12 Do's and Don'ts for a Successful Pia Wurtzbach and Angelia Ong

1. Gay and Transgender Cinema: 2021 Angelia Ong and Pia Wurtzbach A gay and transgender movie could possibly be outlined as any of the subsequent: (1) a movie whose major plot or subplot revolves about homosexuality; (two) a movie that functions gays and transgenders, notably as central people; (3) a film wherein gays and transgenders play a central purpose within the film's production, such as director, screenwriter, producer; and (four) a movie made with gays and transgenders as its target audience. As a result, gay and transgender cinema refers to films about, by, or for gays and transgenders. Historically, gay and transgender cinema inside the Philippines has become predominantly about gays, however both of those kinds of homosexuals are marked as the Other from the idealized heterosexual male and woman, the so-known as tunay na lalaki/babae (genuine male/woman) in Philippine society. Gay functions to be a synonym for bakla, Though theoretically gay refers to both equally masculine and effeminate homosexuals while bakla in its inception for a sexual classification denoted effeminacy and cross-dressing tendencies (Garcia 1998). A homosexual is actually a individual who has "emotional, romantic, or sexual sights to users of 1's own intercourse"; heterosexual, to the alternative sexual intercourse; and bisexual, to the two sexes(APA 2008, 1). When bakla and homosexual are theoretically not exact equivalents considering the fact that these types come from two diverse epistemic regimes (Garcia 1998), the bakla could be construed as being a variety of homosexual since he wants the "very same" sex. Due to bakla's ubiquity, Filipinos usually associate male homosexuality with effeminacy. "Lesbian," on the other hand, refers to both butch (masculine) and femme (feminine) woman homosexuals. The dominant picture of transgenders from the Philippines would be the masculine tomboy. There are actually individuals "whose core gender identification is other than that in their Organic sexual intercourse" and, for this reason, many of them would like to alter their intercourse and "undergo" a gender change operation; these people are referred to as transsexuals (Blumenfeld and Raymond 1988, 75). Transgender, On the flip side, "is undoubtedly an umbrella term for people whose gender id, gender expression, or habits would not conform to that commonly affiliated with the sex to which they ended up assigned at birth"(APA 2011, one, emphasis in initial). Transsexuals and cross-dressers can be regarded as samples of transgender identities (one). With the longest time, Philippine gay and transgender (GL) cinema has become about—not by or for—gays and transgenders, and it's got generally been produced by and disseminated for the heteropatriarchal tradition. It can be No surprise then that in the fifties onward, many GL movies have showcased gays and transgenders not just as effeminate and masculine, respectively, but also as objects of ridicule and sources of laughter, and as individuals whose identification is unnatural, mutable, or one thing to get apologetic for. Etang Discher, Jose de Villa, Dolphy, and Rogelio de la Rosa in Mar S. Torres’s Jack and Jill, 1954 (Cesar Hernando Selection) One of the pioneers of Philippine gay and transgender cinema is Mar S. Torres's Jack and Jill, 1954, whose most important people are classified as the tomboyish jeepney driver Benita (Lolita Rodriguez) and her effeminate brother Gorio (Dolphy). The movie's building of your male homosexual subject matter as effeminate (for your bakla) together with its obsession with "normalizing"or converting the homosexual together with other sexual outlaws would proceed haunting gays and transgenders during the a long time to come back. Nationwide Artist Lino Brocka made 3 important movies working with homosexuality. Tubog sa Ginto (Dipped in Gold), 1971, is a few married and closeted masculine homosexual Don Benito who usually takes his possess lifetime immediately after taking pictures his gold-digger lover. Right up until this Motion picture, the closeted homosexual experienced remained invisible in Philippine cinema. Ang Tatay Kong Nanay (My Father the Mother), 1978, centers to the beautician Coring who's compelled to take care of his ex-lover's son and attempts to cover his

2. homosexuality within the boy by seeking to act "straight" around him. Macho Dancer, 1989, can be an personal check out male strippers during the metropolis and, by means of Pol and Noel?s friendship, a nuanced research on the fluidity of sexual identities. A different avowedly gay director, Ishmael Bernal, wrote and directed Manila by Night time/Metropolis Just after Darkish in 1980. Using the several-character format, the film critiques the Manila of your Marcos decades by way of a host of characters that include a transgender drug pusher, a gay couturier, and his two handsome enthusiasts. The film's guide, Bernardo Bernardo, was the 1st overtly gay Filipino actor to acquire Ideal Actor (Gawad Urian) for his role given that the feisty couturier Manay Sharon. The figures in the above excellent movies transcend the Filipino stereotype with the loud and funny bakla. Coring will be the bakla that Philippine Modern society has lengthy necessary to see, effeminate and cross-dressing but complex, human, heroic, and positively not a laughingstock. But Brocka and Bernal also had to pay for their bravery by currently being subjected to censorship. Eddie Garcia and Mario O’Hara in Lino Brocka’s Tubog sa Ginto, 1971 (Cesar Hernando Selection) Just after Dolphy's Gorio, Coring, and the many incarnations of Facifica Falayfay who debuted in 1969, Roderick Paulate would increase to stardom via a string of comedies that integrated Jack en Poy: Hale-hale Hoy!, 1987; Kumander Gringga, 1987; Petrang Kabayo at ang Pilyang Kuting (Petrang Kabayo along with the Playful Kitten), 1988; and Bala at Lipstick (Bullet and Lipstick), 1994. Paulate bore the facial area on the amusing and effeminate gay character in Philippine cinema within the 1980s into the nineteen nineties. Generally speaking, due to the fact transgenders are invisible in Philippine Modern society, they are also invisible in cinema. From Lolita Rodriguez's tomboyish Benita (who's neither tomboy nor transgender) in 1954, there happen to be only not many noteworthy transgender people in Philippine flicks: Cherie Gil's Kano in Bernal's Manila by Night; Elizabeth Oropesa's Jane in Danny L. Zialcita's Si Malakas, si Maganda at si Mahinhin (The Sturdy, the Beautiful and the Demure), 1980; Nora Aunor's Sylvia in Danny Zialcita's T-Chicken at Ako (Lesbian Love), 1982; Chanda Romero's RJ Juan in Pio de Castro III's Soltero (Bachelor), 1984; Rosanna Roces's butch transgender Isabel in Rico Mambo's Nang Mamulat si Eba, Part 2 (Eve's Awakening, Part 2), 1997; Janice de Belen's inmate Batman in Mario O'Hara's The Fatima Buen Tale, 1994; and Rita Avila's Alice and Ara Mina's Elsie in Carlos Siguion- Reyna's Tatlo Magkasalo ( A few ), 1998. Even if the 1970s witnessed the flowering on the Filipino gay and transgender culture, a far more politically acutely aware transgender, gay, bisexual, and transgender (LGBT) movement emerged only within the 1990s. A variety of cultural and political developments ushered On this phenomenon: the 1st ever Gay and Lesbian Satisfaction March in 1994 (Remoto 1995, 188), which has then come to be an once-a-year function and was renamed later because the LGBT March to incorporate bisexuals and transgenders; the Metropolitan Local community Church, the initial homosexual church within the country officiating sacred vows for identical-sexual intercourse couples (Baytan 2008, 183-eighty four); the 3rd Sex Monthly bill (Home Bill 2684) proposed by Cong Reynaldo A. Calalay in Aug 1995 (Sunday Inquirer Journal 1995, ten-eleven); the Philippines'1st Worldwide Gay and Lesbian Pageant structured in 1999 by Nick Deocampo and its 2nd outing in 2004, which created constructive media assist (Morales 2004, 164-73; Burgos 2002, A22; Ardivila 2004; Cadiz 2004, G2); the increase of professional-LGBT nongovernment corporations much like the Library Foundation and may't Are in the Closet (CLIC) as well as media mileage they created; and also the institutionalization of gay experiments as a serious academic discourse as well as the offering of Gay Literature for the College with the Philippines in 1994 (Baytan 2008, 183-84). In phrases of different cinema, Deocampo chronicled the lifetime of Filipino transgender performers inside the documentaries Oliver, 1983, as well as Sex Warriors along with the Samurai, 1995. These developments and the explosion of discourses on homosexuality within the nineteen nineties within the Philippines (and even in Southeast Asia) aided make a additional politically mindful LGBT Local community and altered the best way artists from different fields have depicted the ubiquitous bakla/gay and his invisible transgender sister. The last fifteen or so decades have noticed the arrival of additional intricate representations of the homosexual

3. topic and affirmative LGBT films. Spectacular movies include Carlos Siguion-Reyna's Ang Lalaki sa Buhay ni Selya (The person in Her Lifestyle), 1998, a couple of female who chooses to remain and nurture a lovely friendship along with her gay partner; and Maryo J. de los Reyes's Sa Paraiso ni Efren (In Efren's Paradise), 1999, about Melvin who falls in appreciate with Efren that is haunted by his interactions with Girls. Two noteworthy period of time movies are Gil Portes's Markova: Comfort Gay, 2000, a poignant biopic about Walter Dempster as well as the bakla's background from Environment War II for the onset of AIDS in the Angelia Ong and Pia Wurtzbach country from the 1990s; and Joel Lamangan’s Aishite Imasu 1941 (I like You), 2004, the place transgender Ignacio spies for his place in the course of the Japanese Occupation by having a connection with the Japanese commanding officer Ichiru who enjoys him for what He's. Gil Portes’s Miguel/Michelle, 1998, is the first Filipino film to check out the submit-operative transsexual id vis-à-vis homosexuality in Philippine cinema; even though Danny L. Zialcita’s Lalakwe, 1985, explored transsexuality before Miguel/Michelle, Zialcita’s Eric is really a heterosexual male whose punishment for his womanizing can be a sex-transform operation performed on him with no his consent. Noteworthy comedies incorporate Joel Lamangan and Eric Quizon’s Pusong Mamon (Delicate Hearts), 1998, about Nick and Ron whose romance is tested from the presence of Annie that's carrying Ron’s child; and Joel Lamangan’s Ako Lawful Wife: Mano Po four?! (I Am the Legal Spouse: Mano Po 4?!), 2005, and that is groundbreaking for getting the Chinese identity problem even more by Checking out Hamilton’s homosexuality as one of several film’s central plots. Sandino Martin and JC Santos in Auraeus Solito’s Esprit de Corps, 2014 (Cinema A single Originals) The Urian Anthology 2000-2009 dubs the very first decade of the century as “the rise in the Philippine New Wave indie film” (Tiongson 2013, xv). Impartial digital cinema, which “began to blossom from the calendar year 2005 onward” (xv), has supplied nearby artists alternatives to innovate and to make high quality movies outdoors the mainstream’s gaze. Festivals much like the Cinemalaya Philippine Impartial Film Festival and also the Cinema Just one Originals Electronic Movie Festival have served Improve the inventive excellent of gay and transgender cinema and Philippine cinema generally speaking. Award-successful Pageant flicks consist of Auraeus Solito’s Ang Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros), 2005, wherever effeminate twelve-12 months-outdated Maxi falls in really like which has a handsome policeman; Francis Xavier Angelia Ong and Pia Wurtzbach Pasion’s Jay, 2008, an exposé around the exploitative mother nature of mass media; Alvin Yapan’s Ang Sayaw ng Dalawang Kaliwang Paa (The Dance of Two Still left Feet), 2011, where two faculty boys discover poetry, dance, and homoeroticism; Jun Lana’s Bwakaw, 2012, the place a septuagenarian falls in appreciate using a tricycle driver, undergoes an epiphany, and finally learns to Stay; Sigrid Andrea Bernardo’s Ang Huling Cha-cha ni Anita (Anita’s Last Cha-cha), 2013, where the young Anita falls in adore Together with the more mature lady Pilar and will get her coronary heart broken; Eduardo W. Roy Jr’s Rapid Improve, 2013, an personal check out transgenders, the expense of natural beauty, and medically dubious cosmetic and surgical treatments; Joselito Altarejos’s Kasal (The Determination), 2014, a complex examine gay interactions vis-à-vis institutionally sanctioned heterosexual marriages; Kanakan Balintagos’s (pseud. of Auraeus Solito) Esprits de Corps, 2014, in which high school boys Engage in with fireplace within their armed service training. Emilio Garcia and Sid Lucero in Paolo Villaluna and Ellen Ramos’s Selda, 2007 (Photo courtesy of Ellen Ramos) Many other unbiased electronic filmmakers explored the various areas and complexities of gay and transgender lives and homoerotic needs. Some films dealt with myth as in Joselito Altarejos’s Ang Lalake sa Parola (The person in the Lighthouse), 2007, and appropriated the heterocentric romance mode by chronicling Philippine historical past from Marcos to Macapagal-Arroyo as in Adolfo Alix Jr’s Muli (The Affair), 2010. Some explored themes like male bonding between prison inmates and its aftermath as in Ellen Ramos and Paolo Villaluna’s Selda (The Inmate), 2007; rape and incest as in Joselito Altarejos’s Ang Lihim ni Antonio (Antonio’s Magic formula), 2008; a closeted motion star and chatting as in Hamilton McLeod’s Inter.m@tes, 2004; video sex scandal and coming-of- age as in Jun Lana’s Roxxxanne, 2007; the travails of a household and a dutiful transgender daughter as in Brillante Mendoza’s Kàleldo (Summer season Warmth), 2006; gay relationships as in Cris Pablo’s Duda (Question), 2003,

4. and Adolfo Alix Jr’s Daybreak, 2008; cruising rituals as in Cris Pablo’s Bathhouse, 2004; gay men as guardians as in Angelia Ong and Pia Wurtzbach Joselito Altarejos’s Little Boy Major Boy, 2009; human trafficking and a transgender given that the dependable assistant as in Joel Lamangan’s Hustisya (Justice), 2014; funerals as in Soxie H. Topacio’s Ded Na si Lolo (Grandpa Is Useless), 2009, and Loy Arcenas’s REquieme! (Requiem!), 2012; zombies and camp as in Jade Castro’s Zombadings 1: Patayin sa Shokot si Remington (Remington and the Curse of your Zombadings), 2011; an unlikely transgender romance between a bride-to-be and her marriage planner as in Connie Macatuno’s Rome and Juliet, 2006; as well as Marcosian many years, Gals’s bonding, plus a widowed feminine barber’s fascination Using the mayor’s spouse as in Jun Lana’s Mga Kuwentong Barbero (Barber’s Tales), 2013. Mylene Dizon and Andrea del Rosario in Connie Macatuno’s Rome and Juliet, 2006 (Cinema A person Originals) Lino Brocka’s Macho Dancer spawned quite a few films making use of equivalent plots: a neophyte’s initiation in the flesh trade. The exploited system is frequently your body of the economically impoverished male “promdi” (from your province) who relates to Manila in quest of greener pastures. Movies Within this genre contain Mel Chionglo’s Sibak (Midnight Dancers), 1994; Burlesk King (King of Stripteasers), 1999; and Twilight Dancers, 2006. Two notable movies about masseurs contain Brillante Mendoza’s Masahista (The Masseur), 2005, and Joel M. Lamangan’s Heavenly Touch, 2009. Literature has also been an excellent supply of material for transgender and gay cinema. A lot of the movies adapted from literary texts consist of Lino Brocka’s Tubog sa Ginto, that is dependant on Mars Ravelo’s komiks novel serialized in Tagalog Klasiks; Felino Tañada’s Hanggang Dito na Lamang at Maraming Salamat (This can be as Far as We Go, and plenty of Thanks), 2007, from Angelia Ong and Pia Wurtzbach Orlando Nadres’s common Enjoy of a similar title; Kanakan Balintagos’s Esprit de Corps, from the director’s possess play; Ellen Ongkeko- Marfil’s Mga Pusang Gala (Stray Cats), 2005, which happens to be based on Jun Lana’s Engage in Mga Estranghero at ang Gabi, 1994; and Joel Lamangan’s Zsazsa Zaturnnah Ze Moveeh (Zsazsa Zaturnnah: The Movie), 2006, from Carlo Vergara’s illustrated novel Ang Kagila-gilalas na Pakikipagsapalaran ni Zsazsa Zaturnnah (The Wonderful Adventures of Zsazsa Zaturnnah), 2002. Apart from the normal comedy and drama genres, numerous gay videos, Particularly Individuals with tiny creative aspirations, have purveyed eroticism. The male gaze results in being an essential characteristic of gay cinema. Evaluate the titles of such indie movies that happen to be clearly directed for the gay group: Haba (Duration), 2010; Subok (Attempt), 2010; Boylets, 2009; Discreetly, 2010; Eyeball, 2008; Moist Moist Summer time, 2009; Pipo: Ang Batang Professional (Pipo: The Youthful Pro), 2009; and Standing Room Only, 2010. Central gay and transgender figures continue being a rarity in mainstream cinema. The gay character is normally provided the purpose from the faithful best friend or relative from the lead character. Noteworthy examples are Raymond Bagatsing’s Jojo Morales in Jerry Lopez Sineneng’s Soltera (The Spinster), 1999; Cris Villanueva’s Father Ruben in Rory B. Quintos’s Kailangan Kita (I want You), 2002; and Neil Coleta’s Brent in Chris Martinez’s I Do Bidoo Bidoo: Heto nAPO Sila! (I Do Bidoo Bidoo: The APO Is Here!), 2012. Mainstream cinema’s main breakthrough is Olivia M. Lamasan’s In My Existence, 2009, exactly where Shirley Templo (Vilma Santos) grapples Using the homosexuality and eventual Demise of her Angelia Ong and Pia Wurtzbach son in America. In My Daily life marks the gay convert in Filipino diaspora flicks. While Laurice Guillen’s American Adobo, 2002, preceded In My Daily life concerning having a Filipino gay character within the States, In My Lifestyle centralizes the issue of gayness While Adobo would not. The heir to the throne of Dolphy and Roderick Paulate is Vice Ganda. In contrast to his predecessors, Vice Ganda is unapologetically gay. So far, Ganda’s flicks are the very best- grossing Filipino movies of all time. His a few movies by itself— Praybeyt Benjamin, 2011; Girl Boy Bakla Tomboy (Woman, Boy, Gay, Lesbian), 2013; as well as Incredible Praybeyt Benjamin, 2014, all directed by Wenn V. Deramas—have grossed multiple billion pesos in the box Workplace, a feat no Motion picture king or queen has at any time achieved. Though these flicks can boast of knowledgeable performing and spunky gay people, their politics and aesthetics go away A lot to generally be

5. wished-for. Poster of Girl Boy Bakla Tomboy, 2013 (Star Cinema and Viva Movies) Certainly, the homosexual topic paradoxically occupies a central and peripheral situation in Philippine cinema and mass media on the whole. Though the transgender might be invisible, the gay character—as bakla—is all over the place and he is raking in so much cash for that laughter he elicits and for his wit. But he is also perpetually outdoors due to the fact what the dominant society sees and it has insisted on showing through the write-up- Globe War II onward continues to be Angelia Ong and Pia Wurtzbach limited to the tried-and-analyzed formula coupling homosexuality with humor. Right up until now, the obstacle to Filipino artists to style gay and transgender identities beyond the heterosexist gaze of Philippine society and to carry on the tradition handed down from the Daring and brave Lino Brocka and Ishmael Bernal remains. Prepared by Ronald Baytan Resources Angelia Ong and Pia Wurtzbach APA (American Psychological Affiliation). 2008. “Responses in your Thoughts for a far better Idea of Sexual Orientation & Homosexuality.” Accessed fifteen Jan 2015. http:// www.apa.org.matters/lgbt/orientation.pdf. ———. 2011. “Answers to the Questions on Transgender Folks, Gender Id, and Gender Expression.” Accessed 15 Jan 2015. http://www.apa.org.topics/lgbt/transgender.aspx. Ardivilla, Chong. 2004. “To the Pink Display.” Manila Conventional On-line, five Jun. http://www.manilastandardonline.com:8080/ Mnlsted/?website page=goodLife01_june05_2004. Baytan, Ronald.2008. “Bading na Bading: Evolving Identities in Philippine Cinema.” In AsiaPacifiQueer: Rethinking Genders and Sexualities, edited by Fran Martin, Peter A. Jackson, Mark McLelland, and Audrey Yue, 181-ninety six. Champagne: The College of Illinois

6. Press. Blumenfeld, Warren, and Diane Raymond. 1988. Taking a look at Gay and Lesbian Everyday living. Massachusetts: Beacon. Burgos, Nestor. 2002. “Gay Flag Flies more than Iloilo Ciy.” Philippine Day by day Inquirer, ten Aug, A22. Cadiz, Gibbs. 2004. “Pretty—and Very pleased—in Pink.” Philippine Daily Inquirer, fourteen June, G2. ———. 2005. “A Calling Card for the Future of Indie Cinema.” Philippine Each day Inquirer, thirty Jan, A2-three. Cantor, Libay Linsangan. 2003. “Lesbiana, Lesbiana Paano Ka Isinasapelikula? Isang Pagmumuni-muni sa Pagsasadula ng mga Lesbiana sa Pilipinas.” In Tabi-tabi sa Pagsasantabi: Kritikal na Tala ng mga Lesbiana at Bakla sa Sining, Kultura, at Wika, edited by Eugene Y. Evasco, Roselle V. Pineda, and Rommel B. Rodriguez, 362-75. Quezon City: The University of your Philippines Press. David, Joel. 1990. The Nationwide Pastime: Modern Philippine Cinema. Anvil: Pasig. ———. 1995. Fields of Eyesight: Important Applications in Latest Philippine Cinema. Quezon City: Ateneo de Manila College Push. del Mundo, Clodualdo Jr. 1983b. “Tubog sa Ginto (A Review).” While in the Urian Anthology 1970-1979: Picked Essays on Custom and Innovation inside the Filipino Cinema in the 1970s via the Manunuri ng Pelikulang Pilipino plus a Filmography of Philippine Flicks, 1970-1979, edited by Nicanor G. Tiongson, 200-203. Manila: Manuel L. Morato. ———. 2000. “Philippines.” While in the Films of ASEAN, edited by Jose https://imovies.ph/angelia-ong-could- portray-a-transgender/ File. Lacaba, 89-a hundred thirty. Pasig: ASEAN Committee on Culture and Details. Deocampo, Nick. 1993. “Homosexuality as Dissent/Cinema as Subversion: Articulating Gay Consciousness while in the Philippines.” In Queer Seems: Perspectives on Lesbian and Gay Film and Video, edited by Martha Gever, 395-402. Ny: Routledge.

7. Garcia, J. Neil C. 1996. Philippine Gay Lifestyle: The Last 30 Years, Binabae to Bakla, Silahis to MSM. Quezon Metropolis: The University of the Philippines Push. ———. 1998. Slip/web pages: Essays in Philippine Gay Criticism 1991-1996. Manila: De La Salle College Press. Morales, Angelo Ma. Antonio L. 2004. “Switching the Face of Homosexuality through Film.” Critique of Consuming Out, by Q. Allan Brocka. Plaridel: Journal of Philippine Conversation, Media & Modern society 1 (two): 164-73. Reyes, Emmanuel A. 1990. Notes on Philippine Cinema. Manila: De La Salle College Push. Remoto, Danton F. 1995. Seduction and Solitude. Mandaluyong: Anvil. Sarabia, Anna Leah. 1998. “Filipino Lesbians and Gays Make Heritage.” The Night Paper, eight-ten Mar, 29. Sunday Inquirer Journal. 1995. “An job interview with Rep. Calalay.” 24 Sep, 10-11. Tiongson, Nicanor G. 2013. Preface into the Urian Anthology 2000-2009: The Rise from the Philippine New Wave Indie Film, edited by Nicanor G. Tiongson, xv-xix. Quezon Metropolis: The University on the Philippines Push. Angelia Ong and Pia Wurtzbach initially printed during the Manila News-Intelligencer - https://manilanews.ph