Leading and managing people Essay Example | Topics and Well Written Essays - 1000 words

Leading and managing people - Essay Example The bar and restaurant supervisor in consultation with manager should take pro active role in identification of right candidate for bar and restaurant service. In addition to the technical attributes, the candidates moral character and other legal aspects have to be well verified so that the bar and restaurant supervisor wouldn’t face any problem in future. The most pre requisite for any bar and restaurant supervisor will be to maintain balanced coordination between his up line and down line. He must update the manager about the daily progress and must make his team members follow the same in reporting the progress they make every day. This will facilitate building winning teams in terms of customer relations and customer satisfaction. This would certainly ensure the customer repetitiveness and hence would have the potential to boost up the bar and restaurant sales. He must take enough care in upgrading the skills and knowledge of bar and restaurant members for providing valuable customer service. They may be properly trained through some well designed training programmes. Identify the motivational factors and try to inculcate the same to achieve the defined goals. Each member of bar and restaurant must be well aware about their specific roles in providing unique customer service. The customer expectations in terms of staff relationshi p and service have to be fulfilled. Several times, the situation may force the bar and restaurant team members to take their independent and sudden decisions and hence they have to be trained accordingly to meet the demand of the valued customers. As a bar and restaurant supervisor, he has to thoroughly understand about the various theories and styles of leadership. Hence he has to be upgraded with these skills through extensive inductive training programmes. At the same time, he should also understand the expectations of bar

Joe Salatino, President of Great Northern American Case Study - 2

Joe Salatino, President of Great Northern American - Case Study Example Joe can apply the selected learning theory (operant conditioning) in a number of ways to improve his employees’ performance.   Firstly, this model can be directly linked to good employee morale and thereby indirectly to increased productivity in the workplace. A positive reinforcement in the form of verbal praise or pay increase would assist Joe to elicit a desired employee response. A positive response from employees in turn may aid the company to increase its productivity to a desired level. The Great North American may have numerous business projects to be completed in preplanned time. Such projects would involve a group of employees working together to accomplish a common goal. If any of the project team members fails to meet his/her individual duties and responsibilities, this situation would adversely affect the progress of the entire project. Consequently, such a situation may lead to conflicts among project team members, punishment from top executives, and loss of market reputation. As Fagnani points out, the operant conditioning model makes all employees accountable for their individual actions and attractively rewards outstandingly performing teams (â€Å"Operate conditioning†). Hence, this model may assist Joe to complete business projects successfully on time and within a fixed budget.    Effective diversity management is another fruitful advantage of the operant conditioning concept. The emergence of globalization made employees globally mobile and this situation consequently led to increased level of cultural and ethnic diversity within most organizational settings. In this situation, managers with poor communication skill would often fail to communicate with a diverse group of employees effectively and this situation in turn may result in a productivity decline. The case study indicates that the company is growing rapidly. Therefore, Joe must ensure that his managers have the potential to effectively communicate with the growing employee base. In this context, the operant conditioning model would be beneficial for Joe to enhance leadership training programs and thereby make certain that his managers are efficient in handling a global audience.  

Education Improvements Essay Example for Free

Education Improvements Essay With a vast array of educational sources available online or by using technology which is involved with multimedia, it is only inevitable that a great deal of teaching will be used this way. Advantages may include improved efficiency, interested learning and a sense of enjoyment for younger learners. Traditional classroom based teaching will need to work together with the advances of computer based learning to fulfil and expand the learners knowledge. Bibliography www. computerweekly. com www. mit. com www. nhs. com www. bbc. co. uk. As technology has evolved rapidly in and around our environment, public services are now steadily introducing multimedia and other forms of computer based applications. The Territorial Army (TA) and the National Health Service (NHS) are two that have evolved dramatically within the last ten years in relation to technology. The TA has several high-tech intelligence and weaponry applications and the NHS has such vital modern equipment all implementing some form of multimedia. With this it should only make sense that multimedia be included in another very important sector, Education. Within the last five years multimedia and education have bonded well to produce some very informative information. This has become readily available for children as young as two up to adults participating in education via adult learning schemes. The most significant and straightforward way to view these types of information is from the World Wide Web (WWW). The similarity between primary and university study is that they need to be online indefinitely. Although they need internet access it must not be a limited package. The connection they apply must be quick and effective otherwise users will establish a lackadaisical attitude towards the idea. Inside the last twelve months there has been a surge in primary and secondary schools in particular enquiring about wireless connections. Many schools are looking at this form of connection due to its low cost and flexibility. Laptops can be transferred from one classroom to another, rather than having a fixed station. An example of multimedia used within education is a project aimed towards disaffected children to encourage them back into learning. Interactive mathematics, composing digital music and building virtual 3D art exhibitions are some of the applications which are used and created. The main idea behind the project is to establish a stable bond between pupil and teacher with the use of I. T. Other outcomes which are hopefully achieved is the better retention of the technology they are using (both pupil and teacher). If the time for this technology is used wisely and productively with the school environment it could play and integral part in the pupils advances post education, however if the pupil is not receptive to new forms of teaching then the answer must lie elsewhere. Ian Peacock chairman of Hackney Councils Education Committee said We need to ensure that the childrens use of computers in the classroom provides some of the buzz they get from playing media-intensive games in their leisure time. (ComputerWeekly, 2001). As education and multimedia within the ages of two to sixteen is of great importance, the education of the older age group should also be considered vital for those willing to expand their skills and acquire the relevant knowledge. This next form of learning via means of multimedia shows how far the technology has developed to cater for this age group. MIT Open Courseware is designed to: ?Provide free, searchable, access to MITs course materials for educators, students, and self-learners around the world. ?Extend the reach and impact of MIT OCW and the open courseware concept. There is a wide variety of courses to opt for, from history to nuclear engineering. The site is aimed at self-learners who can log on anywhere in the world and start accessing information on their chosen subject. Lecture notes and assignments are all included just as if they were studying in University. This form of studying is very familiar at present with more than 2000 courses available on the internet reported by 1996. That number has grown progressively and there are courses available today to suit the majority of users whatever their subject. These online courses prove to be significant to those who maybe cannot afford fees towards university or who reside to far from any teaching institute. We live in a very rural area. Access to quality educational materials is a 225-mile drive to the nearest library of any significance. (Self Learner MIT, 2005).

Hallucinations and the Human Consciousness Essay -- Biology Essays Res

Hallucinations and the Human Consciousness The idea of consciousness has been contemplated throughout the course of neurobiology and behavior. When does it begin or end? And what, precisely, is consciousness? Though researchers may only approximate the answers to these questions, a few things may be inferred. Since the subconscious mind is the sleeping mind, the conscious mind can be thought of as the awakened mind, the mind which shows itself to others most often. (1) This is not to say that the conscious mind is reality, because (as will later be explained) reality is quite subjective. (1) It is just that the conscious mind is the one most people associate with reality. For example, people who experience an event while dreaming will refer to it as a dream, because it occurred in their subconscious. Whereas, if the event had occurred while they were awake-in their conscious mind-frame, then it would be considered as an actual experience. The designation between subconscious and conscious or reality and dreamlike states seem to be cut and dry. However altered mind-sets confuse the line and cause hallucinations. When we dream, our thinking is mostly pictorial and depends on memory. (1) We may hear words, but we understand most of the dream through pictures and people from the past or present. As we awaken, our mind switches from pictorial thinking to word-based thinking. (1) Hallucinations occur when the mind does not completely switch, or switches back, to the conscious state. (1,2) The first thing to note about hallucinations is that they have long been associated with mental illness because many people become confused as to what they are seeing or experiencing. (2) Though hallucinations do occur in mentally ill peo... ...ana demonstrates how hallucinations are not necessarily negative events. Though the mind is being distorted to a certain degree, the cause of the hallucination is more important than the hallucination itself. If drug use or a mental illness brings about the hallucination, the causes themselves are problematic. However, if one chooses to hallucinate because of a culture or religion, as in the cases of meditation and peyote, their behavior is justified. There is still much to be researched in this area of neurobiology and behavior. Not only because little is known, but also because it is far more common than most people would like to think, since psychologically and biologically ill people as well as normal people may hallucinate from time to time. Internet Sources: http://bluezoo.org/ http://serendip.brynmawr.edu/bb/neuro/neuro98/202s98-paper1/Ebbitt.html

Econ 510 Exam 1 Study Guide

Intermed Micro Exam 1 Chapter 1 (Powerpoint Slides) Economics- Unlimited wants and limited resources Microeconomics- Branch of economics that deals with the behavior of individual economic units. Units such as, consumers, firms, workers, and investors, as well as the markets that these units comprise. Macroeconomics- Branch of economics that deals with aggregate economic variables. Such as the level and growth rate of national output, interest rates, unemployment, and inflation. Micro Economics is a story of trade-offs that consumers, workers & firms face and shows how these trade-offs are best made.Key Players – Consumers, Workers, Firms Trade offs for Consumers: Limited Incomes – To save or to spend. If save then for HOW LONG and of-course HOW MUCH If spend then on WHAT and HOW MUCH This gives birth to the CONSUMER THEORY, which talks about the preferences, choices, utility etc. Trade offs for Workers: Time: Leisure Vs. Labor Whether and when to enter the work forceâ € ¦. Pay scale is dependent on education Choice of employment: Risky but high paying VS safe but less money Trade offs for Firms: What to produce? How much to produce? Example: Any company in the world would love to produce everything and reap profits but can’t do it.Central planned economy- Prices are set by the gov’t In a market economy- Prices are determined by the interactions of consumers, workers, and firms. These interactions occur in markets—collections of buyers and sellers that together determine the price of a good. In economics, EXPLANATION and PREDICTION are based on theories and models. Theories- are developed to explain observed phenomena in terms of a set of basic rules and assumptions. Model – is a mathematical representation, based on economic theory, of a firm, a market, and some other entity.Positive Analysis – describing relationships of cause and effect. Normative Analysis – Analysis examining questions of what ought to be. Competitive Market – market with MANY buyers and sellers trading identical products so that each buyer and seller is a price taker. Non-Competitive Market – Seller or buyer can influence the prices Market Boundary – GEOGRAPHICAL and RANGE of products Why is boundary important? To get to know about actual and potential competitors and its helpful in making Public plicies. Example: Pain Killers REAL Vs. NOMINAL pricesNominal price – Absolute price of a good, UNADJUSTED for inflation Real Price – Price of a good relative to an aggregate measure of prices; price ADJUSTED for inflation Consumer Price Index – Measure of the aggregate price level. Producer Price Index – Measure of the aggregate price level for INTERMEDIATE products and WHOLESALE goods. REAL vs. NOMINAL pricing The real price of eggs in 1970 dollars is calculated as follows: The real price of eggs in 1970 dollars is calculated as follows: The real price of eggs in 1990 dollars is calculated as follows: Public Policy – * Great impact on Economics * Can change course of the marketChapter 2 (Powerpoint Slides) Supply Curve – Relationship between the quantity of a good that producers are willing to sell and the price of the good The Supply curve is upward slopping: The higher the price, the more firms are able and willing to produce and sell. If production costs fall, firms can produce the same quantity at a lower price of a larger quantity at the same price. The supply curve then shifts to the right. Insert Graph by hand: The Supply Curve – is thus a relationship between the quantity supplied and the price. We can write this relation as an equation: QS = QS(P) Other Variable That Affect Supply are:Production costs, including wages, interest charges, and the costs of raw materials. When production costs decrease, output increases no matter what the market price happens to be. The entire supply curve thus shifts to the right. Chan ge in supply or Shifts in the supply curve Vs Change in the quantity supplied or Movements along the supply curve. The Demand Curve – Relationship between the quantity of a good that consumers are willing to buy and the price of the good. Equation can be written: QD = QD(P) Insert Graph by hand: A higher demand curve shifts the demand curve to the right. Downward Sloping) Shifting the Demand Curve – If the market price were held constant at P1, we would expect to see an increase in the quantity demanded—say from Q1 to Q2, as a result of consumers’ higher incomes. Because this increase would occur no matter what the market price, the result would be a shift to the right of the entire demand curve. Insert Graph by hand: Shifting the Demand Curve Substitutes – Two goods for which an increase in the price of one leads to an increase in the quantity demanded of the other. Complements – Two goods for which an increase in the price of one leads to a decrease in the quantity demanded of the other.THE MARKET MECHANISM The market clears at price P0 and quantity Q0. At the higher price P1, a surplus develops, so price falls. At the lower price P2, there is a shortage, so price is bid up. Insert Graph by hand: Equilibrium (aka market clearing) price – Price that equates the quantity supplied to the quantity demanded. Market Mechanism- Tendency in a free market for price to change until the market clears. Surplus – Situation in which the quantity supplied exceeds the quantity demanded. Shortage – Situation in which the quantity demanded exceeds the quantity supplied. CHANGES IN MARKET EQUILIBRIUMNew Equilibrium following Shift in Supply When the supply curve shifts to the right, the market clears at a lower price P3 and a larger quantity Q3. Insert Graph by hand: New Equilibrium following Shift in Demand When the demand curve shifts to the right, the market clears at a higher price P3 and a larger quantity Q3. Insert Graph by hand: New Equilibrium following Shifts in Supply and Demand Supply and demand curves shift over time as market conditions change. In this example, rightward shifts of the supply and demand curves lead to a slightly higher price and a much larger quantity.In general, changes in price and quantity depend on the amount by which each curve shifts and the shape of each curve. Insert Graph by hand: From 1970 to 2007, the real (constant-dollar) price of eggs fell by 49 percent, while the real price of a college education rose by 105 percent. What are the possible reasons for such a sharp change : The mechanization of poultry farms sharply reduced the cost of producing eggs coupled with sharp decline in demand for eggs shifted by health-conscious population who tended to avoid eggs.As for college, increases in the costs of equipping and maintaining modern classrooms, laboratories, and libraries, along with increases in faculty salaries, pushed the supply curve up. Demand for college increased as a larger percentage of a growing number of high school graduates decided that a college education was essential & paying. Market for Eggs The supply curve for eggs shifted downward as production costs fell; the demand curve shifted to the left as consumer preferences changed. As a result, the real price of eggs fell sharply and egg consumption rose. Insert Graph by hand: Market for College EducationThe supply curve for a college education shifted up as the costs of equipment, maintenance, and staffing rose. The demand curve shifted to the right as a growing number of high school graduates desired a college education. As a result, both price and enrollments rose sharply. Insert Graph by hand: Supply and Demand for New York City Office Space Following 9/11 the supply curve shifted to the left, but the demand curve also shifted to the left, so that the average rental price fell. Insert Graph by hand: Elasticity – Percentage change in one variable resulting from a 1% increase in another.Price Elasticity of Demand – Percentage change in quantity demanded of a good resulting from a 1% increase in its price. Linear Demand Curve – Demand curve that is a STRAIGHT LINE. Linear Demand Curve The price elasticity of demand depends not only on the slope of the demand curve but also on the price and quantity. The elasticity, therefore, varies along the curve as price and quantity change. Slope is constant for this linear demand curve. Near the top, because price is high and quantity is small, the elasticity is large in magnitude. The elasticity becomes smaller as we move down the curve.Insert Graph by hand: Infinitely Elastic Demand – Principle that consumers will buy as much of a good as they can get at a single price, but for any higher price the quantity demanded drops to zero, while for any lower price the quantity demanded increases without limit. a. ) For a horizontal demand curve, ? Q/? P is infinite. Because a tiny ch ange in price leads to an enormous change in demand, the elasticity of demand is infinite. Insert Graph by hand: Completely Inelastic Demand – Principle that consumers will buy a fixed quantity of a good regardless of its price. b. For a vertical demand curve, ? Q/? P is zero. Because the quantity demanded is the same no matter what the price, the elasticity of demand is zero. Insert Graph by hand: Other Demand Elasticities Income Elasticity of Demand – Percentage change in the quantity demanded resulting from a 1% increase in income. Cross-Price Elasticity of Demand – Percentage change in the quantity demanded of one good resulting from a 1% increase in the price of another. Elasticities of Supply Price Elasticity of Supply – Percentage change in quantity supplied resulting from a 1% increase in price.SHORT-RUN vs LONG-RUN ELASTICITIES Demand Gasoline: Short-Run and Long-Run Demand Curves a. ) In the short run, an increase in price has only a small effec t on the quantity of gasoline demanded. Motorists may drive less, but they will not change the kinds of cars they are driving overnight. In the longer run, however, because they will shift to smaller and more fuel-efficient cars, the effect of the price increase will be larger. Demand, therefore, is more elastic in the long run than in the short run. Insert Graph by hand:

Personal Statement Costa Rica - 1286 Words

Hello again, Alexa here, back in my home town safe and sound. Words cannot express how grateful and blessed I truly am to have had your financial and prayer support these past six months! Costa Rica has been not only an adventure, but also a journey. It was an adventure because I was able to go somewhere with a new culture, different ideas, and unfamiliar faces. The foreign aspect of the trip allowed me to place my total trust in God. I ventured up mountains and played fà ºtbol (soccer) in the dirt. I served in villages so dangerous, even ambulances were instructed not to go in and help. I witnessed little ones cry tears of joy when they were given a soccer ball to keep but also their eyes light up with excitement when I taught them how to apply temporary tattoos! Moreover, Costa Rica was a journey because of what i underwent spiritually throughout my time there serving. I was humbled and made more culturally aware especially in regards to the needs and struggles Costa Ricans face e veryday. The second day in Costa Rica we spent at a church in a secluded village near the valleys. Each of us had a station whether it be face painting, passing out bags of different foods (rice, tuna, vegetables, beans, and other canned foods), dancing, craft making, or just playing ball with the boys. I was instructed to apply temporary tattoos on the children. Many of the tattoo designs included the well known Jesus fish with words like Faith or Hope. I would say Quieres solo, or Do you wantShow MoreRelatedThe Relationship Between Race and Ideology Essay971 Words   |  4 Pagesthat there is no accurate meaning of the word race. Appiah uses in his discussions about race the writings of W. E. DuBois, his technique is to cite an argument made by DuBois, and give sufficient proof to refute it. He does this with several statements, and concludes that race is a misconception. 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Cinema Of The Philippines - Free Essay Example

Sample details Pages: 16 Words: 4880 Downloads: 4 Date added: 2017/09/24 Category Art Essay Type Argumentative essay Did you like this example? The Philippine cinema is the youngest of the Philippine arts, and still is considered as one of the popular forms of entertainment among the Filipinos. It directly employs some 260,000 Filipinos and generates around PHP 1. 5 billion revenues annually. [1] Contents [hide] 1 Overview 2 History 2. 1 Origins 2. 2 American period 2. 3 World War II and Japanese occupation 2. 4 1950s 2. 5 1960s 2. 6 1970s to early 1980s 2. 7 Contemporary period 2. 7. 1 Late 1980s to 1990s 2. 7. 2 2000 and beyond 3 See also 4 References 5 External links [edit]Overview The advent of cinema in the Philippines can be traced back to the early days of filmmaking in 1897, when a Spanish theater owner named Francisco Pertierra screened imported moving pictures and showed them at No. 12 Escolta, Manila. The formative years of Philippine cinema, starting from the 1930s, were a time of discovering film as a new medium of expressing artworks. Scripts and characterizations in films came from the popular theat er shows and familiar local literature. Nationalistic films were also quite popular, although they were labeled as being too subversive. The 1940s and the war brought to the Philippine cinema the consciousness of reality. Movie themes consisting primarily of war and heroism had proven to be a huge hit among local audience. The 1950s saw the first golden age of Philippine cinema,[2][3] with the emergence of more artistic and mature films, and significant improvement in cinematic techniques among filmmakers. The studio system produced frenetic activity in the local film industry as many films were made annually and several local talents started to earn recognition abroad. Award-giving bodies were first instituted during this period. When the decade was drawing to a close, the studio system monopoly came under siege as a result of labor-management conflicts, and by the 1960s, the artistry established in the previous years was already on a decline. This era can be characterized by rampant commercialism, fan movies, soft porn films, action flicks, and western spin-offs. The 1970s and 1980s were considered as turbulent years of the industry, bringing both positive and negative changes. The films in this period now dealt with more serious topics following the Martial Law era. In addition, action and sex films developed further introducing more explicit pictures. These years also brought the arrival of alternative or independent cinema in the Philippines. The 1990s saw the emerging popularity of massacre movies, teen-oriented romatic comedies, as well as anatomy-baring adult films, although slapsticks still draw a large audience. Genres of previous decades had been recycled with almost the same stories, and love teams, which had been popular in the past, had become reincarnated. [3] The Philippines, being one of Asias earliest film industry, remains undisputed in terms of the highest level of theater admission in Southeast Asia. Over the years, however, th e film industry has registered a steady decline in the movie viewership from 131 million in 1996 to 63 million in 2004. [4][5] From a high of 200 films a year during the 1980s, the countrys film industry was down to making a total of new 56 films in 2006 and around 30 in 2007. [4][5] Although the industry has undergone turbulent times, the 21st century saw the rebirth of independent filmmaking through the use of digital technology, and a number of films have once again earned international recognition and prestige. [edit]History [edit]Origins Life in the Philippines Culture Cuisine Dance Demographics Economy Education Higher education Film Holidays Languages Literature Martial arts Music Politics Religion Sports Tourism Transport v †¢ d †¢ e On January 1, 1897, the first four movies namely, Un Homme Au Chapeau (Man with a Hat), Une scene de danse Japonaise (Scene from a Japanese Dance), Les Boxers (The Boxers), and La Place de L Opera (The Place L Opera), were shown via 60 mm Gaumont Chrono-photograph projector at the Salon de Pertierra at No. 12 Escolta in Manila. The venue was formerly known as the Phonograph Parlor on the ground floor of the Casino Espanol at Calle Perez, off the Escolta. Other countries, such as France, England, and Germany had their claims to the introduction of publicly projected motion picture in the Philippines, although Petierra was given the credit to this by most historians and critics. [6] Antonio Ramos, a Spanish soldier from Aragon, was able to import a Lumiere Cinematograph from Paris, including 30 film titles, out of his savings and the financial banking of two Swiss entrepreneurs, Liebman and Peritz. By August 1897, Liebman and Peritz presented the first movies on the Lumiere Cinematograph in Manila. The cinema was set up at Escolta, corner San Jacinto, the hall formerly occupied by the Ullman Jewelry shop. A test preview was presented to a limited number of guests on August 28. The inaugural show was presen ted to the general public the next day, August 29, 1897. [6]. Documentary films showing recent events as well as natural calamities in Europe were shown in Manila. [3] During the first three weeks, Ramos had a selection of ten different films to show, but by the fourth week, he was forced to shuffle the 30 films in various combinations to produce new programs. These were four viewing sessions, every hour on the hour, from 6:00 P. M. to 10:00 P. M. After three months, attendance began to slacken for failure to show any new feature. They transferred the viewing hall to a warehouse in Plaza Goiti and reduced the admission fees. By the end of November, the movie hall closed down. [6] In order to attract patronage, using the Lumiere as a camera, Ramos locally filmed Panorama de Manila (Manila landscape), Fiesta de Quiapo (Quiapo Fiesta), Puente de Espana (Bridge of Spain), and Escenas Callejeras (Street scenes), in 1898. Aside from Ramos, there were other foreigners who left documenta ry evidences of their visits to the Philippines. Burton Holmes, father of the Travelogue, who made the first of several visits in 1899, made the Battle of Baliwag; Kimwood Peters shot the Banawe Rice Terraces; and, Raymond Ackerman of American Biography and Mutoscope filmed Filipino Cockfight and the Battle of Mt. Arayat. [6] [edit]American period Film showing in the Philippines resumed in 1900 when a British entrepreneur named Walgrah opened the Cine Walgrah at No. 60 Calle Santa Rosa in Intramuros. The second movie house was opened in 1902 by a Spanish entrepreneur, Samuel Rebarber, who called his building, Gran Cinematografo Parisien, located at No. 0 Calle Crespo in Quiapo. In 1903, Jose Jimenez, a stage backdrop painter, set up the first Filipino-owned movie theater, the Cinematograpo Rizal in Azcarraga street, in front of Tutuban Train Station. [6] In the same year, a movie market was formally created in the country along with the arrival of silent movies and American colon ialism. [3] The silent films were always accompanied by gramophone, a piano, or a quartet, or when Caviria was shown at the Manila Grand Opera House, a 200 man choir. 6] In 1905, Herbert Wyndham, shot scenes at the Manila Fire Department; Albert Yearsly shot the Rizal Day Celebration in Luneta 1909; in 1910, the Manila Carnival; in 1911, the Eruption of Mayon Volcano; the first Airplane Flight Over Manila by Bud Mars and the Fires of Tondo, Pandacan and Paco; and, in 1912, the Departure of the Igorots to Barcelona and the Typhoon in Cebu. [6] These novelty films, however, did not capture the hearts of the audience because they were about the foreigners. 3] The Philippine Commission recognized early the potential of cinema as a tool of communication and information, so that in 1909, the Bureau of Science bought a complete filmmaking unit and laboratory from Pathe, and sent its chief photographer, the American, Charles Martin, to France to train for a year. When Martin completed his t raining, he resolved to document, in motion pictures, the varied aspects of the Philippines. In 1910, the first picture with sound reached Manila, using the Chronophone. A British film crew also visited the Philippines, and filmed, among other scenes, the Pagsanjan Falls (Oriental) in 1911 in kinemakolor. 6] In 1912, New York and Hollywood film companies started to establish their own agencies in Manila to distribute films. [6] In the same year, two American entrepreneurs made a film about the execution of Jose Rizal, and aroused a strong curiosity among Filipino moviegoers. This led to the making of the first Filipino film. [3] By 1914, the US colonial government was already using films as a vehicle for information, education, propaganda and entertainment. The Bureau of Science tackled subjects designed to present an accurate picture of the Philippines before the American public, particularly the US Congress. By 1915, the best European and American films were shown in Philippine theaters. When World War I (1914–1918) choked off the production of European studios, Manila theater managers turned to US for new film products. With the variety they offered, American films quickly dominated the Philippine film market. [6] The first film produced by a Filipino is Samuel llagass Dalagang Bukid (Country Maiden) in 1919. This film was based on a highly-acclaimed musical play by Hemogenes Ilagan and Pollux . [3] Pre-war films were produced by wealthy Spaniards, American businessmen, and Filipino landlords and politicians. Early filmmakers, even with meager capital, followed some of the genres provided by Hollywood movies. The main sources of movie themes during this period were theater pieces from popular dramas or zarzuelas. Another source of movie themes at that time was the Philippine Literature. Ironically, the people who helped the film industry develop and flourish were also the same people who suppressed its artistic expression by inhibiting movie th emes that would establish radical political views among the Filipinos. Instead, love and reconciliation between members of different classes of people were encouraged to become movie themes. 3] In 1929, the Syncopation, the first American sound film, was shown in Radio theater in Plaza Santa Cruz in Manila. [6] By 1930s, a few film artists and producers deviated from the norms and presented sociopolitical movies. Julian Manansala’s film Patria Amore (Beloved Country) was almost suppressed because of its anti-Spanish sentiments. During the same period, the first sound film in Tagalog entitled Ang Aswang, a monster movie inspired by Philippine folklore, was shown. But the film apparently did not turn out to be a completely sound film. 6] Jose Nepomucenos Punyal na Guinto (Golden Dagger), which premiered on March 9, 1933, at the Lyric theater, was credited as the first completely sound movie to all-talking picture in the country. [6] Carmen Concha, the first female director in t he country, also ventured into filmmaking, and she directed Magkaisang Landas and Yaman ng Mahirap in 1939 under Parlatone, and Pangarap in 1940 under LVN. [7] Despite fierce competition with Hollywood movies, the Filipino film industry grew relatively bigger. When the 1930s drew to a close, the Filipino film industry was already well-established and local moviestars acquired a huge fan-base. Some popular movie stars of the pre-war era include: Brian Soria Fernando Royo Ben Rubio Rolando Liwanag Exequiel Segovia Ben Perez Teddy Benavides Manuel Barbeyto Ernesto la Guardia Jaime G. Castellvi Alfonso Carvajal Jose Troni Nardo Vercudia Andres Centenera Fermin Barva Fernando Poe Nati Rubi Etang Discher Patring (Monang) Carvajal Naty Bernardo [edit]World War II and Japanese occupation During the Japanese Occupation, filmmaking was suddenly put to a halt. The Japanese brought with them their own films, but this was not appealing to the local audience. For this reason, Japanese propa ganda offices hired several local filmmakers, including Gerardo de Leon, to make propaganda pictures that extoll Filipino-Japanese friendship. One of these propaganda films was the Dawn of Freedom, which was directed by Abe Yutaka and Gerardo de Leon. [3] It was during this time that the popular comedy duo Pugo and Togo was renamed Tuguing and Puguing. This was because Togo sounded too similar to Tojo, the name of the Prime Minister of Japan during the early 1940s. During World War II, almost all actors depended on stage shows only, mostly on major Manila movie theaters, to provide for their livelihood. Live theater began to thrive again as movie stars, directors and technicians returned to the stage. [edit]1950s Bundles of 35-mm films of several old movies being kept by the Mowelfund at the Movie Museum of the Philippines in Quezon City. After World War II, the Philippine version of a war movie had emerged as a genre. The audience were hungry for films with patriotic themes. Fil ms such as Garrison 13 (1946), Dugo ng Bayan (The Country’s Blood) (1946), Walang Kamatayan (Deathless) (1946), and Guerilyera (1946), narrated the horrors of the war and the heroism of the soldiers and guerillas. 3] The 1950s was the so-called first golden age of Philippine cinema, mainly because at this time, the Big Four studios (LVN Pictures, Sampaguita Pictures, Premiere Productions and Lebran International) were at the height of their powers in filmmaking, having employed master directors like Gerardo de Leon, Eddie Romero and Cesar Gallardo and housing the biggest stars of the industry that day. The Big Four has been also churning out an estimated total of 350 films a year. This number made the Philippines second only to Japan in terms of film productions a year, which made it one of the busiest and bustling film communities in Asia. Nevertheless, Hollywood still has its grips on the Filipino audience mainly because all those 350 films are only shown in two theaters , namely Dalisay and Life theaters in Manila. The premiere directors of the era were (but not limited to): Gerardo de Leon Gregorio Fernandez Eddie Romero Lamberto Avellana Armando Garces Cirio Santiago Cesar Gallardo The biggest stars of the era were (but not limited to): Rogelio de la Rosa Jaime de la Rosa Carmen Rosales Jose Padilla, Jr. Arsenia Francisco Ben Perez Ben Rubio Fred Penalosa Rosa del Rosario Paraluman Oscar Moreno Carlos Salazar Manuel Conde Tony Santos Fred Montilla Oscar Keese Bert Olivar Anita Linda Carol Varga Evelyn Villar Tessie Agana Linda Estrella Alicia Vergel Cesar Ramirez Ruben Rustia Lauro Delgado Eddie Garcia Gloria Romero Nida Blanca Nestor de Villa Luis Gonzales Van de Leon Gil de Leon Mila del Sol Rita Gomez Lolita Rodriguez Charito Solis Rosa Mia Rosa Rosal Delia Razon Eddie del Mar Efren Reyes, Sr. Johnny Reyes Nena Cardenas Chichay Tolindoy Bayani Casimiro Bentot (Cosca) Vicente Liwanay Pugo Tugo Patsy (Pachochay) Lopito Tugak Pugak Billy Surot Vizcarra Chiquito Oscar Obligacion Dely Atayatayan Andoy Balumbalunan Levi Celerio Zaldy Zshornack The Big Four studios produced most of the notable films of Philippine cinema during this era. Roberta (1951) of Sampaguita Pictures, featuring child stars, was a phenomenal success at that time. LVN Pictures, under the leadership of the grandmotherly Dona Sisang de Leon, specialized in superproductions, rural comedies and musicals, but also produced socially-relevant films such as Avellanas Anak Dalita (1956), Tony Santoss Badjao (1957) and Manuel Siloss Biyaya ng Lupa (1959). Sampaguita Pictures mainly produced high-gloss, glamorous pictures such as Maalaala Mo Kaya (1954). On the other hand Premiere Productions released most of the action films of the decade, such as Sawa sa Lumang Simboryo (1952), Salabusab (1954) and Huwag Mo Akong Limutin (1960). Due to the high production values of the motion pictures during this era, these movies started to win awards internationally. In 1952, Manuel Condes Genghis Khan became the first Asian film to be shown in the Venice Film Festival and Cannes Film Festival, a feat that would not be defeated until the 1970s. Inspired by Condes picture, Hollywood remade Genghis Khan, with John Wayne as its lead actor. 3][6] In 1956, Anak Dalita copped the Golden Harvest Award (Best Picture) of the prestigious Asia-Pacific Film Festival. In addition, the stars of these productions also won international awards. Lilia Dizon, for example, may have not romped away with the FAMAS Best Actress Award fo the time, but the prince of Cambodia, Norodom Sihanouk, presented her with the Best Actress Award from the Asia-Pacific Film Festival in 1954. Leroy Salvador was also recognized in his performance as Best Supporting Actor for the film Huk sa Bagong Pamumuhay (1953) in the Asia-Pacific Film Festival. During this era, the first award-giving bodies were also established. The first award-giving body, the Maria Clara Awards of the Manila T imes Publishing, Inc, was composed of film publicists and writers who voted for the exemplary achievements of Filipino motion pictures for a certain calendar year. In 1953, the Maria Clara folded up to give way to the establishment of the Filipino Academy of Movie Arts and Sciences (FAMAS), the Philippines answer to the United States Academy Awards. With this, the Philippines set a trend in Asian cinema; FAMAS was the first film industry award-giving body in Asia. FAMAS has awarded its most coveted Best Picture Award to the following films: 1952 Sawa sa Lumang Simboryo (Premiere Productions and M. J. Vistan Productions) 1953 Huk sa Bagong Pamumuhay (LVN Pictures) 1954 Salabusab (Premiere Productions) 1955 Higit sa Lahat (LVN Pictures) 1956 Luksang Tagumpay (LVN Pictures) 1957 Kalibre . 45 (Premiere Productions) 1958 Hanggang sa Dulo ng Daigdig (Premiere Productions) 1959 Biyaya ng Lupa (LVN Pictures) During this period, Filipinos seen Hollywoods first full length picture in livin g technicolor. Filipino local producers presented too, during this period, their own full length pictures in color in spite of some technical deficiency, and one of which, was Prinsipe Amante (Prince Amante). [6] [edit]1960s Characterized by the so-called bomba pictures, James Bond and western spin-offs. It was also the era of musical films starred by mostly Sampaguita Pictures discoveries. The studio systems came under siege from the growing labor movement, which resulted in labor-management conflicts. The first studio to close was Lebran followed by Premiere Productions. Next came Sampaguita and LVN. The Big Four studios were replaced by new and independent producers like Regal Films, which was established by Lily Monteverde in 1962. The decade also saw the emergence of the youth revolution best represented by the Beatles and the rock and roll. As a result of this, certain movie genres were made to cater to this revolt. Fan movies and teen love team-ups emerged, showing Nora Aunor and Vilma Santos, along with Tirso Cruz III and Edgar Mortiz as their respective screen sweethearts. In addition, movie genres showing disaffection to the status quo during the era were also popular. Action movies with Pinoy cowboys and secret agents as the movers of the plots depicted a society ravaged by criminality and corruption. [3] Another kind of youth revolt, implying rejection of adult corruption, came in the form of movies featuring child stars. At the end of this decade, another movie genre that embodied a different form of revolt took centerstage. Soft porn movies, more popularly known as bomba films, increasingly became popular, and these films were described as a direct challenge to the conventions, norms and conduct of the society. Even in the period of decline, several Philippine films that stood out. These include the following films by Gerardo de Leon: Noli Me Tangere (Touch me Not) in 1961; El Filibusterismo (Subversion) in 1962; Huwag mo Akong Limuti n (Never Forget Me) in 1960; and, Kadenang Putik (Chain of Mud) in 1960. During this period, Filipino filmmakers became successful in presenting some full length pictures in living Eastmancolor, one of which was Ito ang Pilipino by J. E. Production. This movie was produced and starred by Joseph Estrada himself. 6] [edit]1970s to early 1980s Touted as the second golden age of Philippine cinema, this was the period of the avant-garde filmmakers. At the turn of the 70s, local producers and filmmakers ceased to produce pictures in black and white. [3][6] The promotional poster of the movie, Kapantay Ay Langit, which won three awards in the 1971 Manila Film Festival, including Best Movie Theme Song for George Cansecos originalcomposition of the same title. In 1972, the Philippines was placed under the martial rule, and films were used as propagandastic vehicles. Marcos and his technocrats sought to regulate filmmaking through the creation of the Board of Censors for Motion Pictures (B CMP). Prior to the start of filming, a finished script was required to be submitted to the Board and incorporate the ideology of the New Society such as, a new sense of discipline, uprightness and love of country. Annual festivals was revived during this period, and bomba films as well as political movies critical of the Marcos administration were banned. [3] In spite of the censorship, the exploitation of sex and violence onscreen continued to assert itself. Under martial law, action films usually append to the ending an epilogue claiming that the social realities depicted had been wiped out with the establishment of the New Society. The notorious genre of sex or bomba films that appeared in the preceding decade was still around although it merely showed female stars swimming in their underwear, taking a bath in their chemise, or being chased and raped in a river, sea, or under a waterfall. Such movies were called the wet look. One uch movie was the talked-about Ang Pinakamagan dang Hayop sa Balat ng Lupa (The Most Beautiful Animal on the Face of the Earth) in 1974 starring former Miss Universe Gloria Diaz. [3] In spite of the presence of censorship, this period paved way to the ascendancy of a new breed of directors. Some of the notable films during this era are as follows: Lino Brocka Tubog sa Ginto (1970) Tinimbang Ka Ngunit Kulang (1974) Maynila: Sa mga Kuko ng Liwanag (1975) Insiang (1976) Ishmael Bernal Pagdating sa Dulo (1971) Manila by Night (1980) Himala (1982) Mike de Leon Itim (1976) Sister Stella L (1984) Peque Gallaga Oro, Plata, Mata (1982) In 1977, an unknown Filipino filmmaker going by the name of Kidlat Tahimik made a film entitled Mababangong Bangungot (Perfumed Nightmare), which won the International Critic’s Prize in the Berlin Film Festival that same year. Out of short film festivals sponsored by the University of the Philippines Film Center and by the Experimental Cinema of the Philippines, young filmmakers joined Kidlat Tah imik by distancing themselves from the traditions of mainstream cinema. Nick De ocampo’s Oliver (1983) and Raymond Red’s Ang Magpakailanman (The Eternal, 1983) have received attention in festivals abroad. In 1981, as mandated by Executive Order No. 640-A, the Film Academy of the Philippines was enacted, serving as the umbrella organization that oversees the welfare of various guilds of the movie industry and gives recognition of the artistic and technical excellence of the performances of its workers and artists. [8] Also, that same year, Viva Films began producing movies. During the closing years of martial rule, a number of films defiant of the Marcos dictatorship were made. Films such as Marilou Diaz-Abaya’s Karnal depicted this defiance in an implicit way in the ilm’s plot, wherein patricide ends a tyrannical father’s domination. In the same year, Mike de Leon’s Sister Stella L. was shown on the bigscreen, and it was about oppression and tyranny. In 1985, Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Gripping the Knife’s Edge) depicted images of torture, incarceration, struggle and oppression. [3] During this times, the Philippines ranked among the top 10 film-producing countries in the world, with an annual output of more than 300 movies. [9] [edit]Contemporary period The dawn of this era saw a dramatic decline of the Philippine movie industry. 10] Most Hollywood films had been dominating mainstream cinema even more,[5] and fewer than a twenty quality local films were being produced and shown yearly. [2][10] Many producers and production houses later stopped producing films after losing millions of pesos,[5] while two television stations steered towards the world of filmmaking. At the turn of the 21st century, a new sense of excitement and trend enveloped the industry by the coming of digital and experimental cinema, as well as the resurfacing of independent filmmaking. [edit]Late 1980s to 1990s At the beginning of this period, and even in the latter part of the preceding times, most Filipino films were mass-produced and sacrificed quality for commercial success. Storylines were said to be unimaginative and predictable, comedy was slapstick, and the acting was either mediocre or overly dramatic. Producers were antipathetic to new ideas, or risk-taking. Instead, they resorted to formulas that worked well in the past that cater to the standards and tastes of the masses. [2][9] Teen-oriented films, massacre movies, and soft pornographic pictures composed a majority of the genre produced. 3] Aside from fiercer competition with Hollywood films,[5] the Asian Financial Crisis, escalating cost of film production, exorbitant taxes, arbitrary and too much film censorship, high-tech film piracy,[11] and rise of cable television further contributed for the trimming down of production costs of film outfits that resulted to falling box-office receipts of domestic films, and the eventual precarious state of the local film industry. [12] In 1993, a television station ventured into movie production. ABS-CBNs Star Cinema produced Ronquillo: Tubong Cavite, Laking Tondo in cooperation with Regal Films. Five years later, another television tation, GMA Network, started producing movies. GMA Films released the critically-acclaimed Sa Pusod ng Dagat, Jose Rizal, and Muro Ami, which attained commercial success. [13] [edit]2000 and beyond Hailed as the fist real new wave of digital cinema, this decade saw the introduction of locally-produced animated features and the proliferation of digital films by independent filmmakers with international reach and caliber. [14][15][16][17][18] While formulaic romantic comedies have comprised majority of mainstream releases, independent filmmakers spur a renewed interest in Filipino movies with mostly digital films. Signs of rebirth of the Philippine cinema arose by way of films with themes about transformation. In 2002, Gil Po rtes released Mga Munting Tinig (Small Voices), a subdued film about a teacher who inspires her students to follow their dreams; the movie also made suggestions to improve the country’s education system. A year later, Mark Meily’s comedy Crying Ladies, about three Filipinas working as professional mourners in Manila’s Chinatown but looking for other ways to make money, became a huge hit. Also that same year, Maryo J. de los Reyes made a buzz at various film festivals with Magnifico, a simple film with universal appeal about a boy who tries to help his family survive their hardships. [9] DUDA (DOUBT) is an example of how a man driven by an idea for a film can succeed against all odds at creating a significant statement. Writer/Director Crisaldo Pablo used a cast of friends with some professionals and with the use of a Sony VX made the first full-length digital film ever shot in the Philippines. Comments by Cris Pablo and some of the actors are in a making o f feature on the DVD demonstrate how much dedication to a vision played in this brave little movie. [19]In 2006 and 2007, Filipino filmmakers began making digital movies. [20] Donsol, by director Adolf Alix, made waves with his debut digital film (which included underwater cinematography) set in Donsol, a fishing town that serves as sanctuary to rare white whale sharks. Other talents of note include Jeffrey Jeturian, Auraeus Solito, and Brillante Mendoza’s 2007 Filipino version of Danish Dogme and Italian cinema verite (Slingshot). Lav Diaz is the leading figure in experimental Tagalog films. His works—including excruciatingly long epics about Filipino life (some of which run up to 10 hours)—often test the endurance of viewers. [9] Although Filipino digital films are made in almost no time and with meager budget, they are strongly represented in international film festivals. [21][22] Numerous works of a new breed of filmmakers had their films seen at the pres tigious film festivals in Berlin, Cannes, Venice, Vienna and Rotterdam. 14][23] Several others won prizes and awards in various film festivals around the world. [24][25][26][27][28][29][30] Among the works include Ang Pagdadalaga ni Maximo Oliveros (2005) by Auraeus Solito, Kubrador (2006) by Jeffrey Jeturian, Todo Todo Teros (2006) by John Torres, Endo (2007) by Jade Castro, Tribu (2007) by Jim Libiran, just to name a few. In 2007, a Filipino short film entitled Napapanggap (Pretend) by Debbie Formoso, a recent graduate of MFA Master of Film Art at LMU Loyola Marymount University, in Los Angeles, had a successful run in a number of US film festivals. 31] Several other short films,[32][33] including Pedro Joaquin Valdess Bulong (Whisper),[34] as well as documentaries[35] garnered international attention and honors. In 2008, Serbis (Service) became the first Filipino full-length film to compete in the Cannes Film Festival since internationally acclaimed director Lino Brockas Bayan Ko : Kapit sa Patalim (My Country: Gripping the Knifes Edge) in 1984. [4][36][37] Another milestone in the Philippine cinema took place that same year as local audience witnessed the first full-length animated film, Urduja, topbilled by Cesar Montano and Regine Velasquez as voices behind the lead characters. The film was done by over 400 Filipino animators, who produced more than 120,000 drawings that will run in 1,922 scenes equivalent to 8,771 feet of film. [38] A few weeks later, the Philippine movie industry took centerstage for the first time in the 6th Edition of the Festival Paris Cinema 2008 in France. About 40 Filipino films were shown at the said filmfest, with Star Cinema’s Caregiver (starring Sharon Cuneta) and Ploning (Judy Ann Santos) as opening films. Filipino actor, Piolo Pascual, was invited by Paris Mayor Delanoe and actress Charlotte Rampling earlier that year to grace the occasion. 39] Before the closing of 2008, another full-length animated film graced th e bigscreen, Dayo: Sa Mundo ng Elementalia, which was an entry in the 2008 Metro Manila Film Festival. [40][41] To encourage production of high-quality movies, the Philippine government started giving tax rebates on films. However, only nine of the 150 films produced from January 2003 to January 2006, received such a rebate. In 2001, President Gloria Macapagal Arroyo asked town and city mayors to reduce the entertainment tax but only few of them did. 5][42] In order to build up and stimulate the film industry, some Congressmen and Senators recently have authored a number of proposals and legislations pending ratification by the Philippine Congress. Many of the bills seek to ease the multiple taxes on producers, theater operators and patrons. One of the bills, for instance, proposes to exempt from the 30-percent amusement tax on all locally produced movies classified by regulators as for general patronage or parental guidance-13. Another bill seeks to exempt local producers from the 12-percent value-added tax (VAT) on imported filmmaking raw materials and equipment. [1][43][44] Don’t waste time! Our writers will create an original "Cinema Of The Philippines" essay for you Create order