Back لينو بروكا Arabic لينو بروكا ARZ Lino Brocka BCL Lino Brocka Catalan Lino Brocka German Lino Brocka Basque لینو بروکا Persian Lino Brocka French Lino Brocka ILO Lino Brocka Italian

Lino Brocka

In this Philippine name, the middle name or maternal family name is Ortiz and the surname or paternal family name is Brocka.
Lino Brocka
An undated photo of Brocka
Born
Catalino Ortiz Brocka

(1939-04-03)April 3, 1939
Pilar, Sorsogon, Commonwealth of the Philippines
DiedMay 22, 1991(1991-05-22) (aged 52)
Quezon City, Philippines
OccupationFilm director
Years active1970–1991
RelativesQ. Allan Brocka (nephew)
Awards Order of National Artists of the Philippines
Cultural profile of Lino Brocka from the "Order of National Artists" (National Commission for Culture and the Arts)

Catalino Ortiz Brocka (April 3, 1939 – May 22, 1991) was a Filipino film director. He is widely regarded as one of the most influential and significant filmmakers in the history of Philippine cinema. His filmography often addressed the country's societal issues, and despite his initial closeness with the Marcos family, his work eventually grew to have anti-authoritarian themes in opposition to the Marcos dictatorship.[1][2][3]

He co-founded the organization Concerned Artists of the Philippines (CAP), dedicated to helping artists address issues confronting the country, and the Free the Artist Movement.[4][5][better source needed] He was a member of the Coalition for the Restoration of Democracy.[6]

He directed landmark films such as Tinimbang Ka Ngunit Kulang (1974), Manila in the Claws of Light (1975), Insiang (1976), Bayan Ko: Kapit sa Patalim (1984), and Orapronobis (1989). His body of work consisted of popular and political melodramas.[7] After his death in a car accident in 1991, he was posthumously given the National Artist of the Philippines for Film award for "having made significant contributions to the development of Philippine arts." In 2018, Brocka was identified by the Human Rights Victims' Claims Board as a Motu Proprio human rights violations victim of the Martial Law Era.[8]

  1. ^ Direk: Essays on Filipino Filmmakers. Liverpool University Press. 2019. doi:10.2307/j.ctv3029jhm.11. ISBN 978-1-84519-965-4.
  2. ^ Capino, José B. (2020). "A Thoroughly Different Kind of Mother". Martial Law Melodrama: Lino Brocka's Cinema Politics. University of California Press. pp. 52–53. ISBN 9780520314634. Retrieved July 2, 2024. Brocka relates in a little-known interview that he used to watch movies in Malacañang with Imee [Marcos] and her siblings, Ferdinand Jr., and Irene. 'We used to laugh a lot,' Brocka says, recalling their discussions on the movies. 'Good times, you know.'
  3. ^ Santiago, Arminda V. (1993). The Struggle of the Oppressed: Lino Brocka and the New Cinema of the Philippines (PDF) (Thesis). University of North Texas. p. 201. Retrieved July 31, 2024. Producer: National Media Production Center
  4. ^ Lacaba, Jose F. (May 22, 2010). "Lino Brocka and Freedom of Expression Day". Ka Pete. Retrieved April 22, 2019.
  5. ^ Sarmiento, Genevieve; Uy, Niña (February 20, 2016). "Lino Brocka: The Artist of the People – Pandayang Lino Brocka Political Film and New Media Festival". pandayanglinobrocka.com. Archived from the original on April 22, 2019. Retrieved April 22, 2019.
  6. ^ Manglinong, Dan (April 3, 2018). "Nat'l artist, freedom fighter Lino Brocka inspires from heaven". Interaksyon. Retrieved April 22, 2019.
  7. ^ Vera, Noel (2020). "Review of Martial Law Melodrama: Lino Brocka's Cinema Politics". Cinéaste. 45 (4): 76–79. ISSN 0009-7004.
  8. ^ "Motu Proprio". Human Rights Violations Victims' Memorial Commission. Retrieved December 15, 2022.

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