Philippine Cinema and the Cultural Economy of Distribution by Michael Kho Lim

Author:Michael Kho Lim
Language: eng
Format: epub, pdf
ISBN: 9783030036089
Publisher: Springer International Publishing

6.1.2 Industry Practices and Business Culture

The second entry barrier for new players is the prevailing industry practice and business culture that is governed by clout (Daniels et al. 2006, p. 91; Sazon 2015; Wasko 2003, p. 86). This is seen not just in film production but also in distribution and exhibition , which involve “a complex web of business relationships, market demands and arcane custom and practice” (Daniels et al. 2006, p. 77). It is a relationship-based business, where connections are important to seal the deal. There is an “incalculable value attached to personal relationships between distributors and exhibitors” (p. 92). It is advantageous to maintain good relationships between them (Ibañez 2015) because they are the gatekeepers of cinema—the clique that dictates the taste of the public, and how culture is valued and economic values are defined. For instance, English Only, Please co-producer Ed Rocha shares that being “friends with the right people” has helped the film get through these gates (2015). Otherwise, the film’s “now showing” status would have been “no showing.” Hence, distribution and exhibition are not simply about managing the business, they are about managing this unspoken dynamics of industry relationships.

Vincent Nebrida , who has an extensive experience in the film industry as producer, screenwriter, festival director, and marketing executive in the Philippines and the USA (for Fine Line Features/New Line Cinema), describes the business practice differences between the two countries. In the USA, “you don’t do anything until the ink is dry” (2015), whereas in the Philippines, people rely on word of honour (Matti 2015) and conduct business with a handshake. Everything is informal (Almendralejo 2015), and everything is about pakikisama (Nebrida 2015). Pakikisama or getting along well with people (Leoncini 2005, p. 162) is both a Filipino concept and trait that is about forming and maintaining “good, harmonious, and healthy personal relationships with others” (p. 157). This idea is based on the importance placed on respect and getting along with one’s relatives, which are inherent to the Filipino kinship system . Avoiding any signs of conflict in one’s network (p. 162) is crucial in conducting business in the Philippines because Filipinos view their social network as extended kin (de Leon 1987, p. 30).

However, it is ironic to note that a business as formal and big as film distribution and exhibition thrives and conducts itself with a business culture of informality. It is this Filipino cultural trait of pakikisama that drives the formal economy of film distribution and exhibition forward. Over time and across several transactions, trust is eventually developed (Hesmondhalgh and Pratt 2005, p. 9). This element of trust is what producers, distributors, and exhibitors are working with in trying to offset the risks attached to the decisions they make (Kong 2005, p. 64). This informality has become an embedded business practice and created a mafia system where all negotiations and dealings in the film industry are based, and where all problems begin. There are formal records such as distribution and exhibition contracts but people

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