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BY RHODA GARZON CAMPILLAN
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Tuesday, October 3, 2017
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IN TV production classes, specifically in making serials or teleserye, the students are taught that producers need to achieve seamless screenplay, terrific actors, realistic set design, polished cinematography, and witty lines.
I have seen several Philippine teleseryes since I was a kid. I could still vividly remember Mara Clara, Valiente, Anna Luna, Esperanza and the like. I agree that they left a mark on the minds of Filipino viewers; however there is so much room for improvement.
Through the years, the Philippine teleseryes evolved dramatically. Directors slowly drifted away from the usual concepts such as rich boy falls in love with poor girl. Eventually, they also explored the possibility experimenting fantasy in their stories the likes of Marina, Mulawin, Krystala, Super Twins, Lobo, Imortal and the like.
Brave producers tackled sensitive topics such as homosexual relationships via My Husband’s Lover. FPJ’s Ang Probinsiyano fearlessly focused its storyline on important issues besetting the Philippine National Police and society as a whole. Ang Probinsiyano is consistently on top of the ratings game. Viewers are hooked to the fast-paced story and the excellent production execution.
In terms of the technicalities, Philippine teleseryes have also improved tremendously. Viewers are awed of aerial shots showcasing breathtaking scenes. I am proud of our Filipino producers for continuously improving their craft. However, as I have said earlier, there is still room for improvement.
Last weekend, I had the chance to watch a Korean series entitled Descendants of the Sun. I have heard from my students that this is a must-watch Korean series starring Song Joong-ki ,Song Hye-kyo, Jin Goo, and Kim Ji-won. The first episode already took my breath away. I was totally hooked right from the start.
As a media teacher, I am particular with the whole production package. Korean series are impeccable in terms of screenplay, production design, cinematography, and acting. Characters are unique and multi-faceted. The directors can weave the story seamlessly. The production design is truly realistic and breathtaking and actors display superior acting skills.
What is unique with Korean series is that their episodes run for approximately 15 to 19 episodes. After that they venture into another production. If the story is meant to end, they ceased the production without second thoughts. Even if the rating of the series is really high, they don’t care. In my own observation, their mantra is some good things never last.
What I am trying to drive at is that Philippine teleseryes could try to emulate the good practices of Korean directors and producers. I am aware that there are differences in terms of the production system here and in Korea. Perhaps there are strategies which work only in Korea and not in the Philippines. But it is worth a try. There is no harm in trying. Filipino audiences are hooked to Korean series. I think that it is an assurance that if we try to mimic their good practices in our own production system, the audience will patronize them, too. Change is constant and we need to adjust if we want to achieve a high premium output.
I think it is a challenge to our Filipino producers and directors to somehow gather and rethink what could be possibly done to improve our creative outputs. These outputs should embody our culture and values. They should tackle issues that matter to the Filipinos. After all, there are several studies already published that television programs shape the thoughts and opinions of viewers. Television is a powerful medium to send a message to viewers.
I am proud of our media professionals who toil day and night to produce shows that entertain us with something worth watching. However, there is no harm in wanting improvement, right? (rcampillan@usa.edu.ph/PN)
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