Pagtalunton sa Bulakenyo Cinema: Diskurso at Perspektiba ng mga Piling Direktor mula sa Bulacan / Locating Bulakenyo Cinema: Discourse and Perspective of Selected Directors from Bulacan

Article Details

David R. Corpuz, dcorpuz@feu.edu.ph/david.corpuz@dlsu.edu.ph, De La Salle University

Journal: Malay
Volume 32 Issue 2 (Published: 2020-06-01)

Abstract

Dulot ng demokratisasyong ginawa ng digital technology sa produksiyon ng pelikula ang pagyabong ng independent cinema sa Pilipinas. Kasama dito ang mataas na pagkilalat pagpapahalaga sa mga regional film o pelikulang panrehiyon na sumasalamin sa mga kuwento at danas ng pamumuhay sa probinsya o sa labas ng Metro Manila. Ang mga pelikulang ito ay ayon sa perspektibo perspektiba ng mga direktor na nagmula sa probinsiyang kanilang kinakatawan. Subalit sa gitna ng mga diskurso tungkol sa masiglang kultura ng paggawa ng pelikula sa iba’t ibang panig ng bansa, kapansin-pansing hindi masyadong napag-uusapan ang mga likha ng mga Bulakenyong direktor sa pelikulang panrehiyon. Nais maipalawanag maipaliwanag ng pag-aaral ang kawalan ng kolektibong turing na “Bulakenyo Cinema” gamit ang mga naratibong nakalap mula sa mga interbyu panayam sa apat na Bulakenyong direktor. Pinagnilayan din nila ang kahalagahan ng pagiging malay sa rehiyonal na identidad sa paggawa ng sariling pelikula. Sa bandang huli ay nakapagbigay ang pag-aaral ng mga mungkahi kung paano mapauunlad ang sineng Bulakenyo at masiglang pakikibahagi sa diskurso ng sineng pambansa o national cinema. The democratization of digital technology has led to the flourishing of Philippine independent cinema. The recognition of regional cinema, films that reflect stories and experiences from the provinces, is also an important development. These films have allowed filmmakers who are outside of the center to create films based on narratives situated in their places using their perspectives as locals. Beneath the discourses on emerging cinematic cultures in the regions comes the almost absence of the works of Bulakenyo filmmakers in the discussions of regional cinema. This study aims to explain this absence through the narratives gathered from the interviews with four filmmakers who identify as Bulakenyo, who also reflected on the significance of incorporating their regional identities in film practice. This study also offers recommendations on how to develop Bulakenyo cinema, which aims to contribute to the emerging discussions on Philippine national cinema.

Keywords: Bulacan, Bulakenyo Cinema, pelikulang panrehiyon, pelikulang pambansa, kultura Bulacan, Bulacan cinema, regional cinema, national lcinema, culture

DOI: https://ejournals.ph/article.php?id=16007
  References:

“Bulacan, Philippines: Tourism.” Bulacan, 2007, Web. 29 Hun. 2020.

Cabasal, Herwin. Personal Interview. 1 Abr. 2017

Campos, Patrick. “Binisaya, A New Generation of Cebuano Filmmakers: An Interview with Keith Deligero and Ara Chawdhury.” Plaridel 14.1 (2017): 213-220. Plaridel Journal. Web. 5 Hul. 2020.

Cañedo, Dax. “Guerillas in the Midst: A Narrative on the Rise of Mindanao Cinema in the Digital Age.” Plaridel 14.2 (2017): pp. 183-190. Web. 5 Hul. 2020.

Carcamo, Dennis. “Cinema Rehiyon: Films from the `Other Philippines` opens at CCP.” PhilStar.com, Philstar Global Corp., 18 Peb. 2009, Web. 1 Hul. 2020.

Etikan, Ilker, Sulaiman Abubakar Musa, at Rukayya Sunusi Alkassim. “Comparison of Convenience Sampling and Purposive Sampling.”American Journal of Theoretical and Applied Statistics 5.1 (2016): 1-4. Science Publishing Group. Web. 1 Hul. 2020.

Fabonan, Lee Jacob. Personal Interview. 31 Mar. 2017

Gancio, Mary Kareen. “Philippine Contemporary Regional Cinema: A Narrative Analysis of Regional Filmmakers’ Accounts on the Re-emergence of Regional Films in the 21st Century.” MA thesis, U of the Philippines Diliman, 2015. Print.

Gojo Cruz, Genaro. Connect the Dots: O Kung Paano ko Kinulayan ang Aking Buhay. Mandaluyong: Anvil P, 2016. Print.

Groyon, Vicente. “Cinema Rehiyon 2009.” A Reader in Philippine Film: History and Criticism. Eds. Chua, Jonathan, Rosario Cruz-Lucero, at Rolando B. Tolentino, Quezon City: U of the Philippines P, 2014. 177-196. Print.

Herrera, Geraldine. “Malolos.” Sineliksik Bulacan Docu Fest 2017: Saliksik at Salaysay ng Kasaysayan ng Bayan Ko. Ed. Jaime Balcos Veneración, Malolos City: Pamahalaang Panlalawigan ng Bulacan, 2017. 69-83. Print.

Magsanoc, Kai. “Filmmaker Auraeus Solito: Indigenous and proud.” Rappler, Rappler. 19 Nob. 2012, Web. 1 Hul. 2020.

“National Artists.” Bulacan, 2007. Web. 29 Hun. 2020.

Pablo, Annemikami. Personal Interview. 29 Mar. 2017

Palomares, Cenon Obispo. Personal Interview. Mar. 2017

Reyes, William. “Brillante Mendoza honored as Outstanding Kapampangan.” Pep.ph, Pep.ph. 27 Dis. 2009, Web. 10 Hul. 2020.

San Diego, Bayani. “Pampanga fest’s goal is diversity.” Inquirer.net, Inquirer. 28 Nob. 2013, Web. 10 Hul. 2020.

Tan, Katrina Ross. “Constituting Philippine Filmic and Linguistic Heritage: The Case of Filipino Regional Films.” Citizens, Civil Society and Heritage-Making in Asia. Eds. Hsiao, Hsin Huang Michael, Hui Yew-Foong, at Philippe Peycam, Singapore: ISEAS Publishing, 2017. 137-163. Google Book Search. Web. 10 Hul. 2020.

Tejero, Constantino. “Why Bulacan is the culture capital of the Philippines?” Inquirer.net, Inquirer. 20 Dis. 2015, Web. 9 Hul. 2020

“The First Philippine Republic of the Philippines.” National Historical Commission of the Philippines, 7 Set. 2012. Web, 29 Hun. 2020.

Tolentino, Rolando. “Sinema ng Milenyo: Kritisismong Pampelikula, Kritisismong Pambansa.” A Reader in Philippine Film: History and Criticism. Eds. Chua, Jonathan, Rosario Cruz-Lucero, at Rolando B. Tolentino, Quezon City: U of the Philippines P, 2014. xi-xxviii. Print.

Valiente, Tito Genova. “Critical Rituals: the Manunuri Film.” BusinessMirror, Philippine Business Daily Mirror Publishing, Inc.11 Hul. 2019, Web. 3 Hul. 2020.

“Virgilio Almario and His Bulacan.” PhilStar.com, Philstar Global Corp.,, 11 Set. 2011. Web. 29 Hun. 2020.

  Cited by:
     None...