This book is a sequel to Cine: Spanish Influences on Early Cinema in the Philippines, and part of Nick Deocampo’s extensive research on Philippine cinema. Tracing the beginnings of motion pictures from its Spanish roots, this book advances Deocampo’s scholarly study of cinema’s evolution in the hands of Americans.
This book fathoms the depths of Philippine cinema as the author ventures into the largely unknown terrain of the country’s history of early cinema. With meticulous scholarship and engaging insights, prize-winning filmmaker and author Nick Deocampo investigates the origin and formation of cinema as it became the Filipinos’ preeminent entertainment and cultural form.
Nick Deocampo’s continuing film saga investigates on its third volume how World War II affected the growth of cinema in the Philippines (1942-1945). Revealed in the book is a vast wealth of information about Japanese wartime manipulation of motion pictures that would only lead to the inglorious end of the colonial film cycle at war’s conclusion. This valuable construction of the country’s wartime film history uncovers significant intellectual efforts made by Japanese film critics and film artists who formed the Propaganda Corps assigned to the country. They conceived for Filipinos a “national” identity for their cinema, even while this was wrapped in a fascist, colonial, and militaristic context. Seventy years after the end of World War II, Deocampo triumphs over trauma and forgetfulness as he revisits the wartime period and its cinema. He provides a landmark contribution to historical memory as he uncovers one of the bleakest moments in Philippine film history.
Sine Gabay contains a compilation of 100 Filipino films that Deocampo had featured in his numerous film screenings and lectures. Included are titles of classic feature-length films like Bata, Bata. . . Paano Ka Ginawa?, Burlesk Queen, Himala, and Oro, Plata, Mata, as well as documentaries, animation, experimental films, and even propaganda movies. The book serves as an excellent teaching module containing valuable lessons and informational data about the chosen films. Listed inside are the films’ synopses, filmography, audience suitability and MTRCB ratings, recommended study areas, guide questions, and a valuable resource of contacts where to rent, purchase, or borrow viewing copies.
This book fathoms the depths of Philippine cinema as the author ventures into the largely unknown terrain of the country’s history of early cinema. With meticulous scholarship and engaging insights, prize-winning filmmaker and author Nick Deocampo investigates the origin and formation of cinema as it became the Filipinos’ preeminent entertainment and cultural form.
Sine Gabay contains a compilation of 100 Filipino films that Deocampo had featured in his numerous film screenings and lectures. Included are titles of classic feature-length films like Bata, Bata. . . Paano Ka Ginawa?, Burlesk Queen, Himala, and Oro, Plata, Mata, as well as documentaries, animation, experimental films, and even propaganda movies. The book serves as an excellent teaching module containing valuable lessons and informational data about the chosen films. Listed inside are the films’ synopses, filmography, audience suitability and MTRCB ratings, recommended study areas, guide questions, and a valuable resource of contacts where to rent, purchase, or borrow viewing copies.
Nick Deocampo’s continuing film saga investigates on its third volume how World War II affected the growth of cinema in the Philippines (1942-1945). Revealed in the book is a vast wealth of information about Japanese wartime manipulation of motion pictures that would only lead to the inglorious end of the colonial film cycle at war’s conclusion. This valuable construction of the country’s wartime film history uncovers significant intellectual efforts made by Japanese film critics and film artists who formed the Propaganda Corps assigned to the country. They conceived for Filipinos a “national” identity for their cinema, even while this was wrapped in a fascist, colonial, and militaristic context. Seventy years after the end of World War II, Deocampo triumphs over trauma and forgetfulness as he revisits the wartime period and its cinema. He provides a landmark contribution to historical memory as he uncovers one of the bleakest moments in Philippine film history.
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