The mainstream cinema misnomer

Arnel Mardoquio

2nd of three parts

HOLLYWOOD blockbuster films and the monopoly system rule the waves deep into the consciousness of the market today. This is the primary product that is fed into the market for those who frequent the movie houses in the malls.  The direct result of this is the disintegration and weakening of the Filipino Mainstream cinema.

The mainstream movie industry has all but folded up, with film workers seeking new job ventures, amidst a burgeoning television industry. So, if we give credence to the question whether there really is such a thing as a Filipino Film Industry, the answer is no. Ninety percent of the films in the market today are not made in the country, and most of the quality films made by local filmmakers are not shown in our venues. Thus, the tag of Filipino Mainstream Cinema in this present market is a misnomer, as it virtually does not exist.

Yet, is the presence of Tagalog films in the mainstream market not an indication of a Filipino mainstream industry?

At first glance, Tagalog studio-based film productions seem like an established mainstream industry because of the mode and relation of production. However, everything is owned by the capitalist and everyone else is nothing but wage workers.  While the workers go home after the day’s work, the capitalist takes the product which he presumes is exclusively his own. He mobilizes his playground market and shows the film product. As this makes money, a part of its sales will include the blood and sweat of the film worker.

In this exploitative system, the workers are nothing but second class citizens in the discriminative market of cinema.

The continuous outflow of Tagalog films by studio-based film productions in central Manila is not an indication of an industry. These are not permanent, with no sustained pattern. They are merely peddlers of their Tagalog films, yet whenever a big competitor from Hollywood enters the market, they lie low and wait for a better time to show their product. They are no different form the hawkers at Quiapo and Recto who, when there are law enforcers present, run away with their wares.

The hawkers do not have the resolve to seize the market because it has provided them with ample space to display their wares when it sees fit. They are at its mercy. These hawkers have embraced this exploitative system which they have inherited from the older industry. They are the willing victims, as they have been used to this corruptive setup. However, in instances when the monopolist business grants them permission to show their film outputs, they aggressively seize the moment, overwhelming whatever local competition is there at the moment; like the independent cinema, which may have happened to be in that market as they are. As Hollywood films squeeze hard on them, they do the same to the smaller and local outfits. This is the only way to maintain their temporary dominance over the cinema playing field. These hawkers are also like chameleons as they can change colors. If need be, they can shift-shape to appear like indie films, if that is what it will take to get through the market and make money.

The drama of these hawkers is now exposed for everyone to see. Sometimes, they castigate the monopolistic system whenever their films are discriminated on and not given ample showing schedules. However, if their films rake in great dividends at the gate, they heap praise on the same exploitative system. As such, in the continuing struggle by independent cinema, they cannot be turned into reliable allies against the ruling monopoly in Philippine cinema.

The curtain that has blocked our vision has fallen and the altercation does not lie between the mainstream and the indies. The real contradiction is between the monopolistic system and Independent Cinema.

FDCP as an instrument of the monopolistic businessmen and the hawkers

Because of the absence of a department in the government bureaucracy that oversaw to the needs of the film industry in the country, the Film Development Council of the Philippines (FDCP) was initially seen as the most capable agency that would fulfill that mandate.

If that mandate were only formulated with the right context and perspective, the FDCP would have had a meaningful contribution at resolving the roots of the problem which is the monopoly of the market against the democratization. This is the central contradiction now. This conflict is between two opposing interests; the monopolistic theater associations in their film business, and the Independent Cinema which espouses a democratic market and represents the free cinema industry.

By some misfortune, the agency has been remiss and this, we did not expect. The present commissioner is incapable of understanding the complicated problem. This, the FDCP now has become an apt instrument for the monopolistic business and their allies, the hawkers.  The direction taken by Commissioner Liza Dino-Seguerra has been short of peddling the independent cinema in the playground of the greedy capitalists.

The independent cinema has two concrete proofs in its charges against the commissioner of the FDCP. First, it was clear that the commissioner had a hand in the lessening of the relative powers of the independent cinema in the Metro Manila Film Festival (MMFF) 2016 that would have opened up a fresh perspective for the said film festival. It should have been an initial shout out to the MMFF as it wallowed in the corrupt system.

It should have been the preequisite for a democratic market; the formal presentation of the independent cinema in the country. However, the heart and sentiment of the commissioner seemed to favor the interests of the monopolistic business and its hawkers. The result was the return to the old ways, where what ruled was the monopolist system in the market.

The greatest offense of the commissioner now is her new project, the PPP (Pista ng Pelikulang Pilipino) . At first glance, it appeared to favor independent cinema. However, it actually is a sell-off of the independent cinema to the monopolist business.

Without even a progress report, the commissioner is quick to say that the PPP was a success. She has ruled FDCP like a private office, where she can do what she wants. The truth is the PPP was a clear ruse where the monopolistic business once again fooled us. Only one film hit it big at the tills during the PPP in August.  It is no secret that this film was produced by one of the hawkers. This film was also favored by the association of theatre operators. Clearly conceptualized to be commercially attractive, the last days of the festival saw it reaping money at the tills, above all other independent films in the PPP.

The hawkers struck gold at the PPP. At the onset, they thought the PPP would yield a minimal profit for them. When it reaped more than one hundred million, there is no doubt, the hawkers would be adamant that the commissioner again sell independent cinema in the next year’s festival.

Surely, the commissioner is thankful for this hawker-produced Indie film’s success in her project PPP. She may even invite this hawker to oversee the PPP next year. The hawker may even suggest that the PPP hold two festivals next year, one for Holy Week and one in August.

There may be a fad of religious films that would flood the market and these may be blockbusters, preying on the Filipino market’s propensity for being overly religious. At this, the hawkers again change form, creating small capital to produce indie film productions for quality films that would become hits at the market which the monopolistic businesses rule. They will surely make money and likewise will surely rejoice at the end of the festival. Here’s a toast to the FDCP for using the independent cinema as a tool for the monopolists and their hawkers. Another toast goes to the commissioner, as she was instrumental in the selling of the independent cinema to this corrupt system. The same toast goes for the theatre owners.

Our co-workers in the independent cinema should not worry about this confrontative posture we are presently pursuing, as this is the best way in facing this real problem.  In order to come up with a true solution, we should approach the problem head on, using the correct analysis when questioning that problem.

This position however, does not hinder anyone in participating again in the PPP and MMFF. As a matter of fact, you should continue to be part of it so that we can further study these markets. When the time comes, when we have achieved the democratization that we are striving, we will be part of the management, using our local talents.

This is a good training for all of us. Participation in their exclusive game is but a rehearsal of the programs we aim for – the democratic market.

When once again Commissioner Liza Dino-Seguerra goes around the regions to sell her programs to us, lend our assistance and support, and avail of the services that we rightfully deserve.

Our struggle is still far from over, as the FCDP will be more powerful thru Malacañang’s recent plan; the new executive order transferring authority over the MMFF from the MMDA (Metropolitan Manila Development Authority) to the FCDP. As the commissioner is subservient to the monopolist business and hawkers, the way of business will be more difficult. (to be concluded)

(Arnel M. Mardoquio is an award-winning film director and screenwriter. He was born and raised in Davao City. He is is now based in Melbourne, Australia. English translation by Erico San Pedro. -Mindanews)