Geradila, Josef Alec D.2012 – 10720 The Maginoo, Barako and Lalake in Bakbakan: Masculinity in 1960s – 1990s Filipino Film Thesis Statement: Film media is one of the most direct manifestations of a socio-cultural idea and of history. The history of Filipino masculinity and its portrayal in society has been showcased throughout the years in Philippine Cinema, and has shown the multitude of masculine archetypes in Filipino culture. This research shows the traces of the pre-colonial and the colonial influences on Filipino masculinity and how it is necessarily portrayed in film. Introduction There exists a notion in Philippine society that exemplifies the nature of the men of men. It is similar to the western Alpha Male, where in the world of manliness, a single individual exceeds all others in terms of masculinity. In Philippine society, this is clearly manifested in our desire to seek the noble gentleman, the Maginoo, and is cited in Filipino cultural traits. However, this notion of masculinity has been continuously influenced by foreign culture, especially when considering the more than three centuries of foreign domination and subjugation of the Filipino race. Moreover, because of the nature of Philippine culture, essentially a tapestry of multiple regional cultures held together by a series of shared experiences, interconnected environments and an all-encompassing political entity, there exists a multitude of variations with differences of little note, to those whose differences are of extremes. In seeking to understand Filipino masculinity, we must also understand the depth of the word masculinity itself, for the direct Filipino translation Pagkalalake as stated by De Castro1 has a deeper and broader meaning when contextualized in the Philippine mindset. Western ideals of masculinity must also be examined in 1 De Castro, Philippine Social Sciences Review, 1995. order for us to appreciate the varying complexity of Filipino masculinity, and in order for us to study these concepts we must have a basis of observation that is wide and universal enough for us to see these manifestations of masculinity in Philippine society. In recent years, the medium of Film has become the physical manifestation of the cultural attitudes and of the fabric of the homogenous identity of a people. In the Philippines, great actors like Fernando Poe Jr. and Eddie Garcia have portrayed a wide variety of Filipino men, of all religions and beliefs, of all professions and educations, and of all temperaments and types of masculinity. It is therefore adequate for this research to use cinema as a window into the idea of Filipino Masculinity. Objectives of the Study This study will use Filipino cinema, specifically those of the Action genre from the late 1960s to the early 1990s, as basis of observation and would focus on four specific actors who exemplified masculinity in these movies, namely Ramon Revilla, Sr.; Fernando Poe Jr; Tony Ferrer and Eddie Garcia. The study will use at least two films of each actor and will draw out conclusions using semiotic and literary analysis. This study has the following general objectives: 1. Identify and correlate traditional stereotypes and characteristics that are portrayed in the films that indicate masculinity. 2. Relate the characteristics and stereotypes of masculinity with the period of portrayal. 3. Define the Filipino film conceptions of masculinity and its subsequent evolution through changing times and societal atmospheres. 2 3. . the Ibalon and the Aliguyon. which in itself was a social status vaguely equivalent to that of nobility in western civilization. 2000. Artista bilang kultural na teksto. The Spanish also brought a new masculine concept that is similar to the Maginoo but puts forward image before action. In these epics. or the warrior. Apart from these objectives. It is no great leap of intellect therefore that this early conception of masculinity is the basis of the most enduring ideal of the Filipino man. The Spanish used traits to denote their feelings towards the Filipinos in such a way that differentiates those who were loyal to them as brave and courageous while denouncing those who opposed them as savage and barbaric. Masculinity and the Colonial Ideal Even before the arrival of the colonial powers. This is the bayani.This study also has the following as specific objectives: 1. and is evident in the literature of early Filipinos such as in the Biag ni Lam-ang . the paper also seeks to create an analytical model by which future studies of masculinity in film may be based upon or may be improved upon. the Maginoo. there already existed the Filipino concept of masculinity in the ancient civilization. Identify common symbols of masculinity in Filipino cinema. Machismo. 2. as 2 Tolentino. Use textual analysis to identify masculinity in the dialogue. The arrival of the Spanish heralded changes in the concept of masculinity in Philippine society. there existed the great and gallant warrior who upholds tradition and respects the gods as per the dictates of tradition. Compare and contrast the attributes of the villain and the hero in terms of the myth of masculinity. a Filipino cinema industry also blossomed. The western movies of John Wayne and the sophisticated neo noir movies of Humphrey Bogart and James Cagney also brought about an interesting evolution in Philippine culture. 3 4 Mirande. 2002. Boston: Houghton Mifflin. 1982. whose main contention during the film was living up to legend of his granduncle the revolutionary Gat. Andres Bonifacio. they mainly showed stories of country love and idealized conceptions of Filipino culture. Gerzon. and the Frontiersman appealed to Filipino sensibilities especially when coupled with the introduction of the motion picture into the country by the early half of the American colonial rule. Machismo. The idea of an American portraying a Filipino whose lineage was of particular note and how Quinn expressed his innate masculinity through gallant fighting can be seen as a mixture of the American concept of the Soldier and of Filipino bravado.described by Alfredo Mirande3 is a double edged sword with good attributes such as devotion to duty and bravery are coupled with bad attributes such as arrogance and pride. Men and Masculinity.4 Their ideal of the Soldier. . Mark. Eddie Romero’s Lost Battalion starring Leopoldo Salcedo and RKO pictures’ Back to Bataan starring John Wayne and Anthony Quinn portrayed the men of the USAFFE and the Guerillas that operated after the fall of Bataan and Corregidor. due to the extent of Spanish influence. American rule further complicated the Filipino concept of masculinity due to their multiple notions of masculinity. has spread throughout various cultures and has evolved into different ideals. Of particular note is Anthony Quinn’s portrayal of the fictional Andres Bonifacio III. A Choice of Heroes. albeit with the same core traits. but unlike their foreign counterparts. Due to the advent of the motion picture. A few foreign films did portray Filipino masculinity during this period but masculinity in cinema really caught on during the propaganda movies of World War 2 and the post war era. In particular. As idealized in later poems and stories. The use of the term Inang Bayan as representative of the Filipino nation shows the deep affinity of the Katipunan towards the female. This ideal combines the nationalist spirit of the Bonifacio type of masculinity with the European refinement of the Illustrado class. a new ideal of masculinity formed. It necessarily sees itself as the sons and daughters of the Inang Bayan and calls for courage and nationalism in the face of colonial repression. whose courage can never be questioned. While no particular idea came about as the Katipunan Masculine identity. the Revolutionary Illustrado became an ideal in the image of Emilio Aguinaldo. Closely related to the western gentleman masculine model. and combined with the pre-colonial masculine ideals. a de facto ideal was eventually conceptualized by later works in the form of the Supremo himself. an indigenous idea of masculinity began to form parallel to the arriving machismo identity. and one who respects the woman as an equal in a period where patriarchy was the dominant form of gender subjugation. a form of masculine ethos was formed by the Katipunan. As the revolution progressed and formal leadership of the Katipunan passed over to the Illustrado Class. as it was overshadowed by the Americanized masculine ideals. whose bravery and life is devoted to the country. As the revolution and the subsequent FilipinoAmerican war drew to a close however. Based on the indigenized folk Christianity. Andres Bonifacio. Bonifacio became the ideal Filipino man. . it called for respect for the female as an equal partner in sustaining dignity and freedom. the Boy Generals Gregorio Del Pilar and Manuel Tinio and the educated Antonio Luna. less and less Filipinos acknowledged and idealized this particular masculine model.Masculinity and Nationalism As the colonial ideals of masculinity permeated the socio-cultural fabric of the Filipinos. Contained within the multitude of teachings of the Kartilya and of the other revolutionary works of Emilio Jacinto and Andres Bonifacio. Philippine Cinema entered a Golden Age of technical and artistic ability. Philippine society remained largely Americanized and a new type of masculine ideal emerged from the tribulations of war. Typified by the dashing ideal by Leopoldo Salcedo in Eddie Romero’s Lost Battalion and by Fernando Poe Jr. Characterized by their selflessness. Filipino gangsters enjoyed the affection of the public through their portrayal as Robin Hoods from the poor neighborhoods of the city and of the poor villages of the countryside. emotional vulnerability. these masculine forms became a standard for Philippine cinema from the 1940s to the late 1970s. loneliness and devotion to honor and duty. Another masculine ideal that gained prominence during the immediate post war period was the Gangster. This is best portrayed by Joseph Estrada in (director)’s Asiong Salonga and in (director)’s Lo’ Waist Gang.Masculinity in the Post War Period After the granting of independence in 1946. It is also during this time when the Filipino notions of Masculinity began to emerge from colonial ideals and form into an ideal based on their own cultural constructions. but unlike the prevailing enemy of the state portrayal by American films of their gangsters. By the 1960s. The Guerilla Fighter. a symbol of honor and treachery in a society in its democratic infancy. the Filipino Gangster of the 1950s was portrayed as an outlaw. with works competing with international films. . in Perlas ng Silangan. Like the American Gangster of the 1920s. a symbol of defiance and resiliency in the face of overwhelming odds gained prominence as the new manifestation of the old Maginoos and of the American Soldier combined with the nationalist sentiments of the revolutionaries. it therefore comes as a surprise to the unfortunate enemy when it is unleashed. These four types were drawn from comparisons and from semiotic analysis of the sample films and archetypes of masculinity were formed using universal traits and portrayals. and its most potent manifestation is action. the Barako.Filipino Masculinity in the Bakbakan Genre From research done on a total of sixteen Filipino Bakbakan films from the 1960s to the 1990s. In comparison of these universal manifestations of masculinity. the other side. . and the righteous Maginoo explodes into a frenzy of violence that ultimately delivers the antagonist into judgment. integrity and respect. It is masculinity sans machismo. and the Maginoo The Maginoo is the epitome of sublime manliness. Filipino masculinity in film can be summed up in four distinct characters. this paper has formulated four distinct types of masculinity that repeatedly appeared in Philippine cinema. each character was partnered with an actor that best defined the traits and portrayals of each of the types. The Maginoo is expert in the art of battle. Those who have done injustice upon him and those he cared for suffered the incomparable rage and determination of the Maginoo to exact justice upon them. This is one of the most recognizable traits of the Maginoo in film. and when this limit is reached. Fernando Poe Jr. the Maginoo. It is inherent for the Maginoo to be patient and forgiving. The most common traits that the Maginoo portrays are patience. there exists a limit of human endurance. skilled but modest and humble. as is with any victim of injustice. the Modern Man and the Hoodlum. the act where the final line has been crossed by the enemy. However. the hidden side of the Maginoo is unleashed. often enduring unbelievable amounts of abuse and pain. However. where eternal respect for women and belief in fair fights is are magnified. no amount of fortune can entice the Maginoo to betray his beliefs. Starting with the stand-alone reference. there are certain boundaries that the Maginoo will never cross. the Maginoo is gentle. The Maginoo also sympathizes with those who suffered with him and will do everything in his power to help them in their plight. is the actor most associated with this type of character in the Bakbakan genre. Fernando Poe Jr. Using the 1965 film Pilipinas Kong Mahal directed by Efren Reyes as a stand-alone reference and as comparative reference the 1986 film Iyo ang Tondo Kanya ang Cavite directed by Pablo Santiago. 1965’s Pilipinas Kong Mahal starring Fernando Poe Jr and Susan Roces. even those who openly sided with the antagonist. where he necessarily sees himself as a sacrifice for the benefit of others. It is a cardinal sin for the Maginoo to inflict pain and death upon women. and the 1980 film Ang Aguila at ang Falcon directed by Armando Herrera between the Maginoo and the Barako for the former and the Maginoo and the Modern Man for the latter.However. It is this set of boundaries that set the Maginoo apart from the other models of masculinity in Filipino cinema. the Maginoo is quiet and unassuming. Delfin Montemayor. Unlike the Barako and the Hoodlum. This is the exacting moral fiber of the Maginoo in action. and at the end if he has committed a crime and is wanted by the law. Like the Modern Man. but only after ridding the world of the scum that forced abuse and misfortune upon the downtrodden. is an officer in the Philippine . Set during the World War II in the Philippines. the Maginoo will always surrender to the authorities. showcases the best attributes of the Maginoo in cinema. Poe sa Lt. This is the chivalrous nature of the Maginoo. He does not seek notoriety nor does he see the need to prove his manliness in forms of violence. but his gentleness is complete and genuine. In Philippine cinema. not opportunistic like the Modern Man. In the eyes of Crisanto Baltazar.2 7 See Appendix A. there is little need to show his skills to those who are close to him. shows the deep sense of duty and responsibility that the Maginoo possesses8. scene where the Filipinos first meet the evil Colonel Nakamura6.Commonwealth Army and Celing. In the scene where Crisanto kills the neighborhood gangster for racketeering from an old Tondo native9. but when his fellow people from Tondo are abused or hurt. we see the similarities that bind the Maginoo and the Barako in terms of their relationship with their respective communities and the differences that they portray when confronted with situations that require violence. when the grandmother of his child takes custody of his child fearing harm upon him due 5 See Appendix A.W.5 6 . the Siga of Tondo. Kanya ang Cavite. While later on. we see the extent of abuse that the Maginoo can endure. played by Joseph Estrada. The scene where Delfin and Celing meet before they part ways as Delfin is sent to Bataan and Celing is evacuated to Manila is a prime example of the kind and depth of affection that the Maginoo shows for his loved ones. In the scene where Delfin and the other guerilla leaders with the US Officer and the confrontation between him and the Hukbalahap Leader. the real wife of FPJ. is his hometown sweetheart. we see the underlying skill and expertise that the Maginoo hides behind the façade of calmness and coolness.5 In the P. In the comparison movie Iyo ang Tondo.O. The emotion in the attack is clearly defined as the summation of all the suppressed anger and frustration being unleashed at once7.1 See Appendix A. we see the legendary speed and precision that the Maginoo possesses. played by Susan Roces.4 9 See Appendix A. and the breakout scene that developed soon afterwards shows the unleashed rage from the abused Maginoo.3 8 See Appendix A. the Barako lacks the modest attitude of the Maginoo and seems arrogant at first glance. The Barako has the unique trait of using or being under the protection of a talisman. Ramon Revilla Sr.6 . the Barako assumes the same traits and generally has a short temper. It has also been associated with beasts of burden. Crisanto voluntarily relinquishes custody of his child. for in some instances. Short-fused. it is not necessary for the Barako to possess a talisman. It has generally been used to describe men of very strong character and physical strength. his mere strength and wit serve as his protection.to his line of work. The Barako sees the need to defend himself from abuse. if pressed to the limit of his patience will not hesitate to physically hurt women. In masculine models in Filipino films. around the provinces of Batangas and Cavite. strong coffee and cattle rustlers. Unlike the Maginoo. The term originates from southern Luzon. He also has a skewed sense of justice. However. we see the sense of justice that the Maginoo has in context of the law being the highest rule and should be seldom clashed with. justified in the knowledge that is wellbeing or those of his fellow abused will be better off with action than inaction. When examined closer. strong and straight forward. the Barako is brash and unrefined. for the Barako is intimately aware of the wrongs which he is doing. though abhors hurting women. even through the use of violence. In this case. even though against his own will due to the order of the court10. and the Barako The Barako comes from the tagalog word meaning exceptionally strong and rough. where the ends justify the means but only just. The Barako. The protection and powers of a talisman are only bestowed upon those who are in need of relief from oppression or those who shoe extraordinary compassion. the Barako exhibits a specific moral value. where he sees the law as being oppressive and believes strongly in vigilante style justice. akin to the concept of an eye for an 10 See Appendix A. we see the gruesome sense of vigilante justice that the Barako possesses. the Barako is normally on the wrong side of the law.10 12 . seeing him as a hero and a leader into relief and freedom.7 See Appendix A. Ramon Revilla Sr. what in his mind. In the torture scene14. Cavite. the talisman which Cris beholds. In the period between 1960 and 1990. and the protection that it gives him in the face of imminent danger12. we can clearly see the power of the “Santo Nino na Walang Likod”. In Bala… Para kay Cris Cuenca. In the next scene. As reference. this does not mean that the public. It is the poor who sympathize and protect the Barako. also rejects him. especially for those who have caused pain and 11 See Appendix A. we can the stance as portraying the manly image of strength and stability in face of overwhelming odds11. the oppressive laws that fail to give him and his fellow poor opportunities for success. That being said.1 of Region 4 Cris Cuenca of Bacoor.8 13 See Appendix A.eye and a tooth for a tooth. Revilla is also a true to life example of the Barako in the literal sense of the world and continues to enjoy popularity in the southern tagalog provinces. A native of Cavite. especially the downtrodden. Kanya ang Cavite directed by Pablo Santiago as comparison between the Barako and the Maginoo. and will also use the 1986 film Iyo ag Tondo. In the scene where Cris battles with four cattle rustlers simultaneously. became the symbol of the Barako. for the Barako has an enhanced sense of community where he shares the spoils of his crimes with his fellow poor and oppressed. In the scene where he illegally flags down a jeepney to rob it13. this study will use the 1989 film Bala… Para kay Cris Cuenca directed by Jose Yandoc. we can the the Barako’s defiance of. Revilla plays the role of real life public enemy no.9 14 See Appendix A. However. first at the Tondo Docks17.suffering for him and his family. Revilla assumes the role of Salvador “Bador” Del Mundo.13 18 See Appendix A. So much so that even children wish to be like him when they grow up. it is their fault as to why he has become a sadistic killer. we see the polar opposite. as is shown in the scene15.14 16 . He is seen as the godfather of the province. In the scene16 where he forces his son to get over his drug addiction by tying him into a chair and throwing cold water into his face show the means by which he is capable of accepting in order to solve a problems. where they are prepared to do battle and kill each other right then and there.12 17 See Appendix A. the Modern Man is released from the traditional notions of morality and justice that the Maginoo. where they have a warm and friendly atmosphere. the use of the chainsaw to sever the Hoodlums in half is wrong in his own mind. In Iyo ang Tondo. In the latter scene however. the head of the smuggling operation in Cavite. and later at the Cavite Salt Warehouse18 where the two are at each other’s throats ready to pounce at the first sign of escalation. It is this evidence that shows the depth pf his connection with the people and the way he cares for them. but as he said in the same scene. We see the subtle difference between the Barako and the Maginoo. Tony Ferrer and the Modern Man The Modern Man is the product of Filipino and Western cultures. where he attends to the smallest needs of the people. Kanya ang Cavite. In the former scene. In the scenes where Bador and Crisanto meet. suave and sophisticated spy. Barako and Hoodlum cling 15 See Appendix A. we see both as friendly and welcoming. with good intentions and even greater care.11 See Appendix A. Derived from the western idea of the cloak and dagger. Agent X44 will do anything in the service of the country by performing above and beyond the call of duty. this is not the only characteristic that defines the Modern Man.to. whenever the necessity arises. from dress. At times gentle suave and classy. The most exemplary example of the Modern Man is Tony Ferrer who made famous the character of Tony Falcon Agent X44. The advent of the Modern Man was in the 1960s. and during a time when the likes of James Bond and the world of espionage were only beginning to emerge from the shadows and into the spotlight of the silver screen. his mood and personality can change in an instant into a cold and ruthless machine. during the height of the cold war between the Western Powers and the Eastern Bloc. while the 1980 film Ang Aguila at ang Falcon directed by Armando Herrera will be used as a comparison between the Maginoo and the Modern Man. killing enemies without remorse and wanton destruction of property can be expected when the Modern Man is set on a mission. The Modern Man traces its origins from this dynamic and frightening period of world history. and is the Philippine cinema industry’s take on the iconic Gentleman Spy concept. However. The law is the only boundary that the Modern Man will not cross. the 1979 film Sabotage II directed by Efren Pinon will be used as a stand-alone example. the foremost Filipino spy. whichever is required for the accomplishment of his objective. . for he exudes incredible charm and class. As reference for this study. for he blends seamlessly to his environment. cultured and thoroughly refined. Rich. The Modern Man is western educated and follows western cultural norms. For him the accomplishment of an objective is the only concern and everything that cannot be circumvented will become collateral damage. to speech and to action. Hurting women. jet set and educated. he is at home in the field or in the opera. as if he is invisible to all but the most curious enemy. Fluent in many languages. In the scene where we see the Modern Man accept his mission from his superior19. while the Modern Man is armed with an assault rifle and is accompanied by police. the sequel to the internationally released and acclaimed Sabotage. armed only with a revolver. the Modern Man sees the task and approaches it with the appropriate amount of force that is necessary to ensure the success of the mission.18 20 . where he shows his amazing knowledge of the current situation and his cunning. In the first comparison. While in the scene20 where we see him socializing with persons of distinction. the act of attacking alone decreases the chance of friendlies getting killed and maintains the element of surprise. the Aguila and the Falcon put together their unique traits to get the job done. played by Fernando Poe Jr. For the Maginoo. which has ties with international terrorist organizations.17 & A. we can see the Modern Man adapt to the environment that he is in. Medavilla of the Philippine Constabulary. The grace and class that carries over through his conversations enamor those whom he is talking with. we see the preference of the two characters where the Maginoo chooses to fight alone21. He is confident in his own skill and is therefore calm and cool in going in alone. Tony Ferrer reprised his iconic role as Agent X44 of the Philippine Intelligence Service. We can see this as the manifestation of the attitude that both characters put into their duties. where the Maginoo is accepting and generally old fashioned when dealing with women. we see him in the initial stage of his investigation.In the 1979 film Sabotage II. we see the way both characters treat women. the Modern Man is outgoing 19 See Appendix A. Tasked with investigating a large crime syndicate.16 21 See Appendix A. Agent X44 partners up with Sgt. regardless of casualties. In the 1980 film Ang Aguila at ang Falcon.15 See Appendix A. On the other hand. In the next scene. but for this study. in the actions and way of dress. transforming their outlook from the fighting the oppressed perspective to the survival of the fittest type of perspective. the Hoodlum began surfacing in Filipino films during the mid to late 1980s all the way to the present day. lovable but despicable at the same time. the Hoodlum is the latest definition of the neighborhood gangster. and the rough and worn Maginoo in his denim jacket and old broken jeep. Maginoo and popular culture. The amounts of physical difference only pertain to the shallow perspective and hide the even deeper differences that separate these two masculine models. we can see the great differences that exist between these two characters. similar to the anti-hero type of main character. Finally. using jargon and street talk. the Hoodlum can come in a variety of different roles. where the concrete jungle warps the notions of justice and morality of even the strongest Barako. from Philip Salvador to the Padilla Brothers. It is shown in the fact that the Maginoo has a wife and the Modern Man spends his nights off duty in discos22.and active. The suave and crisp Modern Man in his suit and expensive car.19 & A. reaching its peak during the early 90s. the Hoodlum is the most intriguing and enigmatic of them all. 22 See Appendix A. the Hoodlum is the adaptation of the Barako into the urban landscape. Defined by being brash. There have been many actors to have played this type of masculine model. However. Clothed in hip and young fashion. uncouth and hard charging. the core of the Hoodlum mystique is the ambiguity of the character. and regarded as the community tough guy.20 . A combination of the Barako. Eddie Garcia and the Hoodlum Of all the masculine models that Philippine cinema has offered throughout the years discussed in this study. Harkening back to traditional Filipino customs and cultures. meaning the sexual organs. 2012. and heart.22 25 Valedor-Lukay. according to Leonardo De Castro. Playing the role of the real life Boyong Manalac. where they see the necessity of bloodshed for their own personal purpose.based on the self-orientation of an individual25.Eddie Garcia and his film Boyong Manalac: Hoodlum Terminator have been chosen as the reference film.undergoing a process of becoming masculine. the physical. we see the Hoodlum in a do-or-die battle against a rival hoodlum in the market23. “Masculinity is a 23 See Appendix A. the two battle it out among the stalls while people watch and bet on the outcome of the fight. former PC and mayor of Malabon. we can the level on which the Hoodlum is placed on the underground hierarchy. PhD Dissertation. Attached to each other by a rope and armed with butterfly knives. the challenge based. 24 . Eddie Garcia portrays the essential qualities of being the Hoodlum. the most relevant in the context of Filipino cinema are the first two levels. Meanwhile. Conclusion According to Vivienne Valedor-Lukay. while at the same time shows the comedic value of the ironic turn of events that unfolded. where he exhorts money from the neighborhood bookman24. The act of swindling money from an illegal operation shows the depth of character that the Hoodlum has. In the next scene. we can the rough and ready attitude that pervades all Hoodlums.21 See Appendix A. Based on these levels. It is in this perspective that the study can delineate between eerily similar forms and construct different outcomes and models. In the first scene. for it is the basic tract of film to show characters as they are and the narrative that they traverse in response to the events that confront them as the film goes on. In this scene. Masculinity as a concept in the Philippine Context is categorized in three levels. 27 It is based on this quote that the study looked deeper than the physical appearance of the masculine models and found the inherent and significant variations that separated and made them unique with each other.sociological and psychological concept.-Dec. 139-140 . it should serve as the main indicator of identity the person’s desire and strength of character. PSSR.even the expectations upon him. 26 De Castro. Jan.are formed by the social environment in which he live in. 1995. 136 27 De Castro. This study also showed the changing face of the Filipino man in film as the Filipino man in real life faced new and unexplored dangers. and not only the physical image that he portrays… Therefore. It is more important to take into account the feelings and character of a person. I once again quote from Leonardo De Castro. It is sociological because the role one plays in the family and in society.26 This empowers the findings of the study wherein the construct of the masculine models are based on the semiotic analysis of the surroundings that were portrayed in the particular reference films. and actions. p. and new environments. Jan. From the post-world war II to the post-cold war and the Martial Law in between. Finally. – Dec. it must be stressed that masculine models that this study has encountered are only from one genre of Filipino film. 1995. It is psychological because the personal perspectives of the authority figures in the society cannot be ignored and in the end it is only their own perspectives that define who they truly are”. in order to summarize the points made by the study. and as such only reflect the outcome of the masculine ideals that came out from them. PSSR. we can see the Filipino masculine models as the reflection of Filipino culture and society through the turning points of history. Furthermore. This should serve as the basis of ascertaining one’s wishes and future actions”. “The Identity of a person is not only seen in the appearance or the physical level. There in itself lies some of the reasons why the masculine models mentioned only apply to a specific type of situation in film. p. the Bakbakan or the action genre. 2000. Richard Gomez at ang Mito ng Pagkalalake. Valledor-Lukey. Fernando Poe Jr. Dissertation. 1986. Vivienne. Quezon City: GBP. . Sharon Cuneta at ang Perpetwal na Birhen at ang Artista bilang Kultural na Teksto. A Choice of Heroes: The Changing Face of American Masculinity. Manila: FPJ Productions. 2006. Alfonzo. 2012. 1982. Film Sources Fernando Poe Jr. Syracuse University. “Macho: Contemporary Conceptions” in Men and Masculinity: A Text Reader. Mark. Mythopoeic Poe. 52 (January-Decenber 1995): 127-142. Iyo ang Tondo. p. Rolando. Alfredo. Pilipinas Kong Mahal. De Castro. Directed by Efren Reyes. Mirande. Leonardo.References Gerzon. Deza. Canada: Wadworth. Kanya ang Cavite. Tolentino. “Pagiging Lalaki. 1965. Philippine Social Sciences Review. Directed by Pablo Santiago. Boston: Houghton Mifflin. 44-72. Pasig City: Anvil Publishing. “Pagkababae at Pagkalalake (Femininity and Masculinity): Developing a Filipino Gender Trait Inventory and Predicting Self-Esteem and Sexism” PhD. & Ramon Revilla Sr. Vol. Manila: FPJ Productions and Imus Productions. Pagkalalaki at Pagkamaginoo”. 2001. Directed by Armando Herrera.Fernando Poe Jr. Eddie Garcia. & Tony Ferrer. Manila: Liliw Productions. Manila: FPJ Productions. 1980. Directed by Eddie Rodriguez. 1979. 1989. Boyong Manalac: Hoodlum Terminator. Bala… Para kay Cris Cuenca (Public Enemy No. Tony Ferrer. 1 ng Region 4). Quezon City: Viva Films. Ang Aguila at ang Falcon. 1991. Cavite: Imus Productions. . Sabotage II. Ramon Revilla Sr. Directed by Jose Yandoc. Directed by Efren Pinon. 1 Pilipinas Kong Mahal. 1965 A. 1965 A.Appendix A.2 Pilipinas Kong Mahal. 1965 .3 Pilipinas Kong Mahal. 5 Iyo ang Tondo.4 Pilipinas Kong Mahal. Kanya ang Cavite. 1986 . 1965 A. Kanya ang Cavite.A.6 Iyo ang Tondo. 1986 A. 8 Bala… Para kay Cris Cuenca. 1989 .A. 1989 A.9 Bala… Para kay Cris Cuenca.7 Bala… Para kay Cris Cuenca. 1989 A. 1986 A. 1989 A. Kanya ang Cavite. 1986 .12 Iyo ang Tondo.11 Iyo ang Tondo.10 Bala… Para kay Cris Cuenca.A. Kanya ang Cavite. 1986 A.15 Sabotage II. 1986 A.A.14 Iyo ang Tondo.13 Iyo ang Tondo. 1979 . Kanya ang Cavite. Kanya ang Cavite. 17 Ang Aguila at ang Falcon.18 Ang Aguila at ang Falcon.16 Sabotage II. 1980 .A. 1980 A. 1979 A. 1980 A.20 Ang Aguila at ang Falcon.19 Ang Aguila at ang Falcon.A. 1980 A. 1980 .21 Ang Aguila at ang Falcon. 22 Boyong Manalac: Hoodlum Terminator. 1991 A.23 Boyong Manalac: Hoodlum Terminator.A. 1991 .