Philippine Cinematic Art, 2nd Edition

Philippine Cinematic Art 
2nd Edition

By:
ANDREA L. PETERSON
GASPAR A. VIBAL
CHRISTOPHER A. DATOL
NICANOR C. LAJOM

With a Foreword by MOIRA LANG

Susan Sontag once said that cinema is “the Art of the twentieth century,” not only because of its limitless ability to mimic reality but also due to its transformative powers of turning what was once private public, becoming in effect not just an artistic medium but also the creator and harbinger of cultural fantasy. Philippine Cinematic Art cultivates an appreciation of film and its artistic aspects, including its history, conventions, styles, genres, and narratives. 

While analyzing Philippine films as the work of directors with clearly personal styles, it also looks at its audiences and their reception to film as well as commonly held conceptions of what is national cinema in an increasingly globalized world.

The long-decried death of Philippine cinema as foretold at the start of the twenty-first century did not come to pass. Instead, the past two decades have sustained a creative boom in the dizzying welter of mainstream and indie movies that exhibit a diversity and conflation of genres and styles. This explosion of cinematic works that are outrageous and queer, radically political, quixotic, as well as quizzical have pushed the boundaries of Philippine cinema and heightened its visibility in the international scene. With a new edition that delves into the seismic impact of the COVID-19 pandemic and the transformation of the cinematic experience in the age of streaming, this book will help lovers of Philippine cinema “see” in new and wondrous ways.

Cinema is considered an artistic medium, but is it an art? During cinema’s bourgeoning decades, Marxist critics argued that cinema cannot be art because it is first and foremost a commercial product. In their influential book, Dialectic of Enlightenment, Theodor Adorno and Max Horkheimer depicted cinema as an instrument of capitalist control that withered “imagination and spontaneity.”

Yet great art often seeks to be architectonic, to embrace other arts. It is capacious; it crosses artistic boundaries; it engages mind, imagination, and heart; and it rewards multiple encounters. All this can be said of great cinema.

Philippine Cinematic Art examines how movies have mediated wondrously between high and low culture by providing profound narratives that resonate with a wider and more diverse audience. In such encounters, its invisible spectators experience what the film critic David Thomson calls the “stealthy rapture” of cinema with its capacity to engage both heart and intellect and move audiences to a deeper appreciation of the human condition and toward a refinement of their sense of beauty.

This book is an incisive and thoughtful discussion on the inspiring, versatile, and often subversive nature of Philippine cinematic art. It tackles cinema as an artistic medium that dynamically purveys different representations