Ishmael Bernal and Religious Interpretations
Saints and Sinners:
Ishmael Bernal’s Religious Interpretations in Films by Pauline Claire Macaraeg
Ishmael Bernal’s films have received countless acknowledgements throughout the years because of his unique style of “working out patterns of symbolic details” (Lumbera 25). And through these patterns, Bernal was able to portray his views on things as an auteur. This paper examines his interpretations of religion and religious activities through his films. But this only includes three of his works: Manila by Night (1980), Himala (1982), and Hinugot sa Langit (1985). These three films’ devotional approaches are analyzed by both their mise-en-scéne and fabula. On that note, religion as tackled in this paper only pertains to the Philippine religion of Christianity/Catholicism, since Bernal’s films appear to be only on the Catholic’s view. How did Bernal attack Catholicism? Why did he represent the country’s most widespread religion in that manner? What are the implications of his works on the era during such films were distributed? How do these films affect the contemporary time? And what do these films impose on the society and on the religion majority of it believes in? Hence, this paper has these films examined through the eyes of a spectator, and relates that analogy to Bernal’s own philosophies as an auteur.
Religion in Mise-En-Scéne and Iconographies Through the apparatus theory, Bernal’s religious interpretations in his works can be examined. Ponsford’s Film Theory and Language from media.edusites.co.uk says apparatus theory suggests that film is created to illustrate different ideas and that everything has meaning even starting from the camerawork up to the editing.
Manila by Night is a drama film made by Bernal in 1980. It is a multiple-charactered film where the characters’ existences in the city were unveiled as they live by the ruthlessness of drugs, poverty, adultery, and lust.
In Manila by Night, Bernal constantly used iconographies and
Ishmael Bernal’s Religious Interpretations in Films by Pauline Claire Macaraeg
Ishmael Bernal’s films have received countless acknowledgements throughout the years because of his unique style of “working out patterns of symbolic details” (Lumbera 25). And through these patterns, Bernal was able to portray his views on things as an auteur. This paper examines his interpretations of religion and religious activities through his films. But this only includes three of his works: Manila by Night (1980), Himala (1982), and Hinugot sa Langit (1985). These three films’ devotional approaches are analyzed by both their mise-en-scéne and fabula. On that note, religion as tackled in this paper only pertains to the Philippine religion of Christianity/Catholicism, since Bernal’s films appear to be only on the Catholic’s view. How did Bernal attack Catholicism? Why did he represent the country’s most widespread religion in that manner? What are the implications of his works on the era during such films were distributed? How do these films affect the contemporary time? And what do these films impose on the society and on the religion majority of it believes in? Hence, this paper has these films examined through the eyes of a spectator, and relates that analogy to Bernal’s own philosophies as an auteur.
Religion in Mise-En-Scéne and Iconographies Through the apparatus theory, Bernal’s religious interpretations in his works can be examined. Ponsford’s Film Theory and Language from media.edusites.co.uk says apparatus theory suggests that film is created to illustrate different ideas and that everything has meaning even starting from the camerawork up to the editing.
Manila by Night is a drama film made by Bernal in 1980. It is a multiple-charactered film where the characters’ existences in the city were unveiled as they live by the ruthlessness of drugs, poverty, adultery, and lust.
In Manila by Night, Bernal constantly used iconographies and