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I wish I had bought a copy of this book when I was doing my masters thesis, given the focus of the dissertation was on the Marcosian influence in cinema, and is centered on Brockas body of work. Apart from the historical readings and theoretical re-workings, notes and positionings, what drove me to keep perusing the paragraphs were the snippets of cultural events between then and now, some of which were divergent, while others stood parallel.Between the 1970s and the 1980s, the crackdown on films gave way to the emergence of works that became classic titles. Recalling their orientation in the New Wave Cinema, the filmmakers of the period (with Brocka and Bernal reputedly ushering in the Second Golden Age in Philippine Cinema) focused on the plight of the people, from a macro-level and even venturing into the intimate setting. Admittedly, a pervading view of the period points to the proliferation of bomba films that pulled the viewers in. Perhaps in the spirit of the times, what is forbidden becomes the thing that most would want to engage in. On the flipside, there is an array of works that incited a sense of nationalism and critical thinking. To this day, we remember them as benchmark films, and with all the issues surrounding mainstream cinema at this point, nostalgia is a persisting sentiment. One thing that I remember in some of the conversations that I have been in, is that we tend to hold on to the past, and the Marcos chapter in our countrys history leaves a bitter taste, but I guess the generation who came after the Martial Law Period can sometimes tread around the era, but it is essential for those who want to take the future into a better condition to not let the grisly pages of the past be erased.
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