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Popol Vuh: The Definitive Edition of the Mayan Book of the Dawn of Life and the Glories of Gods and Kings by Dennis Tedlock

This volume can be divided into two parts. First is the introduction of the Popol Vuh; second, the translation of the work itself. It is...

Friday, October 30, 2015

Bakumatsu Rock



Set in a different Bakumatsu era in Japan, a loud Sakamoto Ryouma wants to be recognized as a rock star. The shogunate and most of the people however have not heard this kind of music. The sounds created by Ryouma's electric guitar, given by Yoshida Shoin, is strange to people's ears. The Japanese are used to listening to Heaven's Song, which the shogunate uses to control the unsuspecting populace. The current top idols are the Shinsengumi led by Hijikata Toshizou and Okita Souji.

Anyone who sings or creates songs besides Heaven's Song will be punished. Ryouma wants to change this and he keeps trying to show people his own brand of music. In one of his impromptu performances, he meets Takasugi Shinsaku who plays bass guitar and Katsura Kogorou, a drummer. Together, they form a band to spread rock music in Japan and to fight for freedom.


Sakamoto Ryouma
From left: Takasugi Shinsaku, Sakamoto Ryouma and Katsura Kogorou

Hijikata Toshiizou (left) and Okita Souji (right)



Those familiar with this era in Japan will find this 12-episode series quite amusing. It uses some elements in real history and added so many modern twists to the story. I cannot say if this was intended as comedy or fanservice. Using music to fight for freedom and justice does seem amusing (especially when they change costumes when the music starts) but the series has some serious talent.

I watched Bakumatsu Rock primarily for Taniyama Kishou who voices Sakamoto Ryouma. Taniyama did not disappoint with his powerful vocals. The other voice actors did well too. It's good that they picked those who can sick to rock music. 

Another thing I liked about the series is the animation. The outfits alone of the characters have so many details. I found too that the modern twists in traditional Japanese costumes were amusing (check out the kimono of the females).

If you're gonna watch this for the story, you'll be disappointed. Don't even look forward to the fight scenes. But if you just like music (and Taniyama Kishou), you won't be disappointed. Also, a little background about the Bakumatsu era will help you appreciate some of the changes in the characters and story.

Rating: 6.5 out of 10

Hakkenden: Touhou Hakken Ibun and Hakkenden: Touhou Hakken Ibun 2nd Season

Cover for Hakkenden's first season

Five years ago Inuzuka Shino's village, Ohtsuka was wiped out. But he and his friends Inukawa Sousuke and Hamaji survived the plague. Since then they lived in a church in a nearby village, but their life was far from peaceful. One day, agents of the Imperial Church came in search of Murasame. It is a living sword spirit which Shino possesses in his right arm.

Their friend Hamaji was kidnapped, forcing Shino and Sousuke to come after her. They met Satomi Riou, one of the members of the Four Sacred Beast Houses, who told them to look for the six bead holders. These beads, eight in total, represent the eight young men fought alongside Princess Fuse against Tama-Azusa in the remote past.

Riou saved Shino, Sousuke and Hamaji at Ohtsuka before and now has volunteered to be Shino's guardian. The four sacred houses are the fox, the wolf, the snake, and the panther.

The first installment of Hakkenden focuses on unraveling some of Shino's past and the trio's adventures in their search for the six bead holders.


Inuzuka Shino and Murasame (on his arm)

Inukawa Sousuke

Satomi Riou and his giant wolf Yatsufusa

Cover for Hakkenden's second season


In the second installment of Hakkenden, most of the six bead holders have been found, but Shino and Sousuke face a different threat. A man named Ao, who looks exactly like Sousuke is claiming that he is the other half of Sousuke's soul. He possesses memories which Sousuke does not seen to remember.

It seems too that the bead holders have some things in common. Finding these out will make the search easier. Ao however is just waiting for the right time to make his move. He is waiting for Shino to gather all the bead holders. Shino's confusion grows as he finds out more about Ao's nature. But he has to stay firm or he will lose Sousuke for good. 


Ao

From left: Inuyama Dousetsu, Sousuke, Inusaka Keno and Chitose



For a fan of the supernatural genre, I expected a lot of action in the series. It seems however that there is much more focus in the relationships between the characters. Their back stories are interesting enough and these help create the anticipation of a good fight. Most of the fights however are postponed or cut short and there is no decisive battle until the final episode. The series could have been better if there was more action. I was also expecting a lot of magic but it came up short in that area as well. 

As for the characters, I think enough attention was given to the development of the eight bead holders and some of the supporting cast. There's also enough mystery left for speculation.

The series could have been improved. It lacks so many things I was expecting to see.

Rating: 7.5 out of 10

Friday, October 23, 2015

Zankyou no Terror



A cryptic video of two masked teenage boys has declared that they are behind terrorist attacks in Tokyo. Nine and Twelve call themselves the Sphinx. Their goal? To wake the world and show them its ugly truths.

Detectives and policemen are frantic to solve the case. Sphinx caught the attention of metropolitan police department's Shibazaki Kenjirou who used to work in the investigations division. Currently working at the records division, Shibazaki might just be the one to crack the Sphinx mystery. It seems like Nine and Twelve found a match in the smart Shibazaki who was able to solve their riddles.

Apparently Nine and Twelve's past motivate their actions. Nine does all the planning and execution while Twelve does the dirty work. Nine's array of excellent skills complement Twelve's physical prowess. Their meeting with a sad Mishima Lisa could just be the change they needed... or not.


Nine

Twelve

Shibazaki Kenjirou

Sphinx sends a challenge to the police.

Mishima Lisa, another lonely soul, meets Nine and Twelve.


Set in an alternate Tokyo, Zankyou no Terror is a dark, sad story of two gifted young men with no families and identities. The battle of the brains between Sphinx and Shibazaki is entertaining to watch, as well as against a character who is introduced later in the series and is intimately involved in Nine and Twelve's past.

The beautifully animated 11-episode series is fast-paced, gritty, and is something that will linger in your mind for a time after that last episode. I expected it to be a series about two sides trying to outwit each other. It was that too, but it's one of the few anime that hits you right.

I wouldn't change the ending but I wish the series was longer.

Rating: 9.5 out of 10



Gosick



Kujou Kazuya is Saint Marguerite Academy's infamous reaper because of his black hair and black eyes. The only Japanese student in the prestigious school in Sauville, he has not made any friends until he met the doll-like Victorique de Blois who also has a nickname, the golden fairy. She rarely attends class and spends most of her time in the library where Kujou met her.

Don't let Victorique's looks deceive you into thinking it's just another romance anime. Gosick is one of the few decent detective series I have seen so far with a female as its lead character. Victorique has a talent for reconstructing chaos, her term for solving mysteries. A famous detective even visits her for her insights. Her curiosity however put her and Kujou in trouble when they board the Queen Berry ship that was rumored to have sunk years ago. That isn't the only case they got themselves involved in however. Most of the series focuses on Kujou and Victorique's adventures in the most bizarre cases. Cases which might also involve Victorique's past.


Victorique holds a pipe whenever she reconstructs chaos

Victorique's and Kujou's first case mystery at the Queen Berry

When I saw the artwork in this series I was hesitant to try it thinking it would be a lousy take on a detective series. For a genre that is supersaturated however, Gosick turned out just fine. Victorique has just the right characteristics to make her charming though not overly cute yet she could easily be one of the strong and decent female characters in any series. An intelligent girl, even a little lady like her, is never a bad taste. She's bossy and moody too, quite the opposite of Kujou who's always careful and composed.

Like all detective series however, the plot and characters are predictable. Victorique does have admirable skills, but that is something you'd expect from a lead character in this genre. Kujou's role however is slightly different. He does not possess a sidekick's usual physical skills nor deductive reasoning. If anything, Kujou is an average guy.




The romance part was to be expected from two young people. The only thing I find unusual were the multiple twists in Victorique's family background. Overall, the series is pretty decent.

Rating: 8.5 out of 10

Thursday, October 22, 2015

The Phenomenon That is ALDUB

Alden Richards (left) and Maine "Yaya Dub" Mendoza (right) in their first proper onscreen date in Eat Bulaga!

In the Philippine noontime show Eat Bulaga's segment Juan for All, All for Juan a supercouple was born. AlDub is a portmanteau of the names Alden and Yaya Dub played by Alden himself and Maine Mendoza, respectively. For those not familiar with Filipino television shows, Eat Bulaga! is a noontime variety show that has been running for 36 years as of this writing. It features contests, comedy segments, and various entertainment portions. One such segment is Juan for All, All for Juan.

Before their accidental pairing became an overnight sensation, Richards has been an actor since 2010 (I wrote a review in my blog of Ilustrado where he played the lead role). He was invited to become a host in the noontime show. Mendoza on the other hand became an Internet celebrity through her Dubsmash videos where she lip syncs audio clips, thus her nickname Dubsmash Queen. She appeared in the Eat Bulaga! segment as a fictional nanny (yaya) of Lola Nidora (played by Wally Bayola). Initially she was snob who hardly smiled. On July 16, 2015 in a split-screen broadcast, Yaya Dub's demeanor changed when she saw Alden. Her smile prompted the show to pair her up with Alden.

Yaya Dub's reaction at seeing Alden in this frame started the phenomenon.

The supercouple (also known as loveteam in the Philippines) gradually gained followers. The Juan for All, All for Juan segment was coined Kalyeserye (literally street series) and is a parody of various Filipino romance television series (teleserye). Other lead characters such as Lola Nidora, Lola Tinidora (played by Jose Manalo), and Lola Tidora (Paolo Ballesteros) do live improvisational acting and are allowed to speak. Yaya Dub responds by lip-syncing audio clips or writing on paper in keeping with her character. Alden also responds similarly but is allowed to speak from time to time.

The Cinderella-like story of Yaya Dub and Alden who have not seen each other face to face before September 5, 2015, apparently became an instant hit. The loveteam's then-antagonist Lola Nidora wants AlDub to keep to traditional Filipino courtship and avoid physical contact. This however does not prevent the couple from blowing kisses and flirting onscreen---to the delight of fans. Their near encounters helped heighten the excitement of the growing number of viewers who took their enthusiasm to social media. The hand gestures and facial expressions used by the couple became popular as well, such as the pabebe wave. The kalyeserye's antics endeared the characters, especially Alden and Maine, to its viewers. Within weeks, Alden and Maine became superstars whose fandom include the young and old and people of various backgrounds. It was not surprising that AlDub became a consistent trending topic in social media. It also spurred various fan art, fan-edited photos and videos, AlDub-inspired music and games, and even became a topic in schools and universities.

What made AlDub such a hit? Was it just the Cinderella-like story of a nanny who met a handsome and famous actor? What made AlDub different from the past and the existing loveteams in the Philippines?

Let's look at the actors first. Richards was paired with other actresses in some of his lead television series roles. He was a decent lead actor in Mundo Mo'y Akin (his first show that I've seen from start to finish) but he bloomed in Ilustrado as Jose Rizal. He's an okay dancer and singer. Besides his good looks (well, okay he's gorgeous) and decent acting skills, he isn't so different from other notable Filipino actors. Perhaps his image as a good boy has also contributed to the effectiveness of the pairing. What's amusing is that he plays a fictionalized version of himself in the kalyeserye. He's still Alden but he plays the Alden who falls in love with a nanny. He's not even the typical bad boy character type that is all over popular media. He doesn't bring his character's background and story except what is already known to the public.

Let's look at the other half of AlDub. I did not know much about Mendoza prior to her appearance in Eat Bulaga! I am pretty sure however that her character fits the atmosphere the noontime show gives off to viewers. She doesn't look out of place with the comedians Bayola, Manalo and Ballesteros. Looking at her acting skills, she could easily be the female version of Mr. Bean, which is great for a fledgling like her. Mr. Bean is a tough act to follow. Not even seasoned comedians can imitate him at what he does. What's also great is that she does not need to insult people (she doesn't even need to talk) to tickle the audience. Filipinos love a good laugh and there's nothing more hilarious than making fun of oneself. Like Mr. Bean, she rarely talks and she acts using exaggerated facial expressions and hand gestures. Moreover, like the actor who played Mr. Bean (Rowan Atkinson), Mendoza has a pretty decent background. She's out of her teens and is educated (she's a college graduate).

Her demeanor onscreen also makes her different from most of her contemporary young Filipina actresses who are afraid to look ugly. Lately there is an abundance of Filipina actresses who are prim, proper, and always beautiful it makes you think they don't want to stretch their facial muscles. The sad thing is that most of the actresses I have in mind are still young but their image as the lead female character-type of actress sealed them in a stereotype. The alternative (demure girl turned sexy actress) isn't as promising either and it's been done so many times. I guess I'm not the only one who's tired of that. I hope that because Mendoza has broken that trend, future actresses will be more versatile and colorful. The kind of actress that modern women can see themselves in---active, adventurous and outspoken. Not all women want to identify themselves with a girl-next-door type. 

I think their age is also a factor. Personally, I avoid teen loveteams like the plague because the stories you can create out of such pairing can only go so far. There's not much variety in school or teen romance, even more so in Filipino teen romance (although the trend has shifted slightly with the advent of online journals, e-books, and published young adult romances from young writers). Live action teen romance for me is supersaturated and overrated---and this from a fan of shoujo romance! (Shoujo means young girl) In particular, Filipino television series and movies (with titles from love songs) about young adult romance have become bland and predictable.

I am not a stranger to romance series myself (as already mentioned) and I've seen a lot of twists and schemes. What's funny is that AlDub has parodied some of the most common plot designs in Filipino television series such as an overpowering mother figure, forbidden love between the famous and the commoner, rich versus poor, forced marriage, convoluted plot with layers and layers of family secrets, exchange of babies (one of the protagonists), and  the most used---kidnapping.


Their first face-to-face meeting cut short by Lola Nidora's schemes.

Separately kidnapped by Lola Nidora's grandchild Duhrizz; also the couple's "first touch"


Most of the viewers have also noted the kalyeserye's use of traditional Filipino courtship, the type we would hear from grandparents whose values are strongly rooted in Catholic/Christian Spanish colonial customs. AlDub adds a different twist however. Because they are not (yet) allowed physical contact and can only communicate through split-screen in a particular segment, it's almost akin to watching a long-distance relationship drama. The Internet's role in courtship is examined through their acts while Lola Nidora reiterates that such a setting is inadequate for a serious romance.

However, those factors still cannot fully explain AlDub's popularity. What is a recipe for a hit television series in the Philippines anyway? Within my lifetime, I can recall two foreign television series that have been game changers in Filipino TV programming. The first was the Mexican telenovela Marimar which starred Thalia and Eduardo Capetillo. It was the first dubbed foreign series that became a phenomenon and started the trend of showing dubbed live action TV series. Prior to this, Philippine TV networks have already been showing dubbed series but Marimar captured viewers like never before. To date, it has two local remakes/adaptation. Meteor Garden, also a live action series, introduced Filipinos to Asian live action TV series. It is a Taiwanese drama based on the Japanese shoujo manga series Hana Yori Dango. It starred Barbie Hsu, Jerry Yan, Vic Zhou, Vanness Wu and Ken Chu. Since then, Philippine TV has been airing Asian TV dramas. Hopefully with the advent of Eat Bulaga's kalyeserye, the format of Filipino television series will slightly shift as well.

AlDub has already made waves in social media. One huge difference is the AlDub fandom which is also called AlDub Nation. Neutral viewers might not notice the change much, but for someone like me who has been exposed to (and is also part) of some of the biggest fandoms in anime, video games, book/movie/television series, and music the AlDub fandom is a different face of Filipino fandom. It is common among anime fandoms for example to produce a plethora of artworks and fanfiction, but I have never seen such a scale in any Filipino fandom before AlDub. A Filipino loveteam fandom's conceit are sold-out concerts and blockbuster movies, but to inspire the hip and modern Filipino artists, writers and musicians is something else. I guess a dedicated fandom (akin to other international popular media fandoms) is already one of the trends that AlDub has started in the Philippines.

So what is the magic behind Alden and Maine? It could be both the actors or the format of the kalyeserye or the obsessed fans. Or it could be a combination of everything. What is also common among MarimarMeteor Garden and Kalyeserye is the demographics of their fans. It seems that for a show to be called a phenomenal success, its audience must be of all ages, gender, preferences and income. I for one do not follow any Filipino loveteam (not even when I was in my teens), but AlDub has caught my interest. And, no, I do not watch the kalyeserye so I can forget about important social issues or personal problems. It's new and different. It's effective entertainment and for what purpose are entertaining shows like the kalyeserye? It's for fun and just like any hobby or interest, it's not cheap to have fun.

Will AlDub (also called MaiDen) be able to keep the magic going even outside the kalyeserye? That is a development I will look forward to.


Their first studio date. Alden and Yaya Dub were still not allowed to touch and had to converse with a long table between them.

Second studio date. Lola Nidora finally allowed them to shake hands.

Uta no☆Prince-sama♪ Maji Love Revolutions



The third installment of Uta no Prince-sama showcases the talented QUARTET NIGHT who seem to be outshining ST☆RISH. In their newly assigned teams, individual members from both idol groups must impress Shining Saotome so they can compete for the opening act in an international sporting event. If ST☆RISH succeeds, they will compete against other performing artists from all over Japan.

Nanami Haruka was also assigned by Shining to work with QUARTET NIGHT, earning ST☆RISH's jealousy. The idol groups seem to be in a competition not just for the spot in the competition but also for Haruka's affection.

ST☆RISH needs to step up their game. QUARTET NIGHT has more experience and training and it will take more than charm and good looks from Syo, Natsuki, Cecil, Tokiya, Otoya, Masato, and Ren to win it all.


ST☆RISH


Maji Love Revolutions was a slight disappointment. However, the quality of the animation and the songs have been consistent with the previous two seasons. One significant change however is the shift of focus to the individual members of QUARTET NIGHT. I admit getting a bit saddened by the change, but ST☆RISH bias aside, the series has been consistent with how it portrays each character. 

Mikaze Ai reveals his secret to Haruka, Natsuki, and Syo. He seems so composed no matter what situation he is in or the role he is playing, but there's more to him than his professionalism. Meanwhile Kurosaki Ranmaru seems like an intense and moody rocker but he translates this passion to his music. Kotobuki Reiji is the all-around nice guy with nothing but kind words for everyone. He seems to be hiding something though. On the other hand, the regal Camus is charismatic and a gentleman but he might be a bit too proud about himself. 


Natsuki, Haruka and Syo checking on Mikaze Ai.

Haruka and Kurosaki Ranmaru

Kotobuki Reiji with Haruka

Camus and Haruka

One thing I always look forward to are the songs. I was slightly disappointed because they did not show solos from each of the ST☆RISH members. Besides that, I think the quality of the songs did not diminish. Both the opening and ending songs are fun to watch as well. Seeing ST☆RISH and QUARTET NIGHT dance was a treat.

The animation is still great. The character details from hair to clothes were well-though out. As for the story, Uta no Prince-sama's strength isn't in that area. It was the typical get-to-know-this-guy-in-this-episode scheme similar to the previous seasons. It was getting tedious because the story focused on QUARTET NIGHT. However, that twist in the last episode was clever.


ST☆RISH: (from left) Syo, Ren, Natsuki, Cecil, Masato, Tokiya and Otoya


Rating: 7 out of 10

My review of Uta no☆Prince-sama♪ Maji Love 1000%
My review of Uta no☆Prince-sama♪ Maji Love 2000%

Heneral Luna

Note: This is my extended review of the Heneral Luna film. This was originally part of my essay for an MA in Literature class which I also posted in this blog. I could not cover everything I needed to say about the film because the essay had a limit.
Photos are screenshots from the film taken from various sources.





Heneral Luna is a 2015 historical biopic film which covers the beginning of the second phase of the Philippine Revolution until Luna's assassination on June 5, 1899. Antonio Luna at this period in history was the Supreme Chief of the Army under the First Philippine Republic. The story is told from the point of view of the fictional character, the young journalist Joven Hernando, who is shown interviewing Luna at the start of the film.

At the outset, Luna's position in the dirty politics of Emilio Aguinaldo's cabinet is clear. He proposed to attack the American forces while they are still weak. He opposed the idea of Felipe Buencamino and Pedro Paterno to support the occupation, claiming that the Americans had good intentions. President Aguinaldo was also partial to the Americans, confident that they would help overthrow the Spanish. The debate was settled however when reports of an attack by Americans against Filipino troops reached the cabinet. It was Luna's task to organize campaigns against the Americans.

As expected from the rifts already present in the fledgling Philippine government, Luna's campaigns were not unchallenged. Often, the problems arise from fellow Filipino soldiers who cling to their factions. When the Kawit Battalion was ordered by Luna to send reinforcements, its commander Capt. Pedro Janolino refused to obey orders claiming that it did not come from Aguinaldo himself. Luna was also refused help for the same reason by Gen. Tomas Mascardo.

Luna is short-tempered and is not averse to using punishment and threats by reading Artikulo Uno (which states that whoever refuses to follow the general's orders will be executed without trial). This earned him the wrath of the other soldiers and cabinet members, but his skills are admired by his subordinates and even the American generals Arthur MacArthur Jr. and Elwell Otis. His assassination was set up by offended soldiers led by Janolino in Cabanatuan, Nueva Ecija. He was supposedly summoned by Aguinaldo to discuss the new cabinet. Most of Luna's officers were later arrested or executed.


Luna confronts Janolino who refused to send reinforcements

Apolinario Mabini (left) and Emilio Aguinaldo (right) in a cabinet meeting

At first glance, the movie seems to be sympathetic towards Luna despite his bad temper and colorful language. The portrayal of Luna is similar to the antihero archetype that lacks conventional heroic characteristics. Several historical films and television series covering the Philippine Revolution have been shown in the past. Luna is a slightly different choice of a lead character however from Jose Rizal, Andres Bonifacio and Emilio Aguinaldo who are usually portrayed as noble. Luna's character is respected by some yet feared and resented by those he had humiliated. Some of the antiheroes in popular culture are Kratos (God of War video game series), Lelouch Lamperouge (Code Geass anime series), Severus Snape (Harry Potter series), and Captain Jack Sparrow (Pirates of the Caribbean series). Antiheroes usually have qualities often attributed to villains but their selfish and violent nature is often tempered by a tragic or lonely past or the present love interest. These antiheroes often use unconventional means to achieve their goals---notwithstanding if the said goals are for good or bad. In Luna's case, his past was not explored fully (more of this will be explained below) but his bad boy nature was balanced by his female counterpart Isabel. She is a fictional character combining all of Luna's real love interests.

I think I need not mention that most of the antiheroes I've given as examples have a lot of fans. I cannot give a satisfactory explanation why this is so but from what I have seen and read, most of these antiheroes appear more human than the typical benign heroes. They are human because like most of us, they are prone to mistakes and misjudgments. The ideal hero who does not make mistakes, has no dark past, and only has in mind the welfare of everyone appears fake to me. The ideal hero need not explain his motives as well because the audience will readily understand that his actions are dictated by what is agreed by everyone as good, honest and courageous. Therefore they do not have the depth that the antiheroes have.

One incident in the film wherein he insulted Capt. Pedro Janolino in front of his soldiers for failing to bring reinforcements seemed amusing at the time. This incident however would contribute to the growing hatred and fear against Luna that would eventually lead to his assassination. The way most of the audience reacted to the film (as is seen in comments in social media) seems to point that despite his unconventional behavior, he had gained their sympathy and admiration, a reaction which modern antiheroes elicit. Luna will pay the price for his passionate outbursts however. His intentions may have been for the good of the fledgling army that lacked discipline and despised coordination, but not everyone was happy about it. In this way, not only is Luna an antihero but a tragic hero who, according to Aristotle, “is not eminently good and just, whose misfortune is brought about not by vice or depravity, but by some error or frailty.” Luna is a tragic hero "who commits (wittingly or unwittingly) an injury or great wrong that ultimately led to his misfortune." He is not necessarily a good hero, but a human with flaws. Some of the materials used for the creation of the film were from an earlier script shelved for several years, Nick Joaquin's A Question of Heroes, and Vivencio José's The Rise and Fall of Antonio Luna. Whether the Luna is the movie is historically accurate or slightly exaggerated, he is a character who is a striking contrast to the other figures in the film such as Aguinaldo.


Luna's insane charge against the American troops bolstered his troops' morale

The portrayal of Aguinaldo did not escape my notice as well. Although it was not implied that he was the mastermind behind Luna's assassination, he is depicted as indecisive and biased towards his kababayans from Cavite. I leave the speculations about Luna's death to the experts, but Aguinaldo's behavior in the movie shows that even among those fighting for a common cause liked to label themselves as "us and others." When asked if he could do something about Gen. Tomas Mascardo, who refused to obey Luna's orders, Aguinaldo remarked that "… mga kasama ko sila…" (… they were my companions… [from Kawit]). Recall from history as well that the fate of the Katipunan was also plagued by divisive factions. Is the practice of "othering" so ingrained in the Filipino mind that our founding fathers were willing to betray their brothers who are fighting the same cause? Janolino's and Mascardo's insistence on following only Aguinaldo's orders reflect such "us and others" behavior despite the obvious consequences that might result from it. Luna's character seemed fiery compared to Aguinaldo's cold and distant leadership. I can easily see why the audience would sympathize more with the foul-mouthed general whose goals are transparent than the leader who is surrounded by gossips and lickspittles.

On the second viewing of the movie, I began to see omissions that might or might not have affected the story. The film failed to mention the events prior to the second phase of the Philippine Revolution. Students and historians might recall that Luna was in favor of reform over revolution. When he and his brothers were arrested and jailed, his statements were used against Rizal and the Katipuneros. I do not think that the movie meant to show Luna's change of heart as a journey of redemption however because this was omitted. If this was included in the film, I think it will only reinforce his image as antihero.

Another thing that I noticed is the portrayal of the Americans. I recall during my grade school and high school days that the Americans were usually written in the textbooks as the "rescuers" of the Filipinos from foreign occupation and the bringer of justice and education. In the movie however, they were shown in a different light. Even the lighting and camera angles made them look ominous characters. This prevailing belief that the Americans were benefactors is poignantly challenged in a scene where Joven Hernando had his writing hand shot and his ears rang during an encounter with the Americans. This is the film's way of saying that the later generations (because Hernando is a young man and therefore represents the Filipino youth and later generations) became "blind, deaf, and ignorant" of the role played by the Americans in the war. The massacre, rape and plunder shown in film are information you do not usually read in school textbooks. Books would usually gloss over this part of history.

I was apprehensive at how they will represent the women in film, but when I saw the female soldiers getting compliments from Capt. Eduardo Rusca during a fight scene I was fine with that. In war films where the protagonist is male, the female characters usually shown are lovers (girlfriend or wife), mothers or children. Isabel played the role of Luna's lover. Both Luna's and Aguinaldo's mothers were present as well. I don't know if the viewers have noticed one particular scene where Isabel remarked to Mascardo that both he (Mascardo) and Luna are acting like children. I think that would be an accurate response by a woman observing men in petty quarrels, especially if there are more important things at stake.

The selection of the actors was well-though out. I like the trio of Luna, Rusca and Col. Francisco Roman. You often find a trio of hothead-cool and serious-comic characters in other series, movies and books, but this is probably the first time I've seen this triad in a Filipino war film---and it's effective! John Arcilla played Luna's role like it was tailor-made for him. I think he played Luna even better than Luna himself.

The fight scenes were not so bad. I think both field action and indoor meetings were given equal attention, after all this is still a historical film. It would have been drab otherwise if dialogues were given more attention. If there were more fight scenes however, it would have been ineffective in delivering the movie's message.




Lastly, the viewers should have paid attention to the disclaimer at the beginning of the film. Heneral Luna is not simply a patriotic film but could be said to have shown the "bigger truth" about the nature of Filipinos when faced with an adversary that is nearly impossible to defeat. Initially, the movie could just be about a man who was both a hero with good intentions but could not keep his human imperfections in check. Or it could be questioning Aguinaldo's supposed non-involvement in Luna's death. But when examined closely it also challenges the role the Americans played in history and our readiness to accept fabricated history.

Most Filipinos dismiss historical films and television series as boring and unfashionable (I have reviewed some historical television series in this blog. Check them out if you're interested). I do not blame them. Looking at all previous historical films and comparing these to films from our Asian neighbors and Hollywood, Filipino historical films look more like action films (no offense no to action stars but let's admit it, casting also affects the audience's reception) with a star-studded cast (just to attract masses even if some actors are mediocre) and therefore lack depth. This is not to say that there weren't any good historical films (Jose Rizal with Cesar Montano as lead character was good). When executed very well like Heneral Luna however, I think there will be more market for Filipino historical or historical fiction films. Heneral Luna is the kind of movie that will keep your mind working even after you have watched it---the kind that the Philippine movie industry severely lacks.

Rating: 10 out of 10

Cast and staff:
Directed by Jerrold Tarog
Produced by E.A. Rocha
Written by E.A. Rocha, Henry Hunt Francia, and Jerrold Tarog
Music by Jerrold Tarog
Cinematography by Pong Ignacio
Edited by Jerrold Tarog
Production Company: Artikulo Uno Productions
Distributed by Quantum Films
Release date: September 9, 2015

John Arcilla as Gen. Antonio Luna
Mon Confiado as President Emilio Aguinaldo
Epi Quizon as Prime Minister Apolinario Mabini
Alvin Anson as Gen. José Alejandrino
Nonie Buencamino as Felipe Buencamino
Leo Martinez as Pedro Paterno
Joem Bascon as Col. Francisco "Paco" Román
Art Acuña as Col. Manuel Bernal
Alex Medina as Capt. José Bernal
Archie Alemania as Capt. Eduardo Rusca
Ronnie Lazaro as Lt. García
Lorenz Martinez as Gen. Tomás Mascardo
Ketchup Eusebio as Capt. Pedro Janolino
Anthony Falcon as Sgt. Díaz
Paulo Avelino as Gen. Gregorio del Pilar
Benjamin Alves as Lt. Manuel L. Quezon
Miguel Faustmann as Gen. Arthur MacArthur Jr.
E.A. Rocha as Maj. Gen. Elwell Otis
Bing Pimentel as Laureana Luna
Allan Paule as Juan Luna
Marc Abaya as young Antonio Luna
Perla Bautista as Trinidad Aguinaldo
Arron Villaflor as Joven Hernando
Mylene Dizon as Isabel

Thursday, October 08, 2015

Ezio Auditore in Pen and Ink



I used ballpens and oslo paper then scanned the drawing. I didn't bother editing the photo as you can see.

Literary Theory and Criticism

Note: This is my final paper for Adv. Literary Theory and Criticism, one of my classes in MA in Literature. October 2015. I'm posting this here as a backup in case I lose my copy and I need a guide in the future.

Literature is the soul of a civilization. It is the collection of dreams, ideas and experiences of a people. It is what separates us from animals. It is an examination of our aspirations, happiness, fears and sadness, ideas and opinions.

As a student of literature, I have learned that to get the most out of a poem, short story, novel, play or film, I must go beyond simple reading and observation. To do this however, I have to answer first the question "how do we fully appreciate a literary piece?" This essay is divided into four sections, namely; what is literature for me; the literary theories and criticism; Heneral Luna: a film review using the poststructuralist approach; and what makes a good literature?

In the first part, I will recall my experiences as a student, reader and an aspiring writer. The second part introduces the literary approaches and how I understood them from listening to class and from supplementary readings. In the third section, I will use the poststructuralist approach to assess the literary value of the film Heneral Luna. Lastly, the essay concludes in an examination of what makes good literature in today's fast-paced lifestyle.

What is literature for me?

I have been writing as a hobby for years. Some of my blog entries include reviews of works from different media such as books, movies, plays, television series, anime, music, art, and video games. I admittedly do not have any idea what most of the literary approaches are, but I have some training in other fields. What little I probably know and the experience I have had in writing must have touched on some of the theories yet I was unaware all this time. When reviewing a book for example, I had a list of elements to look for and I compare the piece to previous books from the same genre.

I have learned through experience that what makes a poem, short story, book, play or film effective is similar to what an audience will look for in mass media and new media such as print, television, radio, animated films and television series, video games, and online articles. Before I learned of the literary approaches, I used the same process and criteria with slight differences. I used different strategies I have picked up in my training as a communication arts student as well as my previous readings from other fields. For example, when I read Carl Jung's Man and His Symbols years before, I thought I would never have a use for it. But I have learned that Jung's studies can be instruments to better understand a literary piece. I will also later learn that there are more methods I can use. In the next section, I will explain how I understand these different literary approaches.

The literary theories and criticism

The conventional way of reading literature is used in Familiar Approaches. The critic uses a social perspective in examining a work by looking at the historical and biographical aspects. This school believes that knowing the writer's environment, the world presented in the work, and the audience for which it was intended will help the reader understand the work better. This approach can be used to supplement and support complex approaches. However, the critic has to have access to previous works of the author and is well informed in history and other related fields to be able to explicate, analyze, and study the work.

The school of Formalism on the other hand provides readers with a way to understand and enjoy a work for its inherent value as a piece of literary art. This approach is also called New Criticism. Most useful when reading poetry, Formalism is not concerned with the effects of the work on the reader but on the work itself. The critic examines how the work creates meaning by looking at the form, diction, and unity. When writing as a formalist, the following do not appear: paraphrasing, intention, biography of the author, and affect. Russian Formalism in particular focuses on poetics and has the following basic assumptions: form rather than content; art as a device of defamiliarization; text as a sum total of its devices; aesthetic of deviation; and literature with its own history.

Meanwhile, the Psychoanalytic Approach examines the human psyche through character analysis. This approach relies on Sigmund Freud's idea of the tripartite psyche (id, ego, and superego) and is elaborated later by other thinkers like Carl Jung, Northrop Frye, and Jacques Lacan. The important features of a work to look for when using this approach are the conflicts, characters, dreams and symbols. Dreams in particular are the language of the unconscious. It has meaningful symbolic presentations. Jung's archetypal criticism is built upon the assumption that the unconscious mind powerfully directs much of our behavior. These archetypes (the shadow, anima/animus, persona, self, and other archetypes) can be approached in dreams, ritual and literature. A critic will look for what is commonly found in stories because these archetypes are said to be innate, universal and hereditary. Frye advanced the study of archetypes by claiming all text are part of the central unifying myth. Furthermore, he lists four mythos in which most Western literature can be classified; these are spring (comedy), summer (romance), autumn (tragedy), and winter (irony and satire). Lacan focused on the unconscious as a center of one's being and claimed that it is structured like language. The three stages of human development (imaginary, symbolic, and real) can be used for character analysis.

Another approach called Reader's Response highlights the readers' relationship to the text. This school claims that there is no one true interpretation of a piece. There is no wrong or right answer but a variety of readings that grow out of individual experiences and feelings. From this perspective, the critic assumes that the meaning of the text is created by its two shapers (transactional) and that the expectations of the readers differ based on their background (horizon of expectations).

A more radical approach called Structuralism analyzes binary oppositions, recurrences and differences. This theory is based on the assumption that there is structure in every text or "grammar of literature." Literary texts are not separate from a larger structure and therefore everything that is written is governed by specific rules. Its pioneer Ferdinand de Saussure introduced the langue (collective grammar/competence/system of language) and parole (individual speech/performance/individual realization of the system in actual instances of language). He also proposed a closer study of signs (semiotics). These signs are composed of the union of the signifier (sequence of sounds or marks on a page) and signified (concept or meaning). Words therefore are not symbols which correspond to referents but are signs which are made up of the said parts. This idea is furthered by poststructuralism and deconstruction.

Poststructuralists claim the "death of the writer" and the "birth of the reader" in creating the meaning of texts. It assumes that texts are "fluid, dynamic entities that are given new life with repeated readings and through interactions with other texts, thereby providing an ongoing plurality of meanings." This is opposed to the Structuralist idea that there is only one structure or meaning of a text. Deconstructionists further this idea by stating that meaning is essentially undecidable. Instead of looking for structure, then, deconstruction looks for those places where texts contradict, and thereby deconstruct, themselves. Instead of showing how the conventions of a text work, it shows how they falter. This is based on Jacques Derrida's elaboration of Saussure's "sign." Derrida went a step further, stating that any given signifier may point to several different signifieds. These ongoing plays of signifiers that never come to rest produce illusory effects of meanings. When doing a deconstructive analysis, the critic locates the binary opposition and the hierarchy, reverses the hierarchy of the binary oppositions and reasserts that there is no one interpretation of text because the second reading can be replaced by another and so on. Poststructuralism and deconstruction are sometimes used interchangeably.

Structuralist Narratology furthered the idea of a structural pattern found in texts by examining the oppositions which create meaning. Claude Levi-Strauss studied the units of myths (mythemes) while A.J. Greimas argued for a universal grammar of narrative. Greimas listed six roles present in texts. These are subject/object, sender/receiver, and helper opponent. Furthermore he found three basic patterns which recur in all narrative; desire/search/aim, communication, and auxiliary support/hindrance. Similarly, Gerard Genette divided the narrative into three levels; story (tense), discourse (mood), and narration (void). The most well-known however are Vladimir Propp's and Tzvetan Todorov's versions of theory of narrative. Propp classified characters into seven types (hero, villain, donor/mentor, helper, princess, dispatcher, and false hero) and the narrative structure into six stages (preparation, complication, transference, struggle, return, and recognition). Todorov's five stages of the narrative are quite similar to Propp's.  The five stages are the following: (1) a state of equilibrium at the outset; (2) disruption of the equilibrium; (3) recognition of the disruption; (4) attempt to repair the disruption; and (5) reinstatement of the equilibrium.

When Karl Marx and Friedrich Engels wrote The Communist Manifesto, its implications were felt in literature as well. Marxist criticism uses the following fundamentals of Marxist thought: critique of capitalist society; adaptation of Hegelian dialectic (history develops as a struggle between contradictions that are eventually synthesized); materialistic conception of history; the division of labor; Marx's conception of ideology that the ruling class represent its own interests as the interest of the people as a whole; and Marx's economic views that economic exploitation is a part of the dialectic process. When applied to literature, Marxism works to reveal the internal contradictions in the text. It is different to Formalism because for Marxists, literature is not an aesthetic object but a reflection of socioeconomic relations. It is similar to Structuralism but instead of just looking at the systems within the text, Marxism also includes the text's historical context and condition. The text will reveal if it supports the status quo or depicts its negative aspects. The point of view therefore can change the ideology.

A similarly radical approach, Feminism explores the treatment of women (first wave), the female writers and women's place in history (second wave) and the exploration of the female experience in art and literature (third wave). The first wave was mainly concerned with the struggle to resist patriarchy by comparing the material disadvantages of women from men. The second wave is concerned with the discovery and exploration of a canon of literature written by women. Finally, the third wave seeks to escape the double standard imposed on women.

Gay Theory and Criticism is similar to Feminism but because previous constructions of sexuality are inadequate, this approach was made. Likewise, Lesbian Feminist Theory focuses on gender issues and oppression. It differentiates sex from gender by stating that there is a set of attributes which are necessary to its identity and function. Queer Theory also explores the concept of gender which claims that it is also socially constructed.

Postcolonialism's concern in literature is to reclaim spaces and places, assert cultural integrity, and revise history. Some of its basic assumptions are the following: natives see themselves as inferior and therefore practice mimicry; practice of "othering"; colonizers in the process also become the colonized; and hybridity or syncretism. A critic looks for resistant descriptions, appropriation of the colonizer's language and the reworking of colonial art-forms. Postcolonialism looks at the cultural overlaps and hybridity.

In the next section, I will apply some of these theories in reviewing Heneral Luna. In particular, I will use the Poststructuralist approach which also utilizes other approaches to find multiple meanings of the text.

Heneral Luna: a film review using the poststructuralist approach

Heneral Luna is a 2015 historical biopic film which covers the beginning of the second phase of the Philippine Revolution until Luna's assassination on June 5, 1899. Antonio Luna at this period in history was the Supreme Chief of the Army under the First Philippine Republic.

At first glance, the movie seems to be sympathetic towards Luna despite his bad temper and colorful language. The portrayal of Luna is similar to the antihero archetype that lacks conventional heroic characteristics. Several historical films and television series covering the Philippine Revolution have been shown in the past. Luna is a slightly different choice of a lead character however from Jose Rizal, Andres Bonifacio and Emilio Aguinaldo who are usually portrayed as noble. Luna's character is respected by some yet feared and resented by those he had humiliated.

One incident in the film wherein he insulted Capt. Pedro Janolino in front of his soldiers for failing to bring reinforcements seemed amusing at the time. This incident however would contribute to the growing hatred and fear against Luna that would eventually lead to his assassination. The way most of the audience reacted to the film (as is seen in comments in social media) seems to point that despite his unconventional behavior, he had gained their sympathy and admiration, a reaction which modern antiheroes elicit. Luna will pay the price for his passionate outbursts however. His intentions may have been for the good of the fledgling army that lacked discipline and despised coordination, but not everyone was happy about it. In this way, not only is Luna an antihero but a tragic hero who, according to Aristotle, “is not eminently good and just, whose misfortune is brought about not by vice or depravity, but by some error or frailty.” Luna is a tragic hero "who commits (wittingly or unwittingly) an injury or great wrong that ultimately led to his misfortune." He is not necessarily a good hero, but a human with flaws. Some of the materials used for the creation of the film were from an earlier script shelved for several years, Nick Joaquin's A Question of Heroes, and Vivencio José's The Rise and Fall of Antonio Luna. Whether the Luna is the movie is historically accurate or slightly exaggerated, he is a character who is a striking contrast to the other figures in the film such as Aguinaldo.

The portrayal of Aguinaldo did not escape my notice as well. Although it was not implied that he was the mastermind behind Luna's assassination, he is depicted as indecisive and biased towards his kababayans from Cavite. I leave the speculations about Luna's death to the experts but Aguinaldo's behavior in the movie shows that even among those fighting for a common cause liked to label themselves as "us and others." When asked if he could do something about Gen. Tomas Mascardo, who refused to obey Luna's orders, Aguinaldo remarked that "… mga kasama ko sila…" (… they were my companions… [from Kawit]). Recall from history as well that the fate of the Katipunan was also plagued by divisive factions. Is the practice of "othering" so ingrained in the Filipino mind that our founding fathers were willing to betray their brothers who are fighting the same cause? Janolino's and Mascardo's insistence on following only Aguinaldo's orders reflect such "us and others" behavior despite the obvious consequences that might result from it.
Luna's character seemed fiery compared to Aguinaldo's cold and distant leadership. I can easily see why the audience would sympathize more with the foul-mouthed general whose goals are transparent than the leader who is surrounded by gossips and lickspittles.

On the second viewing of the movie, I began to see omissions that might or might not have affected the story. The film failed to mention the events prior to the second phase of the Philippine Revolution. Students and historians might recall that Luna was in favor of reform over revolution. When he and his brothers were arrested and jailed, his statements were used against Rizal and the Katipuneros. I do not think that the movie meant to show Luna's change of heart as a journey of redemption however because this was omitted.
Another thing that I noticed is the portrayal of the Americans. I recall during my grade school and high school days that the Americans were usually written in the textbooks as the "rescuers" of the Filipinos from foreign occupation and the bringer of justice and education. In the movie however, they were shown in a different light. Even the lighting and camera angles made them look ominous characters. This prevailing belief that the Americans were benefactors is poignantly challenged in a scene where Joven Hernando had his writing hand shot and his ears rang during an encounter with the Americans. Hernando is a fictional character who was shown interviewing Luna at the start of the film. This is the film's way of saying that the later generations (because Hernando is a young man and therefore represents the Filipino youth and later generations) became "blind, deaf, and ignorant" of the role played by the Americans in the war. The massacre, rape and plunder shown in film are information you do not usually read in school textbooks. Books would usually gloss over this part of history.

Lastly, the viewers should have paid attention to the disclaimer at the beginning of the film. Heneral Luna is not simply a patriotic film but could be said to have shown the "bigger truth" about the nature of Filipinos when faced with an adversary that is nearly impossible to defeat. Initially, the movie could just be about a man who was both a hero with good intentions but could not keep his human imperfections in check. Or it could be questioning Aguinaldo's supposed non-involvement in Luna's death. But when examined closely it also challenges the role the Americans played in history and our readiness to accept fabricated history.
Heneral Luna is the kind of movie that will keep your mind working even after you have watched it---the kind that the Philippine movie industry severely lacks. This then leads us to the final part of the essay.

What makes a good literature?

If there is a lack of provocative movies like Heneral Luna, why did the movie's director had a hard time convincing some producers that the movie will not be boring and hard to market? If we extend that to written literature such as novels, why are books such as Twilight, The Hunger Games, and Precious Hearts Romances have more readership than Classics? What then is good literature?

As a reader of various genres, I cannot give a definite answer to that. Every book or film has a different effect on the audience but for that effect to happen, a reader's background and experiences play a role in that. Some people claim that the Classics are hard to read but when upon close examination, all books (Classics or not) fall into certain categories and these categories represent human truths. It could be love, hatred, vengeance, death, renewal, and others. They tell the same stories but in different ways.

Those who have had more experience with books also place stigma on popular books like those I have mentioned claiming that they are shallow. I disagree with such claims because the emotions and ideas they invoke after all resonate on a lot of readers, hence their popularity. Clinging to the idea that intellectuals should only read the good books (what is a good book anyway but a preference) is not different from the process of "othering." If we extend the poststructuralist ideas to preferences in literature, there is no right or wrong.

As a final note, I would like to point out that efforts are made to bring Classics to the younger audience (book and film remakes, adaptations) and challenges to our conventional ways of looking at different characters are also being done (recent films like Maleficent and Heneral Luna).

References:

Dobie, Anne B. Theory into Practice: An Introduction to Literary Criticism. USA, 2012, Cengage Learning. International Edition.

Heneral Luna. Dir. Jerrold Tarog. Artikulo Uno Productions, 2014. Film.

Selden, Raman, et al. A Reader's Guide to Contemporary Literary Theory. UK, 2005, Pearson Education Limited. Fifth edition.