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Tags: Doris Duke Theatre, Fourth Annual Filipino Film Festival, Honolulu Academy, Philippines

The Fourth Annual Filipino Film Festival – The Doris Duke Theatre (April)

Posted on 21 March 2012 by Pahole Sookkasikon

FOURTH ANNUAL FILIPINO FILM FESTIVAL | THE DORIS DUKE THEATRE

Fourth Annual Filipino Film Festival
April 21-29 2012
Celebrate Filipino film making and culture with six of the best new films from acclaimed and emerging Filipino directors.
Many thanks to Dr. May Ablan and the Philippine Medical Association of Hawaii for sponsoring this festival, Vicky D. Belarmino, Arts Officer and Film Archivist of the CCP Media Arts Division and the Assistant Festival Coordinator for Cinemalaya.

Opening night reception: Apr. 21, 6-7:30pm
Enjoy Pinoy bento and wine for purchase. Screening at 7:30pm. Tickets: $15, $12 museum members. Click here to purchase tickets in advance and guarantee your seat.

Festival pass: $50, $45 museum members; Includes all 6 screenings. Tickets for opening night on Apr. 21 must be purchased separately. Click here to purchase a pass online

Related programming: Spotlight Tours – Highlights of Filipino Art
Apr. 24 – 28 at 1:30pm
No reservation required. Free with museum admission.

DANCE OF MY LIFE

Hawai‘i Premiere | DANCE OF MY LIFE
Directed by Lydia Benitez-Brown, Philippines/USA, 2011, 75 mins., Filipino
Apr. 21 1 + 7:30pm
Apr. 26 at 1pm
Portuguese and English with English subtitles, Hawai‘i premiere.
Icon Bessie Badilla was the first Filipina to become Carnival Queen in Brazil. This film traces her journey from a humble childhood in the Philippines, to success as an international supermodel, and to her life as a Connecticut wife and mother. Official selection: Chicago Filipino American Film Festival.

Opening night reception: Apr. 21 6-7:30pm. Screening at 7:30pm. Purchase tickets here

DANCE OF THE TWO LEFT FEET

DANCE OF THE TWO LEFT FEET
Directed by Alvin Yapan, Philippines, 2011, 85 mins., in Filipino with English subtitles
Apr. 22 at 1, 4 + 7:30pm
To impress his literature teacher, who moonlights as a dance teacher and choreographer, Marlon hires a classmate to give him private dance lessons. A unique love triangle unfolds set to Filipino poetry intertwined with haunting music and stunning choreography. Official Selection: Hawaii International Film Festival. Winner: Best Cinematography, Best Original Score, Cinemalaya.

TEORIYA

Hawai‘i Premiere | TEORIYA
Directed by Zurich Chan, Philippines, 2011, 100 mins, in Filipino, Chavacano, Cebuano with English subtitles
Apr. 24 at 1 + 7:30pm
Apr. 29 at 1pm
After hearing the news that his estranged father has passed away, Jimmuel Apostol II goes home to Zamboanga City for the first time in a decade. He arrives to find that his father left him a piece of land, a rundown car, a diary and no clue as to his burial place. As he searches for his father’s grave, he discovers his secrets and finds meaning in his own life. Official Selection: Cinemalaya

PINTAKASI

Hawai‘i Premiere | PINTAKASI
Directed by Nelson Caguila, Lee Meily, Philippines, 2011, 72 mins., in Filipino with English subtitles
Apr. 25 at 1 + 7:30pm
Apr. 27 at 9pm following ARTafterDARK
In this urban hip-hop fairy tale, aspiring graffiti artist DJ moves to a big city “garbage island” to practice his craft. After joining a local gang, he falls afoul of their leader. The ensuing results in a multimedia “pintakasi” or human cockfight of artists, rappers, dancers, and thugs. Featuring award-winning hip-hop dance group Philippine All-Stars. Winner: Best Film, New Wave Section, Metro Manila Film Festival

THE GIFT OF BARONG: A JOURNEY FROM WITHIN

Hawai‘i Premiere | THE GIFT OF BARONG: A JOURNEY FROM WITHIN
Directed by Benito Bautista, USA/Philippines, 2006, 88 mins., in Filipino and English with English subtitles
April 26 + 29 at 7:30pm, April 27 at 1pm, April 29 at 4pm
In this poignant documentary, two Filipino-American surfers from the Bay Area travel to the Philippines to immerse themselves in the culture, surf the islands, and rediscover their roots. More than a surf tale, the film is an exploration of cultural identity as it follows two men reconciling their Asian heritage with their American selves.
Official selection: Cinemanila International Film Festival, San Diego Asian Film Festival, Chicago Filipino Film Festival. Winner: Best Cinematography, New York International Independent Film Festival

Director Benito Bautista will be in attendance to introduce the film before each screening and will lead q+a sessions afterwards.

BOUNDARY

Hawai‘i Premiere | BOUNDARY
Directed by Benito Bautista, Philippines, 2011, 110 min., in Filipino with English subtitles
Apr. 28 at 1, 4 + 7:30pm
A slick businessman takes cab, not knowing that the driver and two local gang members are conspiring to kidnap him. Their journey along the streets of Manila makes for an innovative, breathtaking thriller. Official Selection: Toronto International Film Festival. Winner: NETPAC Prize, Cinemalaya, Special Mention, Cinemanila

Director Benito Bautista will be in attendance to introduce the film before each screening and will lead q+a sessions afterwards

Plan Your Visit to the Doris Duke Theatre

Location

Honolulu Museum of Art | Doris Duke Theatre
900 South Beretania Street
Honolulu, Hawaii 96814

The Theatre entrance is on Kinau Street, between Victoria Street and Ward Avenue.

Parking

• Art Center Lot, Victoria Street with entrances on Beretania and Young streets: Mon–Sat 7 am–11 pm, Sun 10 am–6 pm. The fee is $3 for every 4 hours with validation until 4pm, and $4 flat rate from 4pm until closing.

• 1035 Kinau Street Lot: (Diamond Head of the Admiral Thomas building) The lot is closed to the public 10am-4:30pm Monday to Friday. It is open to the public and free on weekends and from 4:30 to 11pm during the week.

• Street parking is available along Victoria Street

• Parking for persons with disabilities is available in the Luce Pavilion lot on Victoria Street; patrons using disabled access stalls should proceed to the main entrance on Kinau Street. There are two stalls, which are open on a first-come, first-served basis.

Getting here

Bus: The Academy is on the following bus lines; 1, 2, 13, B and 1L.

Car: On the H-1 freeway from Waikiki, take the Lunalilo St. exit and make a left at Ward Ave, and another left on Kinau Street. From downtown or the airport, take the Lusitana exit to Kinau Street.

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Tags: Bookshelf Spotlight, Ferdinand Marcos, Philippines

Bookshelf Spotlight: Ferdinand Marcos & the Philippines

Posted on 14 March 2012 by Pahole Sookkasikon

Featured Books

* Coming of Age: Women’s Colleges in the Philippines During the Post- Marcos Era
* Contested Democracy and The Left in the Philippines After Marcos
* Ferdinand Marcos and the Philippines: The Political Economy of Authoritarianism
* The Marcos File: Was He a Philippine Hero or Corrupt Tyrant?
* The Philippines: The Political Economy of Growth and Impoverishment in the Marcos Era

Coming of Age: Women’s Colleges in the Philippines During the Post- Marcos Era

by Francesca Purcell
Routledge, 2005

In view of the increasing number of Third World countries considering the establishment of women’s colleges to meet the demand for the higher education of women, presenting a case study of two key women’s colleges in the Philippines. Within the context of global, national and local changes since the fall of Ferdinand Marcos in 1986, academic and administrative leaders at two prestigious women’s colleges candidly discuss how their respective institutions adapted to their environments and how the colleges will fare in the future. Preferences for large, coeducational institutions; the emergence of less expensive tertiary institutions; and the downward spiral of a weak national economy combined to destabilized the enrollment base of these colleges. Factors unique to the Philippines including an increasing number of female overseas contract workers; struggles with national language preferences; and the growth of feminism also affected the colleges. In response, the colleges expanded their curricula, chose high-profile presidents, focused on faculty development, and acquired technology. Decision-markers at these colleges will have to continue in their efforts at solidifying their positions in the Philippine higher education system. The book that women’s colleges worldwide must articulate their unique purposes and collaborate with other institutions to strengthen their organizations.

Goodreads | Amazon | Google Books

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Contested Democracy and The Left in the Philippines After Marcos

by Nathan Gilbert Quimpo
Ateneo de Manila University Press, 2008

When people power toppled the dictator Marcos, the Philippines was considered a shining example of the restoration of democracy. Since 1986, however, the Philippines has endured continuing political and social unrest and encountered tremendous obstacles to the consolidation and deepening of democracy. Scholars have called post-Marcos Philippines an elite democracy, a cacique democracy, or a patrimonial oligarchic state.

In this volume, Nathan Gilbert Quimpo disputes such characterizations of democracy. He argues that the deepening of democracy in the country involves the transformation of an elite-dominated formal democracy into a participatory and egalitarian one. He focuses on emergent, democratically oriented, leftist parties and groups that seek to transform the formal democracy of the Philippines into a more substantial one and shows the difficulties they have encountered in fighting patronage politics. The complexity of the process to deepen democracy in the Philippines becomes evident from Quimpo s exploration of competing notions of democracy, contending versions of the civil society argument, and contending perspectives in governance.

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Ferdinand Marcos and the Philippines: The Political Economy of Authoritarianism

by Albert F. Celoza
Praeger Publishers, 1997

Ferdinand Marcos came to power in the Philippines in a coup d?tat in 1972 and ruled absolutely, in the name of order, until his dramatic overthrow in February of 1986. This study examines how the authoritarian regime of Marcos remained in power, sometimes in the face of massive opposition, for 14 years. Repressive regimes may seem undesirable, but they are often able to elicit the support of significant sectors of society. Marcos was able to maintain authoritarian rule through the support of bureaucrats, businessmen, and the military–all with the assistance of the United States government. He maintained this network of support through a patron-client system with a centralized bureaucracy as its power and resource base. In order to reward his supporters, he expanded the authority of government. But to minimize the political cost of expansion, he maintained the legal and constitutional forms of democracy. The Philippine experience in despotism is not unique; many Third World countries are under authoritarian rule. This subtle and nuanced analysis, therefore, provides an examination of the levers of power available to absolute rulers, to better understand the political economy of authoritarianism.

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The Marcos File: Was He a Philippine Hero or Corrupt Tyrant?

by Charles C. McDougald
San Francisco Publishers, 1987

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The Philippines: The Political Economy of Growth and Impoverishment in the Marcos Era

by James K. Boyce
University of Hawai’i Press, 1993

The experience of the Philippines from the 1960s to the 1980s vividly illustrates the interplay between wealth and power in the course of economic development. During this period, the benefits of economic growth conspicuously failed to trickle down. Broad sectors of the Filipino people experienced deepening poverty. Professor Boyce traces this outcome to the country’s economic and political structure, and to the development strategies pursued by the Philippine government and its international backers. Impressive gains in rice production via the ‘green revolution’ failed to translate into less hunger. Profits from the country’s agricultural exports – sugar, coconut, banana, and pineapple – were concentrated in the hands of a few. Forestry exports triggered severe environmental degradation, the main victims of which were the poor. Massive external borrowing financed capital flight rather than productive investment, and left the country with a crushing foreign debt burden. The Philippine experience provides important insights into the political economy of development.

University of Hawai’i Press | Goodreads | Amazon | Google Books

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