Literature Review Related Literature

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CHAPTER 2 REVIEW OF RELATED LITERATURE Bordwell and Thompson (2008) defined film as a medium that offers ways of interpreting and feeling that viewers find deeply gratifying. This takes the viewers through different experiences from the stories which is composed of characters that become part of the viewers itself. Film is a visually inclined experience that triggers the emotion and adds up new ideas. Through these emotions it enables interaction and relationship between the story and the audience. Lester (2000) said that film is an art form that reflects the antecedent and the myths within a particular culture in a particular time. It also reflects the society’s cul-tural value, or a change in social value. Either mainstream or independent,…show more content…
Nevertheless, despite the numerous arguments that the Philippine movie industry is moving rather downhill and slowly deteriorating, Lily Monteverde as cited in del Mundo Jr., (1999), a prominent Filipino producer, once mentioned that the local movie industry is not moribund, sick, or dying. As described by Palis (2008), when asked about the current state of Philippine cinema, a majority of the respondents said that it is either “comatose”, “dying”, “dead”, or as filmmaker Gil Portes said, “between 110 years and death” (Portes inter-view, 2006). These pessimistic views of current Philippine cinema arise for two major reasons: (1) the decline in viewership due to competition from Hollywood films, film piracy, the heavy taxation imposed on films, and (2) the lack of ‘quality’ films that rival or approximate those produced during the two periods of the so-called Golden Age of Cinema (1950-59;…show more content…
Gone are the days when the Filipino silver screens mostly premiered films in the caliber of Lino Brocka’s Maynila sa Mga Kuko ng Liwanag (Manila at the Claws of Light), Mario O’ Hara’s Kastilyong Buhangin (Sandcastles), and Ishmael Bernal’s Himala (Miracle) – films that tackled the issues of the Philippine society and shaped its culture. Today, while the independent film industry exerts its best effort to churn out original, artistic and socially relevant movies to wash down the bitter aftertaste of mainstream films that offer highly-commercialized and clichéd plotlines with charac-ters played mostly by product endorsers than actors, the Golden era of the Philippine Film Industry remains to be encapsulated within the years of 1950-1980 and the new millennium has seen but a few films we, as Filipinos, could truly be proud of (www.monumento.ph,
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