For

Lino Brocka,

National Artist for Film;

and for the

advocates, activists, and marginalized sectors of society

Alternative multimedia collectives in the Philippines have been active in advocating for social change in behalf of marginalized sectors of society. They creatively utilize film in various forms as a tool for social advocacy by adhering to the theory and practice of alternative cinema that counters the dominant ideology, hegemony, and culture.

Using the notion of social advocacy and the structure of alternative filmmaking as a mode of production, this study examines the filmography of selected alternative multimedia collectives in the country namely Kodao Productions, Tudla Productions, Mayday Multimedia, PinoyMedia Center & Film Weekly, RESBAK, Southern Tagalog Exposure, Aninaw Productions, Sine Panayanon, Kilab Multimedia, and The Breakaway Media that emerged from 2000 to 2019, or from Estrada to Duterte regime. The discussions anchor on the study of progressive and political cinema within the theoretical frameworks of Marxist Film Theory; Dominant, Residual, and Emergent culture; and Critical Public Sphere. This scholarly undertaking was accomplished by substantiating the findings collected through textual analysis of both aesthetics and narratives of the films, interviews of the filmmakers and members of the collectives, participant observation, and focus group discussions among the target audience.

The study articulates “social advocacy cinema” as a genre of alternative cinema in various forms that progressively and politically present social issues based on the narratives of marginalized and subaltern sectors of society which aim to advocate a course of action for solution towards the desired social change.

Keywords: social advocacy, activism, alternative films, alternative multimedia collectives