity and with a modicum of sympathy (example is "Apoy sa Langit")
- 35. – Examples of Movies Showing Collaboration
- 36. – Hantik (Joseph Cordova)
- 37. – Apoy sa Langit (Eddie Romero)
- 38. – Walang Kamatayan (Tor Villano)
- 39. CORRUPTION –
- 40. – Corruption non-payment of back pay (guerrilla benefits)
- 41. – people realized that corruption had settled in the new government; guerrillas maimed in the war and pinned hopes for a new life
- 42. – Examples of Movies Showing Corruption
- 43. – Back pay
- 44. – Huk sa Bagong Pamumuhay
- 45. REBELLION –
- 46. HUKBALAHAP came to national – prominence; movies pounced on the new material but censors stopped it; Luis Nolasco’s "Luis Taruc Ang Supremo” was halted in its early shooting phase
- 47. – Films Showing Post-War Agrarian Problems
- 48. – Ako Raw ay Huk
- 50. – Baril o Araro
- 52. DISILLUSIONMENT –
- 53. – rancour among the guerrillas
- 55. – Anak Dalita
- 57. CONCLUSION –
- 58. – The image of the guerrilla returning to his hometown and experiencing hardships gripped filmmakers and audiences alike. Film has unwittingly captured the tragedy of the post-war era, the festering decay of morality, the growing corruption, the amnesia of history.
- 59. – End
- 60. Sources – Quirino, J. (1983). History of the Philippine cinema. Quezon City: Phoenix Pub.