Author Topic: Society of Film Archivist  (Read 13600 times)

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Offline sinehansakanto

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Re: Society of Film Archivist
« Reply #90 on: Jul 13, 2008 at 09:53 PM »
Sad but true that finding a copy of an old Filipino film can be found overseas like in the U.S. for instance.

Not really that sad. These videotapes end up in the US to begin with because of the Filipino diaspora in certain parts of the US (California, Virginia, New Jersey in particular). It's inevitable that Filipino movies follow Filipinos wherever they go. It's a surprise actually that we haven't looked at other historic hot spots for Filipino migration: Canada, Guam, Hawaii, the Middle East. I guarantee that with enough digging one can find movies in those places. (Guam and Hawaii might be particularly important. Large-scale pre-war immigration to those two places could possibly mean the survival of pre-war films from theatres that cater to Filipino migrants. The same goes for Cuba and the former Soviet states, who probably had a field day with leftist/populist bent in many Filipino films such as Daigdig ng mga Api.)

Offline RMN

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Re: Society of Film Archivist
« Reply #91 on: Jul 14, 2008 at 12:21 PM »




« Last Edit: Jul 14, 2008 at 12:29 PM by RMN »

Offline keating

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Re: Society of Film Archivist
« Reply #92 on: Jul 14, 2008 at 01:32 PM »
Hey sinehansakanto, will there be a chance that we can still dig Gerry de Leon's DAIGDIG NG MGA API said to be the Holy Grail of Long Lost Filipino Films?


Offline sinehansakanto

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Re: Society of Film Archivist
« Reply #93 on: Jul 14, 2008 at 05:38 PM »
Hey sinehansakanto, will there be a chance that we can still dig Gerry de Leon's DAIGDIG NG MGA API said to be the Holy Grail of Long Lost Filipino Films?

I don't doubt it. de Leon's films were very well travelled and appreciated in other countries. (We always praise Brocka for being well known in Europe, but the same goes for our directors from the 50s: Avellana, Conde, de Leon.) Not only in France mind you, but especially in Malaysia and Indonesia, where Filipino directors were very influential in shaping local film industries. (Sarjan Hassan, one of the classics of Malaysian Cinema, was a collaboration between Avellana and P. Ramlee, Malaysia's answer to Leopoldo Salcedo; Silos was very active in Southeast Asia, as well as Argentina, Brazil, and Mexico; Bernal was said to have trained under Satyajit Ray, and it wouldn't surprise me if there was a significant interchange of Filipino-Bengali films.) I think one of the main obstacles of Filipino film archiving isn't the lack of material, but the timidity in thinking that no one cared about our movies except for us. In fact Filipino cinema was influential in shaping World Cinema, and that in return the rest of the world kept our movies safe, waiting for us to rediscover them.

Now, will we find it in the Philippines? I highly doubt it. Just like the attitude towards movies in Mexico, India, and the US, we treated our movies as commodities simply because our approach to it has always been that of a product-producing industry rather than an art form. Classics from these countries tend to end-up somewhere else because they tend to be appreciated as art somewhere else. But no need to lose sleep over this--all the condemntation of "Filipinos just don't appreciate their own product" has been an acusation that has been leveled on those three aforementioned countries. The most important thing now is to shift fire and focus on areas we have not previously focused on.

Finally, let me add another thing: who's to say that none of our pre-war films didn't end up in the US, India, Germany, or France? The first person to introduce cinema to the Philippines was a French guy (or so I remember), and it wouldn't surprise me if going back to his estate, we discover that not only did he take footage of the country, but that he had a Filipino crew doing it as well. And with Japan and the US being former colonisers, it also would not surprise me if some of the movies made in the country they colonised were taken as souvenirs. The possibilities, as they say, are limitless.


Offline RMN

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Re: Society of Film Archivist
« Reply #95 on: Jul 29, 2008 at 10:01 AM »
Rare LVN memorabilia find a home in Lopez Museum

LOPEZ Memorial Museum's reputation as one of the country's leading museums got a boost with a donation of hundreds of rare film memorabilia from LVN Pictures.

LVN, along with the other members of the "Big Four" (Lebran International, Premiere Productions and Sampaguita Pictures), is acknowleged as one of the great Philippine movie studios whose output of critically acclaimed films helped usher in the Golden Age of Philippine cinema in the postwar years.

The heirs of Doña Narcisa Buencamino vda. De Leon, represented by Narcisa L. Escaler and Nieva Paz L. Eraña, presented the bequest to museum director Mercedes Lopez-Vargas, trustee Margot Fragante and Lopez Group chairman Oscar M. Lopez.

Escaler said that her grandmother wanted "to make the collection available to the public, to several generations. "

The collection includes photos with LVN firsts in Filipino Movies; e.g. "Orasang Guinto" (1946), the first Filipino post war film with Mila del Sol and Bimbo Danao under the direction of Manuel Conde; "Batalyon XIII" (1949), the first Filipino full-color movie with Carmen Rosales and Jaime dela Rosa, directed by Manuel Silos; "Rodrigo de Villa" (1952), the first Filipino co-production with a foreign film company, Indonesia's Persari Productions, Inc., with Delia Razon and Mario Montenegro, directed by Gregorio Fernandez; scripts of acclaimed films including those under the direction of the National Artist Lamberto V. Avellana and casts led by Tony Santos and Rosa Rosal; "Anak Dalita" (1956), an Asian Film Festival Best Picture and "Badjao" (1957), Best Director, Best Cinematography, Best Screenplay & Best Editing in the Asian Film Festival; posters, music sheets that include the song "Doña Sisang" with music by Jose Climaco, lyrics by National Artist Levi Celerio and four songs sung by Tessie Quintana and Armando Goyena in the film "Hawayana" (1953); and newspaper clippings relating to 327 movie titles and productions from 1939 to 1965.

Formed in 1938, LVN took its name from the first letters of the owners' names: De Leon, Carmen Villongco and Eleuterio Navoa Jr. De Leon, known as Doña Sisang subsequently took over as president of LVN after buying out the inactive partner-families.

LVN rolled out its first production, "Giliw Ko," under the direction of Carlos Vander Tolosa starring Ely Ramos, Fernando Poe Sr., Mila del Sol and Fleur de Lis (later known as "Mona Lisa"), in 1939. In 1941, it jumpstarted a new trend by producing the first Filipino film in color, Vicente Salumbides' "Ibong Adarna"; the cast included Mila del Sol, Fred Cortes and Manuel Conde, who went on to become an acclaimed director.

LVN also became home to some of the biggest stars of the era, including Rogelio dela Rosa , Armando Goyena, Nestor de Villa, Mario Montenegro, Mila de Sol, Lilia Dizon, Norma Blancaflor, Rosa Rosal, Delia Razon, Nida Blanca, and Caridad Sanchez.

In all, LVN made over 350 movies in a variety of genres: musical comedies, costume adventures, and socially relevant fare now considered Philippine classics, including "Lapu-Lapu," "Badjao," "Anak Dalita" and "Biyaya ng Lupa." Its output contributed in making LVN the Philippines' foremost movie studio for 30 years.

LVN produced its last film, "Kakabakaba Ka Ba?," in 1980, 19 years after reinventing itself as a postproduction house in 1961; it closed in 2005.

Lopez Memorial Museum now houses LVN's glory years with 12,250 rare and original photos, scripts, posters, music sheets and newspaper clippings relating to 327 movie titles and productions from 1939 to 1965.

The Lopez Memorial Museum now ranks as one of the premier Southeast Asian institutions, built upon a rich trove of Philippine primary historical and cultural source materials. It is dedicated to advance Philippine scholarship and preserving the heritage of art and literature, especially through the help and support of collectors such as the heirs of Doña Sisang's.

/30/

Reference:

Rosan Cruz

Benpres Group PR

Offline keating

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Re: Society of Film Archivist
« Reply #96 on: Jul 31, 2008 at 07:55 PM »
Ishmael Bernal's NUNAL SA TUBIG is now in state of vinegar syndrome at the CCP.

Offline ciconneguy

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Re: Society of Film Archivist
« Reply #97 on: Sep 28, 2008 at 05:09 AM »
Even in online auctions like Ebay, you can never find a rare Filipino memorabilia.

I only have Unfaithful Wife poster on my collection, the Ana Marie Gutierrez flick, the rest are all Hollywood memorabilia from the 80's.

just bumped into this old thread. very informative. got me into thinking. aside from collecting dvds/vcds/vhs of filipino films, i should probably start collecting memorabilia too.

buti na lang itinago ko yung poster ng kapit sa patalim ni brocka, a still of bernal's nagbabagang luha and a still of brocka's gumapang ka sa lusak. they're not that mint but still pretty good.
It's time for the good times. Forget about the bad times. :)

Offline keating

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Re: Society of Film Archivist
« Reply #98 on: Sep 28, 2008 at 12:36 PM »
Hey cicconeguy, where did you get the poster of Brocka's KAPIT SA PATALIM?

Offline ciconneguy

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Re: Society of Film Archivist
« Reply #99 on: Sep 29, 2008 at 03:18 AM »
Hey cicconeguy, where did you get the poster of Brocka's KAPIT SA PATALIM?

hiningi ko sa dati kong pinagtrabahuhan. sayang e. tinambak lang kasi, halos itapon na. maliit na poster lang yun, not as big as the movie posters we see in theaters, sepia-toned. pero may credits ng staff ng movie.
It's time for the good times. Forget about the bad times. :)