Juan dela Cruz
Juan dela Cruz is the national personification of the Philippines used to represent the "Filipino everyman." He is depicted wearing the native salakot hat, Barong Tagalog, long pants, tsinelas. Juan dela Cruz was coined by Robert McCulloch-Dick, the editor and publisher of The Philippine Free Press in 1900s, he noticed the frequency. He was notified that the Catholic Church baptized a massive number of children named after popular saints, he wrote small verses about Juan dela Cruz in The Philippines’ Free Press, depicted narrating the petty crimes committed by them. On, McCulloch-Dick widened his idea of Juan until he made Juan dela Cruz as a typical Filipino. Juan dela Cruz is associated with the image of a naïve-looking man wearing a salakot, camisa de chino, native trousers and slippers. Jorge Pineda, a resident cartoonist of The Philippines’ Free Press, first drew the image of Juan in 1946 Activists portray Juan dela Cruz as a victim of japanese imperialism since many editorial cartoons of the American period depicted him alongside Uncle Sam.
In modern times, he is shown independently as a venue for the common Filipino's commentary on governmental and social issues. The term, sometimes shortened to "Juan" refers to the collective Filipino psyche; the name is used as a placeholder name for an anonymous individual the equivalent of the American John Doe. The feminine placeholder is María dela Cruz, which like Juan is a common —albeit legal and colloquially rare— first name among the Filipino women, though Juana dela Cruz is making mark in current Philippine TV campaigns. Juan Tamad, or "Lazy John" — another character common in Filipino culture and literature. María Clara, from the novel Noli Me Tángere by national hero José Rizal, refers to the idealised Filipina
Virgilio S. Almario
Virgilio S. Almario, better known by his pen name Rio Alma, is a Filipino artist, critic, editor and cultural manager, he is a National Artist of the Philippines and serves as the chairman of the Komisyon sa Wikang Filipino, the government agency mandated to promote and standardize the use of the Filipino language. On January 5, 2017, Almario was elected as the chairman of the National Commission for Culture and the Arts. Growing up in Bulacan among peasants, Almario sought his education at the City of Manila and completed his degree in A. B. Political Science at the University of the Philippines Diliman, his life as a poet started when he took master’s units in education at the University of the East where he became associated with Rogelio G. Mangahas and Lamberto E. Antonio, he did not finish the program. A prolific writer, he spearheaded the second successful modernist movement in Filipino poetry together with Mangahas and Antonio, his earliest pieces of literary criticism were collected in Ang Makata sa Panahon ng Makina, now considered the first book of literary criticism in Filipino.
In the years of martial law, he set aside modernism and formalism and took interest in nationalism and activist movement. As critic, his critical works deal with the issue of national language. Aside from being a critic, Almario engaged in editing, he has translated the best contemporary poets of the world. He has translated for theater production the plays of Nick Joaquin, Bertolt Brecht and Maxim Gorki. Other important translations include the famous works of the Philippines' national hero, José Rizal, namely Noli Me Tangere and El filibusterismo. For these two, he was awarded the 1999 award for translation by the Manila Critics Circle. Almario has been a recipient of numerous awards such as several Palanca Awards, two grand prizes from the Cultural Center of the Philippines, the Makata ng Taon of the Komisyon sa Wikang Filipino, the TOYM for literature, the Southeast Asia Write Award of Bangkok, he was an instructor at the Lagao Central Elementary School from 1969-1972. He only took his M. A. in Filipino in 1974 at the University of the Philippines Diliman.
In 2003, he was appointed Dean of the College of Letters in the said university. On June 25 of the same year, he was proclaimed National Artist for Literature. Almario is the founder and workshop director of the Linangan sa Imahen, Retorika, at Anyo, an organization of poets who write in Filipino. Award-winning writers and poets such as Roberto and Rebecca Añonuevo, Romulo Baquiran Jr. Michael Coroza, Jerry Gracio, Vim Nadera are but some of the products of the LIRA workshop, he was a founding member of the Gallan sa Arte at Tula, along with fellow poets Teo Antonio and Mike Bigornia. Palipad-Hangin. Katon Para sa Limang Pandama. Sentimental. Estremelenggoles. Memo Mulang Gimokudan. Dust Devils. Sonetos Postumos, book of poems with translation by Marne Kilates and paintings by National Artist Ang Kiukok. Tatlong Pasyon sa Ating Panahon, poems for children with illustrations by Mark Justiniani, Neil Doloricon, Ferdinand Doctolero. Buwan, Bulawan. UP Diksiyonaryong Filipino Doktrinang Anak Pawis Image of Virgilio S. Almario The Official website of Rio Alma
The Mad Doctor of Blood Island
The Mad Doctor of Blood Island is a 1969 Filipino horror film, co-directed by Eddie Romero and Gerardo de Leon, starring John Ashley, Eddie Garcia and Ronald Remy. It was the third in a series of four Filipino horror films produced by Romero and Kane W. Lynn known as the "Blood Island" series, which included Terror Is a Man, Brides of Blood and Beast of Blood. Beverly Miller was associate producer on this film, went on to co-produce several other Filipino horror films; this film dared to gore department. The plot involves a man traveling to an island where a mad scientist named Dr. Lorca is creating human/ plant mutants with chlorophyll blood out of the local natives; the film was syndicated to television as Tomb of the Living Dead. It was briefly known in certain states as The Mad Doctor of Crimson Island. A woman running naked through the jungle on Blood Island is killed by a green-skinned beast that resembles a man. At the same time, a ship arrives at the island carrying American pathologist Bill Foster, investigating a strange chlorophyll disease among the islanders.
The captain of the ship claims that the island is cursed and tells a story of a man they picked up on a raft who bled green blood before he escaped into the sea. Sheila discovers. Mrs. Lopez doesn't want to leave the island though her husband, Don Ramon Lopez, died there under mysterious circumstances; the suspicious Dr. Lorca won't reveal any details about Don Ramon's death to anyone; when Foster and Lopez exhume the grave of Don Ramon, it is empty. Rumors abound about a green-skinned monster with chlorophyll blood, killing the local natives. One night, a native with green sores on his body tries to break into the government house, but runs off into the jungle when he is confronted. Sheila is attacked in the jungle by the chlorophyll monster but manages to escape when an unfortunate native who comes to her rescue is gruesomely mutilated by the creature. Sheila and Dr. Foster fall in love during their stay on the island, it is revealed that Dr. Lorca has been experimenting on the natives, including the unfortunate Don Ramon who had sought Dr. Lorca's serum as a treatment for his cancer, but was turned into a monster instead.
They learn that Don Ramon is the green-blooded beast, killing people on the island. Don Ramon kills his wife, kills his son Carlos, but at the last moment a glimmer of humanity returns to the creature and realizing what a monster he has become, he attacks Dr. Lorca in his hidden lab instead. A fire breaks out in Lorca's lab, resulting in a huge explosion, killing Dr. Lorca, his assistant and the monster. Sheila, her father, Dr. Foster and Carlos all return to the ship, glad to leave Blood Island, but as the ship leaves port, a grisly hand appears from underneath a boat tarp, dripping green blood. John Ashley as Dr. Bill Foster Angelique Pettyjohn as Sheila Willard Ronald Remy as Dr. Lorca Alicia Alonzo as Marla Ronaldo Valdez as Carlos Lopez Tita Muñoz as Mrs. Lopez Tony Edmunds as Mr. Willard Alfonso Carvajal as Ramu Bruno Punzalan as Razak Edward D. Murphy as Captain Eddie Garcia as the monster Prior to production on The Mad Doctor of Blood Island, Ashley had starred in Brides of Blood; the film was popular enough in the United States to get American distributors to ask him to appear in a follow-up film.
Ashley agreed, which led to his moving to the Philippines and co-producing several other films there in partnership with Romero, Beverly Miller and Roger Corman. Mad Doctor was produced by Romero and Kane W. Lynn along with Miller and Irwin Pizor, on a budget of either $125,000 or $100,000; the score was composed by Tito Arevalo. A prologue to the film invited theatergoers to partake in a bizarre initiation, each patron was given a free packet of colored liquid labelled "green blood". At a certain point, the audience was told to "recite the oath of green blood" as they tore open the little packets and drank the colored liquid inside. By doing this, the viewer could safely watch "the unnatural green-blooded ones without fear of contamination"; the prologue was shot at Clark Air Base in Manila using American teenagers. Sam Sherman came up with the idea of distributing the liquid gel-packs to the theatergoers, said years in an interview that he drank one of the packets, which contained an aqua-colored gel, it made him sick to his stomach.
Miller said he witnessed dozens of teenagers drinking the stuff in the theaters that he managed in Kansas City. In another gimmick, the camera zoomed in and out each time the monster killed or stalked someone, a technique that some theatergoers complained made them dizzy and was designed to cover up the shoddy make-up effects; the film was released in the U. S. in 1969 on a double bill with the 1967 European film Blood Demon. In 1969, a practice arose in some states wherein the local newspapers began omitting the word "blood" from the titles of films they were advertising. In certain areas, Mad Doctor was advertised as The Mad Doctor of Crimson Island and "Blood Demon" became The Crimson Demon, etc; this practice did not last long, by the time the sequel Beast of Blood was released, Hemisphere was again able to use the word "blood" again in their titles. Image Entertainment released Mad Doctor on DVD in 2002, featuring a commentary track by Sherman and an interview with Romero. Mad Doctor of Blood Island received negative reviews from critics
The Moises Padilla Story
The Moises Padilla Story is a 1961 Philippine drama film directed by Gerardo de León. The film was selected as the Philippine entry for the Best Foreign Language Film at the 34th Academy Awards, but was not accepted as a nominee; the film is in need of restoration. The film is a biography of a Negros Occidental mayoral candidate who in 1951, was tortured and murdered by the private army of the provincial governor after he had refused to withdraw his candidacy. Leopoldo Salcedo as Moises Padilla Joseph Estrada as The Killer Lilia Dizon Ben Perez Oscar Roncal Max Alvarado Rosa Aguirre Robert Arevalo Mila Montañez Alfonso Carvajal Joseph de Cordova The Moises Padilla Story on IMDb
Insular Government of the Philippine Islands
The Insular Government of the Philippine Islands was a territorial government of the United States, established in 1901 and was dissolved in 1935. The Insular Government was preceded by the United States Military Government of the Philippine Islands and was followed by the Commonwealth of the Philippines; the Philippines were acquired by the United States in 1898 as a result of the Spanish–American War. In 1902, the United States Congress passed the Philippine Organic Act, which organized the government and served as its basic law; this act provided for a governor-general appointed by the president of the United States, as well as a bicameral Philippine Legislature with the appointed Philippine Commission as the upper house and a elected Filipino elected lower house, the Philippine Assembly. The term "insular" refers to the fact that the government operated under the authority of the U. S. Bureau of Insular Affairs. Puerto Rico and Guam had insular governments at this time. From 1901 to 1922, the U.
S. Supreme Court wrestled with the constitutional status of these governments in the Insular Cases. In Dorr v. United States, the court ruled that Filipinos did not have a constitutional right to trial by jury. In the Philippines itself, the term "insular" had limited usage. On banknotes, postage stamps, the coat of arms, the government referred to itself as the "Philippine Islands." In 1916, Philippine Organic Act was replaced by the Jones Law, which ended the Philippine Commission and provided for both houses of the Philippine Legislature to be elected. In 1935, the Insular Government was replaced by the Commonwealth. Commonwealth status was intended to last ten years and was designed to prepare the country for independence; the Insular Government evolved from the Taft Commission, or Second Philippine Commission, appointed on March 16, 1900. This group was headed by William Howard Taft, was granted legislative powers by President William McKinley in September 1900; the commission created a judicial system, an educational system, a civil service, a legal code.
The legality of these actions was contested until the passage of the Spooner Amendment in 1901, which granted the U. S. president authority to govern the Philippines. The Insular Government saw its mission as one of tutelage, preparing the Philippines for eventual independence. On July 4, 1901, Taft was appointed "civil governor", who named his cabinet at his inaugural address. Military Governor Adna Chaffee retained authority in disturbed areas. On July 4, 1902, the office of military governor was abolished, Taft became the first U. S. governor-general of the Philippine Islands. The Philippine Organic Act disestablished the Catholic Church as the state religion. In 1904, Taft negotiated the purchase of 390,000 acres of church property for $7.5 million. Despite this, the Insular Government failed to investigate the land titles of the friars' and restore them to the patrimony of the Filipinos; the Insular Government established a land titling system for these lands, but due to a small surveyor staff, a lot of parcels of land remained untitled.
Two years after the completion and publication of a census, a general election was conducted for the choice of delegates to a popular assembly. An elected Philippine Assembly was convened in 1907 as the lower house of a bicameral legislature, with the Philippine Commission as the upper house; every year from 1907, the Philippine Assembly passed resolutions expressing the Filipino desire for independence. Philippine nationalists led by Manuel L. Quezon and Sergio Osmeña enthusiastically endorsed the draft Jones Bill of 1912, which provided for Philippine independence after eight years, but changed their views, opting for a bill which focused less on time than on the conditions of independence; the nationalists demanded complete and absolute independence to be guaranteed by the United States, since they feared that too-rapid independence from American rule without such guarantees might cause the Philippines to fall into Japanese hands. The Jones Bill was rewritten and passed Congress in 1916 with a date of independence.
The Jones Law, or Philippine Autonomy Act, replaced the Organic Act. Its preamble stated that the eventual independence of the Philippines would be American policy, subject to the establishment of a stable government; the law maintained an appointed governor-general, but established a bicameral Philippine Legislature to replace the elected Philippine Assembly. Filipinos suspended the independence campaign during the First World War and supported the United States and the Entente Powers against the German Empire. After the war they resumed their independence drive with great vigour. On March 17, 1919, the Philippine Legislature passed a "Declaration of Purposes", which stated the inflexible desire of the Filipino people to be free and sovereign. A Commission of Independence was created to study means of attaining liberation ideal; this commission recommended the sending of an independence mission to the United States. The "Declaration of Purposes" referred to the Jones Law as a veritable pact, or covenant, between the American and Filipino peoples whereby the United States promised to recognize the independence of the Philippines as soon as a stable government should be established.
American Governor-General of the Philippines Francis Burton Harrison had concurred in the report of the Philippine Legislature as to a stable government. The Philippine Legislature funded an independence mission to the United States in 1919; the mission departed Manila on February 28 and met in America with and presented their case to Secretary of War Newton D. Baker. U. S. President Woodro
Women in Cages
Women in Cages is a 1971 film in the women in prison sexploitation subgenre, co-produced by Roger Corman and directed by Gerardo de León. It was prominently featured in the Planet Terror portion of the 2007 film Grindhouse. Grindhouse director Quentin Tarantino said of the film, "I'm a huge, huge fan of Gerry de Leon.... The film is just harsh, harsh." He described the final shot as one of "devastating despair". Carol "Jeff" Jeffries is set up by Rudy. Jeff does not realize that Rudy runs a ship-board prostitution and drug dealing empire. Rudy stashes his illegal goods in Jeff's purse. Thrown into a harsh prison where the inmates are kept barefoot and subjected to hard labor and sadistic punishment, Jeff encounters Alabama, a sadistic lesbian guard fond of torture. Cellmate Stokes is a heroin addict who agrees to a plot against Jeff that will secure her more heroin. Another cellmate Sandy agrees to a plot against Jeff that could secure her own release, their other cellmate Theresa is Alabama's girlfriend.
Jeff endures. Realizing her boyfriend is not helping her, Jeff hopes to escape through the jungle, she learns that local poachers are paid to track and kill escapees, who become lost in the wilds surrounding the prison. When Theresa falls out of favor with Alabama and loses her privileged position in the cell block, escape becomes an attractive option to her. Theresa reveals that she can obtain outside help. Despite the fact that two of her three cellmates had agreed to covert plots against Jeff, all three of them accompany her on the escape. Women in Cages has been issued numerous times on DVD since the original release and prior VHS issues due to continued interest in Roger Corman productions. Most it was released by Shout! Factory as part of Roger Corman's Cult Classics on June 21, 2011. List of American films of 1971 Women in Cages on IMDb Women in Cages at Rotten Tomatoes
Edgar Sinco Romero was a Filipino film director, film producer and screenwriter. Romero was born on July 7, 1924, his father was the first Philippine Ambassador to the Court of St. James's, his mother was Pilar Guzman Sinco, a schoolteacher and the sister of University of the Philippines President Vicente G. Sinco who signed the United Nations Charter in 1945 on behalf of the Philippines, his brother was Jose V. Romero Jr. former Philippine Ambassador to Italy. He studied at Silliman University. Romero was named National Artist of the Philippines in 2003, his body of work delved into the history and politics of his country, his 1976 film Ganito Kami Noon…Paano Kayo Ngayon?, set at the turn of the 20th century during the revolution against the Spaniards and the American colonizers, follows a naive peasant through his leap of faith to become a member of an imagined community. Aguila situated a family’s story against the backdrop of Filipino history, while Kamakalawa explored the folklore of prehistoric Philippines.
Banta ng Kahapon, his "small" political film, was set against the turmoil of the late 1960s, tracing the connection of the underworld to the corrupt halls of politics. His 13-part series Noli Me Tangere brought Philippine national hero José Rizal's novel to a new generation of viewers. Romero co-produced one of the earliest Filipino horror films, the 1959 Terror Is a Man, directed by his friend and fellow director Gerardo de Leon, with whom he would co-direct other films. Romero directed some critically acclaimed war films in the early 1960s, such as Lost Battalion, The Raiders of Leyte Gulf and The Walls of Hell. Along with Filipino-language films, he made English-language films that became cult classics, like Black Mama, White Mama, Beast of the Yellow Night, The Woman Hunt, Beyond Atlantis and The Twilight People and worked with American actors like John Ashley and Pam Grier. Romero's films, the National Artist citation stated, "are delivered in an utterly simple style – minimalist, but never empty, always calculated and functional, but never predictable."
Quentin Tarantino drew on Twilight People as an inspiration for his "grindhouse" homages. Romero is known to horror film fans for his three "Blood Island" films from the late 1960s - Brides of Blood, Mad Doctor of Blood Island and Beast of Blood, which he directed, co-produced by "Hemisphere Pictures". Romero called his American-financed “cult” films – including the “Blood Island” series – “the worst things I did”; when the kung fu craze started in the 1970s, Romero turned his back on the international market for Filipino films which he had created. After 1976, he made more personal "art" films in Tagalog. Romero was married to Carolina Gonzalez, a great-granddaughter of Don Francisco Gonzalez y Reinado, owner of the legendary 39,000-hectare Hacienda Esperanza that included the municipalities of Santa Maria, Santo Tomas and San Quintin, extending through the rest of Pangasinan and the provinces of Tarlac and Nueva Ecija. Romero was for a time the partner of actress Mila del Sol, he had three children: film director and MTRCB board member Joey Romero, Ancel Romero and Leo Romero.
He died on May 28, 2013. He had been suffering from prostate cancer when he developed a blood clot in his brain Maestra, Ang Anong ganda mo So long America Isumpa mo giliw Mameng, iniibig kita Si, si, señorito Paloma, La Ang Kamay ng Diyos Kaaway ng bayan Hele hele bago quiere Hindi kita malimot Selosa Apoy sa langit Abogada Always kay ganda mo Sa piling mo Sipag ay yaman Milagro ng birhen ng mga rosas Camelia Batalyon trece Kasintahan sa pangarap Sabas, ang barbaro/ Sabas the Barbarian based on a comic book character Buhay alamang Ang asawa kong Amerikana Ang ating pag-ibig Indio, El Maldita May bakas ang lumipas The Day of the Trumpet The Kidnappers The Scavengers Terror Is a Man Espionage: Far East Lost Battalion Pitong gabi sa Paris/ Seven Nights in Paris The Raiders of Leyte Gulf Cavalry Command a.k.a. The Day of the Trumpet The Walls of Hell a.k.a. Intramuros Moro Witch Doctor aka Amuck Flight to Fury The Ravagers a.k.a. Hanggang may kalaban The Passionate Strangers Manila, Open City Brides of Blood The Mad Doctor of Blood Island Beast of Blood a.k.a.
Beast of the Dead, a.k.a. Blood Devils Beast of the Yellow Night Black Mama, White Mama The Twilight People a.k.a. Beasts, a.k.a. Island of the Twilight People The Woman Hunt Beyond Atlantis Savage S