History of Philippine Cinema :: Philippine Arts Film Movies Essays

History of Philippine Cinema Introduction The youngest of the Philippine arts, film has evolved to become the most popular of all the art forms. Introduced only in 1897, films have ranged from silent movies to talkies; black and white to color. Outpacing its predecessors by gaining public acceptance, from one end of the country to the other, its viewers come from all walks of life. Nationwide, there are more than 1000 movie theaters. Early in the 1980s, it was estimated in Metro Manila alone, there were around 2.5 million moviegoers. As an art form, it reflects the culture and the beliefs of the people it caters to and most times, is the one who shapes their consciousness. Philippine film as discussed in this paper includes films made by Filipino people exhibited in this country and possibly in other countries from the 1930s to the 1990s. The films may be silent pictures or talkies, black and white or color. They also include films such as documentaries, animation, experimental or alternative films and other types of films. This paper has three purposes or objectives. It intends, first of all, to provide a comprehensible background of the art of film in the Philippines. It provides insights on how the Philippine film has influenced Philippine culture and vice-versa. This is done by documenting the important events and important films in the area of film for the past ninety years. Second, it intends to explain the different trends and styles common in the Philippine film. And finally, it concludes with an analysis on how two important events in history, namely World War II and Martial Law altered the course of contemporary Philippine film. However, this paper is limited to films only from the particular time period of the 1930s to the 1990s. It fails to give a picture of how films were like ever since it started in 1897. This paper is also severely limited due to the unavailability and the lack of materials that discuss thoroughly the history of Philippine film. Film materials for those made during the pre-WWII years are simply non-existent. Data for this paper was gathered from the essays and reviews written by the artists and the critics themselves. It goes without saying that the resources were tested to the limits. CHAPTER 1 I. The 1930s to 1940s A. Early Philippine Films Filipinos started making movies in 1919. However, it would be important to know that the film industry in the Philippines began through the initiative of foreign entrepreneurs.

Egyptian Religion Essay

The Egyptians took great care of their dead because of their religious beliefs. According to John Catoir, author of â€Å"World Religions: Beliefs Behind Today’s Headlines,† Egyptians believed that an afterlife involved a full human existence, not a mere spirit life, therefore the soul must join the body in heaven. It was hoped that by preserving their bodies from decay they would enhance the process of resurrection and provide themselves with a decent start in the new life. The priests who performed the mummification were thought of as acting in the role of Anubis, the god of the dead. The organs, excluding the heart would be removed, and the mouth would be broke open. This allowed for the testimony and the weighing of the heart when attempting to gain entrance into the underworld (afterlife). According to Geoffroy Parrinder, author ofâ€Å"World Religions: from Ancient History to the Present,† the whole embalming of the body seems to have implied an imitation of what was done (in the legend to Osiris by Anubis in Abydos) so the dead person was thereby identified with Osiris:charms were usually placed within the wrappings of the mummy, and special importance was attached to the heart scarab which was placed on the chest. Because of the Egyptians belief that the body and soul unite again in the underworld, their response to cremation would not be a positive one. Since the soul and the body meet up in heaven again, the body would be destroyed, making it impossible to meet up with the soul. In addition, the heart will not have an opportunity to be weighed and the mouth would not be able to testify. After a king died, Osiris would personally identify the king. The motive behind the identification of the dead king with Osiris was to ensure the perpetuation of the king’s rule after death:by becoming Osiris the dead pharaoh would rule over the realm of the dead (Parrinder). According to Roveri Donadoni, author of â€Å"Egyptian Civilization: Religious Beliefs,† a dead Pharaoh lived in the heavens as a star and a new pharaoh came to power as a new incarnation of the divine power of Ra, the Sun God. The stars appeared as minor suns illuminating the night sky, each one the lasting impression of a former earthly pharaoh. Rituals involved the everyday life of the typical Egyptian. According to Christopher Moreman, author of â€Å"Beyond the Threshold: Afterlife Beliefs and Experiences in World Religions,† ritual performance was necessary to ensure that the spirit of the dead would not be lost but would continue in association with the sun after an arduous journey through the underworld. †Every day and several times within the day, the god was the object of ritual activity similar to that which would be accorded to an earthly prince (Donadoni). Distinctive rites were naturally found in the special festivals of the pharaoh and of the gods (Parrinder). The king’s jubilee-festival, called the Sed, re-enacted ritually the unification of Egypt under Menes, and its climax was a dance performed by the king in a short kilt with an animal’s tail hanging behind it. A procession or ‘coming forth’ was usually a conspicuous feature of the festivals of the gods, whose statues were carried by priests to other sacred places in order to visit other deities or in order to enact a mythological episode connected with these places (Parrinder).

My Career As A Cheerleader - 796 Words

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