INTRODUCTION
Rationale of the Study
Filipino Cinema has faced another era of its existence. For the past years the clamor for substantive, thought provoking, quality films scoffed against the apparently ubiquitous commercialized, ostensibly reformulated, motion pictures. Thenceforth, the dramatic rise of the Filipino Independent Film Industry has undeniably made significant refurbishment, if not an entire overhaul, on Philippine Cinema.
Films creatively translate many dimensions of human life. Precisely, this is the case for Filipino Independent Films. Accordingly, what one sees on the silver screens or on other media are not mere creations of human imagination but are grounded on humans’ actual experiences however they would be different in persons, settings, and places, in actual circumstances.
Aanganga (pseudonym) presents this notion of contextualization and points out thus:
Ang Pelikulang Pilipino ay may mahigit 100 taon nang kasaysayan. Sa paniniyak, ang Industriya ng pelikulang Pilipino ay nagsimula noong 1897. Ang pelikula pa noong araw ay hinahalaw sa mga paniniwala at pang-araw-araw na pamumuhay at paniniwala ng mga Pilipino. Bilang pagpapatunay dito ay ang pagpapalabas ng pinakaunang pelikula na may tunog na “Ang Aswang.”
Such that, fictional or not, film themes hover through pervading human life issues, mostly have implications on social life. Therefore, a filmmaker is confronted with many possible stories to play and to enhance with.
Contemporary FIFs have stirred public interest, lauds or scorns, not just because among those have been screened and acclaimed on International Film Festivals but because themes of those films depict social realities in the Philippines, some deemed to be so romantically or hyperbolically exhibited, that leave viewers uncomfortable if not totally perturbed. Themes chew over three main categories: (1) Values Promotion; (2) Social Faux Pas; and (3) Mixture of both categories. The first includes Love, Heroism,... [continues]
Rationale of the Study
Filipino Cinema has faced another era of its existence. For the past years the clamor for substantive, thought provoking, quality films scoffed against the apparently ubiquitous commercialized, ostensibly reformulated, motion pictures. Thenceforth, the dramatic rise of the Filipino Independent Film Industry has undeniably made significant refurbishment, if not an entire overhaul, on Philippine Cinema.
Films creatively translate many dimensions of human life. Precisely, this is the case for Filipino Independent Films. Accordingly, what one sees on the silver screens or on other media are not mere creations of human imagination but are grounded on humans’ actual experiences however they would be different in persons, settings, and places, in actual circumstances.
Aanganga (pseudonym) presents this notion of contextualization and points out thus:
Ang Pelikulang Pilipino ay may mahigit 100 taon nang kasaysayan. Sa paniniyak, ang Industriya ng pelikulang Pilipino ay nagsimula noong 1897. Ang pelikula pa noong araw ay hinahalaw sa mga paniniwala at pang-araw-araw na pamumuhay at paniniwala ng mga Pilipino. Bilang pagpapatunay dito ay ang pagpapalabas ng pinakaunang pelikula na may tunog na “Ang Aswang.”
Such that, fictional or not, film themes hover through pervading human life issues, mostly have implications on social life. Therefore, a filmmaker is confronted with many possible stories to play and to enhance with.
Contemporary FIFs have stirred public interest, lauds or scorns, not just because among those have been screened and acclaimed on International Film Festivals but because themes of those films depict social realities in the Philippines, some deemed to be so romantically or hyperbolically exhibited, that leave viewers uncomfortable if not totally perturbed. Themes chew over three main categories: (1) Values Promotion; (2) Social Faux Pas; and (3) Mixture of both categories. The first includes Love, Heroism,... [continues]
Cite This Essay
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(2010, 12). Truthness in and of Filipino Independent Films: a Gadamerian Hermeneutical Approach. StudyMode.com. Retrieved 12, 2010, from http://www.studymode.com/essays/Truthness-In-And-Of-Filipino-Independent-518688.html
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"Truthness in and of Filipino Independent Films: a Gadamerian Hermeneutical Approach" StudyMode.com. 12 2010. 12 2010 <http://www.studymode.com/essays/Truthness-In-And-Of-Filipino-Independent-518688.html>.
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"Truthness in and of Filipino Independent Films: a Gadamerian Hermeneutical Approach." StudyMode.com. 12, 2010. Accessed 12, 2010. http://www.studymode.com/essays/Truthness-In-And-Of-Filipino-Independent-518688.html.
