Dalagang Bukid (1919)

Era Emas Sinema Filipina

Tecatat dekade 50-an dan 60-an adalah era emas sinema Filipina. Industri film Filipina tercatat adalah salah satu negara yang paling produktif dan tersibuk di Asia dengan produksi lebih dari 300 film per tahun. Studio-studio film Filipina mengadopsi sistem studio Hollywood sehingga bermunculan studio-studio besar seperti, Sampaguita, LVN, Premiere, dan Lebran International. Studio-studio ini mengontrak sineas-sineas kawakan serta bintang-bintang besar yang populer pada masa ini, sebut saja sineas-sineas seperti Lamberto Avellana, Gerardo de Leon, Eddie Romero, serta bintang-bintang seperti Carmen Rosales, Leopoldo Salcedo, Rogelio dela Rosa, Manuel Conde, serta lainnya.

Empat studio besar diatas tercatat memproduksi film-film penting pada masanya dan memiliki karakternya masing-masing. Sampaguita memproduki film-film kelas atas dan glamor, seperti Maalaala Mo Kaya (1954). LVN memproduksi bertema komedi perkotaan, musikal, hingga film-film sosial seperti Anak Dalita (1956) dan  Biyaya ng Lupa (1959). Sementara Premiere banyak memproduksi film-film aksi berkualitas, macam Sawa sa Lumang Simboryo (1952) serta Huwag Mo Akong Limutin (1959). Film epik sejarah berbujet besar, Genghis Khan (1952) konon tercatat menjadi film Asia pertama yang diputar di Venice dan Cannes Film Festival.

Pada era emas ini pula genre-genre film yang diproduksi semakin bervariasi tidak terbatas pada adaptasi pertunjukan lokal (zarzuela) seperti era sebelumnya. Genre-genre yang populer antara lain, petualangan, fantasi, melodrama, komedi, western, hingga bomba (soft porn) yang populer pada era 60-an. Adaptasi populer pada era ini adalah adaptasi komik yang kala itu komik merupakan hiburan murah yang sangat populer di masyarakat. Adapun film-film adaptasi komik yang sangat populer antara lain, Hagibis, Malvarosa, Roberta, El Indio, dan puluhan lainnya. Film-film Hollywood sendiri juga masih mendominasi pasar lokal sehingga banyak sineas lokal mengadopsi formula Hollywood dalam film-filmnya, seperti imitasi James Bond. Pada masa ini juga tercatat diproduksi film berwarna lokal pertama, Prinsipe Amante (1951) yang konon dianggap sebagai film Asia pertama yang diproduksi berwarna penuh.

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Artikel SebelumnyaSekilas Sinema Malaysia
Artikel BerikutnyaDari Redaksi mOntase
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.

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