THROUGHOUT THE decades, Philippine cinema has proven to be effective in chronicling the development of the nation while also providing steadfast contributions to the economy. However, this same industry has consistently faced challenges, including heavy taxation in the pre-1990s, censorship during the Martial Law era, and piracy at the turn of the millennium.
These economically and politically driven issues have necessitated responses from lawmakers through laws and policies that aim to protect the integrity of local films and filmmakers. National politicians who spotlight international competition and push to alleviate Philippine entertainment media’s ails, however, indicate that there is much left to do to develop the film industry.
Cinema behind the scenes
A crucial factor that is often overlooked in the discourse of the ailing film industry is that cinema is a continual product of colonization and, by extension, western hegemony. “To find the Filipino in Philippine cinema is highly problematic,” University of the Philippines Film Institute Associate Professor and Film Historian Nick Deocampo states, emphasizing that Filipinos have not created a piece of technology for cinema since this art form is not native to the Philippines. Notably, a driving force for cinema is technology, and technological changes, such as colored film and digital video, all came in the context of colonization.
“[Film] technology was not invented by Filipinos, but came in the context of colonization,” he further says, highlighting that it is a product imported under Spanish colonial rule and was heavily propagated by the Americans. Thus, Hollywood films dominated Manila largely during the height of the American occupation.
In modern times, the consequences of colonization manifest through the audiences that favor Hollywood films over local productions. Deocampo particularly notes the unequal battle waged on local film producers today, citing the disparity between the allocated budget for local and international films.
Moreover, the paramount influence of Hollywood may also be attributed to the US’ institutional support for filmmakers. This includes unionized organizations and companies that promote and advance the film industry there, such as the Academy of Motion Picture Arts and Sciences.
While audience preference for imported films affects local cinema, the industry has also been shaped by other factors revealed at different points in time. One such challenge is the current taxation system of the film industry. According to Deocampo, as much as 42% of revenue generated by films before the 1990s proceeded to taxes. As such, film producers were expected to earn as much as triple their investments in order to recoup their expenses.
Moreover, the end of the previous millennium saw changes in technology which allowed for the digitization of films. In turn, the online world made it easier to illegally stream content, impeding revenue generation.
Such hurdles in the media broadly shape how producers manage the industry and the public’s perception of it. As such, government agencies and media companies’ recent attempts to solve these problems have been put into action.
Rewriting the mainstream
Regarding the local film industry, Deocampo posits that it is headed toward an era of alternative cinema in contrast to mainstream cinema. Alternative cinema is defined as a “people’s cinema,” spearheaded in response to the dominance of the mainstream commercial movie industry, representing social and political ideas that commercial movies typically do not espouse. Moreover, Deocampo reiterates the importance of alternative cinema in the local industry as it has persisted in times of crises when the commercial film industry floundered.
The local film industry has seen notable support in its growth over the years. Firstly, the increasing participation of movie personalities in politics helped the film industry raise interventions and policies for its development. Later, in 2002, an intervention came in the form of the Film Development Council of the Philippines which continually grants incentives and funding programs to help producers and filmmakers produce films today. In view of these developments, Deocampo notes how government representation significantly helped usher in the betterment of the movie industry.
Despite these advances, the film industry continues to meet challenges. At present, public attention regarding entertainment media imports that affect the Philippine film industry has shifted from Hollywood films to Korean dramas. The rise in popularity of Korean dramas, which have impacted Filipinos’ viewing habits and preferences, has then roused questions among national politicians on which industry the country promotes and supports. Now, such questions provide grounds for lawmakers to revisit how existing laws are enforced in relation to the changing times and landscape of the film industry.
