EIGA

Cinema in the Philippines During World War II

Nonfiction, Entertainment, Film, History & Criticism, Performing Arts
Cover of the book EIGA by Nick Deocampo, Anvil Publishing, Inc.
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Author: Nick Deocampo ISBN: 9786214200832
Publisher: Anvil Publishing, Inc. Publication: November 25, 2016
Imprint: Language: English
Author: Nick Deocampo
ISBN: 9786214200832
Publisher: Anvil Publishing, Inc.
Publication: November 25, 2016
Imprint:
Language: English

Nick Deocampo’s continuing film saga investigates on its third volume how World War II affected the growth of cinema in the Philippines (1942-1945). Revealed in the book is a vast wealth of information about Japanese wartime manipulation of motion pictures that would only lead to the inglorious end of the colonial film cycle at war’s conclusion. This valuable construction of the country’s wartime film history uncovers significant intellectual efforts made by Japanese film critics and film artists who formed the Propaganda Corps assigned to the country.

They conceived for Filipinos a “national” identity for their cinema, even while this was wrapped in a fascist, colonial, and militaristic context. Seventy years after the end of World War II, Deocampo triumphs over trauma and forgetfulness as he revisits the wartime period and its cinema. He provides a landmark contribution to historical memory as he uncovers one of the bleakest moments in Philippine film history.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Nick Deocampo’s continuing film saga investigates on its third volume how World War II affected the growth of cinema in the Philippines (1942-1945). Revealed in the book is a vast wealth of information about Japanese wartime manipulation of motion pictures that would only lead to the inglorious end of the colonial film cycle at war’s conclusion. This valuable construction of the country’s wartime film history uncovers significant intellectual efforts made by Japanese film critics and film artists who formed the Propaganda Corps assigned to the country.

They conceived for Filipinos a “national” identity for their cinema, even while this was wrapped in a fascist, colonial, and militaristic context. Seventy years after the end of World War II, Deocampo triumphs over trauma and forgetfulness as he revisits the wartime period and its cinema. He provides a landmark contribution to historical memory as he uncovers one of the bleakest moments in Philippine film history.

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