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”)
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
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
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
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.
