Eiga: Cinema in the Philippines during World War II

by Nick Deocampo

Nick Deocampo's continuing film saga investigates in its third volume how World War 2 affected the growth of cinema in the Philippines (1942-1945). The author provides another essential contribution to the knowledge of Philippines cinema's evolution as it breaks away from its colonial past to transform into a national cinema. Revealed in the book is a vast wealth of information about Japanese wartime manipulation of motion picture that would only lead to the inglorious end of the colonial film cycle at war's conclusion. The author uncovers significant intellectual effort made by Japanese film critics and artists who form the Propaganda Corps assigned to the country. They conceived a national identity for Filipinos for their cinema even if this was wrapped in fascists, colonial and militaristic context.

512 pages, Paperback

First published January 1, 2016

About the author

Nick Deocampo stands out as a multifaceted personality in Philippine cinema. He is a prizewinning filmmaker, author, film teacher, scholar, film festival organizer, film historian, and now the director of the newly established Center for New Cinema.

Deocampo’s academic credentials include a Master of Arts degree in Cinema Studies at the New York University under a Fulbright Scholarship Grant (1988 – 1989). He received another Fulbright Grant in 2001 – 2002 as an International Senior Research Fellow at the U.S. Library of Congress in Washington, D.C. He received his Certificate in Film as a French Government scholar at the Atelier du formacion au cinema direct in Paris, France (1981 – 1989). He graduated Cum Laude with a degree in A.B. Theater Arts at the University of the Philippines (1977 – 1981).

Read more about Nick Deocampo at http://www.cnc.net.ph/nick.html from which the text above was taken.

Reviews

[Anson · Rating 5 out of 5]

A fascinating book as it illuminates what must be the bleakest time in Philippine cinema history during World War 2. It provides an interesting insight as to what life was like in the Philippines during the war. But more than that, I like it as to how Deocampo explains the roots behind some of the characteristics of Philippine cinemas such as its tendency to copy Hollywood movies, themes and actors. (such as the Philippine version of Charlie Chaplin, The Philippine answer to Audrey Hepburn...etc) I now want to get the two previous volumes; Cine and Film to learn more about Philippine cinematic history