ON MIKE DE LEON’S ‘KISAPMATA’

1. How do the following elements bear on the story/narrative?

a. SET – choice of an existing location or a set built

for the film.

The set for the story was appropriately–perfectly built as it mirrors the characters, even the time period. It is for ages of boomers, there are no add ons for the house, just as is– essentials or the needs in the setting of the film, such as the sizing of the house, for the typical strict “father” who shows superiority. 

b. SET DECORATION – examine the things that decorates the set

The house setting has a small living area, enough space for a couch, then a yellow lamp on the side, for setting the mood and a manual sewing machine, even the sound design, quiet and emphasizes the lines delivered by the father (Dadong) as it shows authority. The light spots on the speaker. As the house portrays the family image, retired father and a housewife who occupies the house. 

c. PROPS – items handled by the actor/s

It is a helping tool which builds the character and makes the audience know them more. San Miguel Pale Pilsen has been highlighted as Dadong boasts it during the Pamamanhikan, expressing the power, hardness or rigorousness. As the fathers conversed, discussing the terms of the wedding, with Mila and Noel's often puzzled comments cutting in and out of their discourse. When Dadong mentions the ten thousand peso dowry.

d. COSTUMES – appropriateness of the clothes/accessories worn by the actor/actors

The clothing of the character used was deliberately thought-out well, as Mila is working in the bank, she wears formal and long skirts or dresses; as for Noel, thin framing of glasses, polo shirt and trousers. Of course for the elderly, some are loose polo or sando and black pants combinations. The hairstyle really helps in identifying the year period. There was not much use of accessories due to its social status or lifestyle. 

2. How is authenticity achieved by the elements mentioned in #1?

The authenticity of the film was achieved as the audiences watch it, the scenes are highly realistic and possible which makes them feel related. As a thought of, agreeing that it has happened during the earlier times and observed and expressed well in the film. However, as the film is being analyzed today it is a bit disagreeing on some parts as the way of living has drastically changed, such as it is less conservative and the idea of parents becoming mellow or some adults are in layaw. 

3. How does the environment created through production design embrace the characters? How is the direct relationship between environment and character established?

In the early scenes of the movie, Mila is writing her feelings into her diary concerning how she views her father. The idea of marriage was an escape from her father. In her life after marriage, Mila felt she was still living in the presence of her father and still able to take control of her life. Dely as the mother and submissive to whatever her husband takes over. Overall the image of the Father portrays the iron-fisted on their house and living practices as Dadong makes the final decision and it has to happen according to him.

 

4. What elements of the production design can you identify as allusions to Martial Law?

Kisapmata was released in 1981, under the Marcos era, when the Philippines' economy was at its peak. By being a dictatorial patriarch throughout the film, the father constituted an oblique criticism of the Marcos regime at the time, emphasizing terror as a fundamental determinant of an authoritarian role. The controlling nature of the father over his family and even over his son-in-law depicted the cruelty and abuse of power over others, especially those who are inferior and physically vulnerable, similar to Marcos' declaration of martial law during the time when the military forces had control over the civilian population. Mila's actions toward his father throughout the film depicted the patriarchal model's waning appeal at the time by demonstrating how eager she is to deviate from convention, which is symbolism similar to the concept of People Power during the Marcos regime, which aimed to depose him as Philippine president and restore national democracy and genuine freedom.

5. How did the lighting and other aspects of cinematography(including portrayal of space) affect you as a viewer?

From my perspective as a viewer, throughout the progress of the film, the background sound was evidently heard–like reeling the film. The lighting was nearly in sepia tone; expressed in any time of the day, for sure it is because of the model of the camera but it was set in that way, as is viewing from old pictures. The process of cutting scenes was restless and ruthless. The camera pauses on the speaker then the remaining sides become darker as it focuses on the speaker then it shifts  fast to catch another person showing the expression of flowing thoughts. On playing the scenes, there were dates presented prior to the scenes played, it was anecdoted.