Other independent productions were: Visayan film producers continued trying to revive the Visayan movies in the mid-seventies by filming in the 16mm format and transferring the material to 35mm for theatrical release. As was the case in Japan's other colonial and occupied film markets, Japanese film companies took over the local exhibition venues replacing films from the Hollywood and the region with Japanese films for propaganda. Other independent Visayan films produced at this time were: Mat and Gloria then became synonymous to Visayan pictures, and since then were called as the King and Queen of Visayan Movies.
It is in this light that the viewing public should not lose hope in seeing more Visayan movies in the future - that is, if all these Visayan talents and producers put their sense together and realize that Visayan Cinema might even be the answer to the long-awaited Filipino film revolution - with the way Tagalog films are being made nowadays, who knows - Visayan films might just be the saving grace of the regressing Filipino film industry. It was not until that another Visayan film project was brought to the big screen. This genre apparently has the most popular appeal to a great majority of the Filipino viewing public today, making "drama-love story-comedy" films sell the most at the box office. Bundles of mm films of several old movies being kept by the Mowelfund at the Movie Museum of the Philippines in Quezon City. Visayan film producers continued trying to revive the Visayan movies in the mid-seventies by filming in the 16mm format and transferring the material to 35mm for theatrical release. Japanese-sponsored film production in the Philippines continued until but was limited mostly to newsreels and educational films. They produced Princesa Tirana Princess Tirana , with Mat Ranillo and Gloria Sevilla her first feature title role after she was discovered through a declamation contest at the University of the Visayas as lead players. In a film entitled Sangang Nangabali Broken Branches , produced by Cebu Stars Production broke box-office records in the mids. The s was labeled as the first golden age of Philippine cinema. However, perhaps out of deference to the substantial local Japanese population, film censors were sensitive to Japanese complaints about negative representations of Japanese in U. The Tagalog film industry was just at an upswing at this time, prompting Visayan producers to venture into television production instead. Another independent picture, Sa Kabukiran In the Mountains; , was also produced during this time. Many confiscated films were exported back to Japan to train its filmmakers. The Filipino film industry was one of the busiest and bustling film communities in Asia, releasing an average of films a year making Philippines second to Japan in terms of film productions a year. This less costly process, however, did not prevent the Visayan film industry from finally going into a dormant stage. Although the Philippines never became a center for feature film production under the Japanese, it was a strategically important market for Japan. Mat ang Gloria finally got married off-screen in real life and formed S-R Productions in Ang Bayan The Country , was also produced at this time. The s saw the emergence of more Visayan talents in the Tagalog film industry. As a consequence, live theater began to thrive again as movie stars, directors and technicians returned to the stage. The other Japanese-produced feature film shot in the Philippines was Tatlong Maria First, unlike Manchuria, where the Japanese literally had to construct a film industry, the Philippines already had many large, well-equipped motion picture theaters that were well-stocked with significant Hollywood product. The film presented the Japanese as Asian liberators who came to free the Filipinos from decades of colonial oppression that began with the Spanish and continued with the Americans. Japanese films had been imported into the Philippines since the late s but without great success. Borlaza also originated from the south.
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