Bu-lat-lat (boo-lat-lat) verb: to search, probe, investigate, inquire; to unearth facts Issue No. 36 October 21 - 27, 2001 Quezon City, Philippines |
Animated Films and National Development
American enlightened colonialism brought new levels of consciousness and opportunities for businesses. As disseminated through the public school system, English became a prominent language. English literacy was a key factor in the growth of mass circulation papers. By 1939, the total circulation of all Philippine publications had reached to 1.4 million, of which 722,000 were in English. It
was only during the postwar and post-independence era that Philippine animation
took a serious turn. Philippine
animation prior to 1953 was mostly focused on commercial advertising, churning
cartoons for print and television commercials.
In 1953, komiks cartoonist Larry Alcala, made an 8mm film, a
black-and-white exercise in movement of a girl jumping rope and a boy playing
with a yoyo. Other pioneers in
animation were Jose Zaballa Santos and Francisco Reyes, who did a cooking oil
endorsement, Juan Tamad (1955), a six-minute work based on a popular
folklore character; and Nonoy Marcelo, who did Biag ni Lam-ang (The Life
of Lam-ang, 1979), a 60-minute feature on the adventures of the Ilocano epic
hero, and Annie Batungbakal (1974), a seven-minute clip for the Nora
Aunor movie. Animation in film was
used for special effects, like in Ibong Adarna (The Adarna Bird, 1941)
and Ang Panday (The Blacksmith, 1983).
One can still observe the latent economic imperative at work in these
animation pioneers; work was done for advertising and the film business.
There is also the political imperative, as Marcelo’s feature dealt with
the ethnic epic from the region of then President Ferdinand Marcos. Such
dual purpose in cartooning remains emplaced even in present-day animation.
Contemporary Filipino cartoonists are also imbricated in both
multinational advertising and subcontracting work, and a purer artistic quest
for a national idiom. The Marcos
period provided a space for animation production both useful to and subversive
of the national administration ideals. No
other president in Philippine political history has been so conscientious in
conceiving and implementing a national development program than Marcos.
He built massive infrastructures and enacted laws that primarily
supported multinational businesses. In
his dream of a New Society (Bagong Lipunan), unfolded after the
declaration of martial rule in 1972, he envisioned to clear the national space
for both nationalism to firmly take ground and foreign businesses to flourish.
With
a background in animation from a New York film school, Marcelo did animation
work for the administration. Though
only the first episode was produced, Tadhana (Destiny) was envisioned to
popularize Marcos’s rewriting of national history. In the only episode, the war between Spain and Portugal for
global colonial rights was done through zooming and intercutting images of
illustrations and maps. In
preparation for war, the Spanish armada moves in with music from the Star
Wars theme. Marcelo also did
animation for Kabataang Baranggay (Youth League), the national youth
organization headed by Imee Marcos, the eldest child of Marcos. He also did the
animation sequences for an education series produced by a Marcos office intended
to create local entrepreneurs. Episodes
dealt with the Green Revolution themes of self-reliance in food using popular
technology, such as tilapia (carp) raising and bee farming. However, Marcelo was also to be made famous by a newspaper
comic strip Tisoy that documented and satirized the conditions of the
Marcos administration. By the 1980s, however, the Marcos circuiting of the nation in global multinational work had already been institutionalized. The period was also marked by economic and political turmoil that led to the Marcoses’ downfall in 1986. One major development in animation that grew out of the direct development policies of Marcos was the operation of foreign studios in the country. Subcontractual work was used by Marcos to entice foreign business. Harping on cheap but highly skilled local labor, Filipino cartoonists were employed in foreign animation studios to do episodes of various Hanna Barbara and Toei series. The Australian-based animation firm, Burbank Studios, pioneered animation subcontracting in the Philippines in 1983. Given tax incentives and other investment lures, Burbank Studios focused on the animation needs of the local advertising market in its beginning. Eventually, it also produced an educational animation series for the Middle East. Burbank Studios wanted to break into the American market. It needed the proximity of the Philippines to the United States as a base of operation, and the skills of Filipino laborers as chief resource. It trained local animators who either established their own advertising firms or transferred to other multinational studios when Burbank Studios folded in the late 1980s. Presently,
the big players in Philippine animation are FilCartoons and Philippine Animation
Studio, Inc. (PASI), owned by foreigners. FilCartoons, for example, does work on Mad Jack the Pirate
and Toonsylvania, cartoon shows for the American firms Saban and
Dreamworks SKG. Their artists have
done much of the acclaimed work in Fox Studios’ Anastasia and
Disney’s Mulan, among others. Such
developments have led critics to believe that Filipino artists have been reduced
to artisans: subcontractors for
foreign animation studios, it is quite obvious that FilCartoons artists are
reduced to craftsmen who follow a codified set of rules, without free rein in
their art. Another employment track
for Filipino cartoonists involves overseas contract work, a program
institutionalized during the Marcos period that relies on exporting Filipino
labor for precious dollar remittances. The
systematic export of Filipino labor has presently deployed four million overseas
contract workers that yield some $6 billion annual remittances, about two-thirds
of the present national budget. More
and more Filipino cartoonists work for overseas Disney, Malaysian, and
Singaporean studios. Filipino
cartoonists find affinity with their fellow nationals doing multinational and
overseas contract work. They are
hired because of their pleasing personalities, command of the English language,
high skills, western disposition, and their acceptance of lower salaries than
their counterparts in the West. A
recent Philippine subcontracting project was the Chito Chat series on MTV Asia.
The character Chito provides onscreen chatter about the music video being
shown. Cartoonists also find
themselves doing work in advertising companies, Star Animation, owned by the
local entertainment conglomerate ABS-CBN, and the children=s show, Batibot,
that regularly features animation segments.
Recently, however, there is a slight reversal of the situation as
Filipino artists and enterpreneurs came up with the Stone comic book
series, stylishly drawn, based on Philippine lore, and sold at comic book
conventions in the United States. With
its immense pool of creative talents, Philippine animation has yet to
commercially take off. The first
and only locally animated television series, Ang Panday, produced in
1987, only drew a curious audience, and the first full-length commercial film, Ibong
Adarna (The Adarna Bird, 1997), also proved dismal in attracting a local
audience. The major figure in
feature animation in the Philippines is Geirry Garccia. Paling by comparison to big-budgeted Hollywood and Japanese
animation, local animation has yet to be commercially competitive.
This is also the drawback of global competition conceived during the
administration of Marcos’ successor, Corazon Aquino, and implemented by her
successors, Fidel Ramos and Joseph Estrada. Barring
protectionism, local businesses have yet to rise above the competition, becoming
lowly placed in the global division of capital and labor.
The export-processing zones started during the Marcos dictatorship
allowed for a wide-ranging incentive package to foreign businesses, even the
promise of a strike-free environment. In
the former American airforce base, Clark, now primarily transformed into one
such zone, two companies, GM Mini Computer Exchange and Cerulean Digital Colors
Animators, have located in the Clark Special Economic Zone, hiring some 450
workers for its digital animation workload. Animation inscribed the nation in colonial and transnational imaginaries. During its preconception, cartooning allowed for conservative and contrary ideals of the colonial set-up to be articulated and popularized. Cartooning in advertising and print capitalism, involving the same set of artists, articulated the dual position of colonial rule and national selfhood. Up until the mid-1980s, Marcos’ emplacement of national ideals toward the service of multinational businesses provided a divide between business in the new world order and the further interrogation of selfhood. FilCartoons artisans, for example, are responsible for shows like Chicken and Egg, Johnny Bravo, Captain Planet, and Johnny Quest. Every Filipino cartoonist participating in big-budget feature animation projects by Disney or Dreamworks gets high media publicity, specially in the national dailies. It is only in the recent times that commerce and national ideals are again merging, as the artists of the 1980s developed their own animation companies that service various businesses. In the 1990s, a newer breed of animators is emerging. Unlike the prior generation that made various attempts at inscribing a national idiom in this form, the 1990s artists are more vocal in the articulation of the politics of newer social movements, such as environmentalism, feminism, social injustices, and so on. Bulatlat.com
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