THE IMPACT OF INDEPENDENT FILMS TO THE SOCIAL AWARENESS AMONG THIRD YEAR MASS COMMUNICATION STUDENTS OF PAMANTASAN NG LUNGSOD NG MUNTINLUPA
An Undergraduate Thesis Presented to
The Faculty of College of Arts and Sciences
Pamantasan ng Lungsod ng Muntinlupa
Poblacion, Muntinlupa City
In Partial Fulfillment of the Requirements for the Degree
Bachelor of Arts in Mass Communication
BONILLA, RICHARD PATRICK M.
DIZON, ALLEINE PATRICIA M.
MUSNGI, JOHN MARVIN S.
TABLE OF CONTENTS
INTRODUCTION AND ITS BACKGROUND
Background of the Study
Statement of the Problem
Significance of the Study
Scope and Delimitation
Materials and Methods
Definition of Terms
REVIEW OF RELATED LITERATURE
Respondent of the Study
Instrumentation of Research
Statistical Treatment of Data
THE PROBLEM AND ITS BACKGROUND
Several studies have been published regarding on how effective independent films are, as medium to social awareness. To say that independent filmmaking has become the soul of Philippine cinema is no longer an exaggeration. For years, Filipino independent filmmakers like Kidlat Tahimik (Perfumed Nightmare, 1977), Raymond Red (Anino, 2001), and Brillante Mendoza (Kinatay, 2009) among many others have received critical acclaim worldwide. As film festivals, competitions and distribution channels such as Cinemalaya and Cinema One have motivated young maverick filmmakers in recent years, indie films have become synonymous to creative content and perspectives for many Filipinos today. Although the Philippine indie film industry has come a long way from its early developments in the Marcos era when realistic portrayal of Filipino society in the arts was not considered “beautiful” by the dictatorship, government support is still lacking to sufficiently help indie filmmakers. Poster of "The Rapture of Fe" the first film of Alvin Yapan, whose
current project with Alemberg Ang, Ang Sayaw ng Dalawang Kaliwang Paa [The Dance of the Two Left Feet] is one of Cinemalaya’s selections for full length feature, says that Filipino filmmakers have the range of talent, they are inadequately supported especially when compared with other countries. Filmmakers have to seek partner institutions to underwrite productions costs. Advocacy films are usual since sponsors more easily patronize them. Although this is not necessarily bad, this limits the range of films produced. Paul Sta. Ana, writer of Bisperas [Eve], one of Cinemalaya’s selections for the director’s showcase category, says that the government’s fund allocation for film reflects its mainstream filmmaking attitude. The government tends to spend millions of pesos that would otherwise produce many indie films, for one film project. Both filmmakers observe the fluid bounds between mainstream and independent cinema. Yapan says that this is currently most clearly shown in Cinemalaya’s Director’s Showcase for films by Filipino directors who have made at least three full-length commercial feature films. For Sta. Ana, there are indie filmmakers who also intend to go mainstream in the future. In the end, what distinguishes independent cinema is its priority for artistic endeavor (over financial gain, vis-à-vis mainstream cinema) while still being accessible to the audience (vis-à-vis alternative experimental cinema). Each filmmaker attempts to show his own story in an original way. There have been several issues on Philippine independent filmmaking that have become apparent especially after its emerge a few years ago. One of these is the prevalent theme...
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