Introduction
The Filipino film Dekada ’70 (2002), directed by Chito S. Roño and based on the novel by Lualhati Bautista, provides a poignant portrayal of a middle-class family’s experiences during the martial law period in the Philippines under President Ferdinand Marcos from 1972 to 1981. This era was marked by authoritarian rule, widespread human rights abuses, and economic policies that favoured crony capitalism, leading to significant social and political upheaval (Abinales and Amoroso, 2005). As an accountancy student, I approach this film not merely as a historical drama but as a lens through which to examine the intersections of politics, society, and economic practices. The film’s narrative highlights how political repression influenced everyday life, including financial stability and ethical decision-making in business contexts.
In this essay, I argue that Dekada ’70 serves as a powerful form of contemporary art by reflecting the socio-political realities of martial law, thereby raising awareness about the importance of ethical accountability in times of crisis. This insight is particularly relevant to accountancy, where professionals must navigate political influences on financial transparency and corporate governance. The essay will explore how the film reflects social and political issues, its status as contemporary art through character analysis, and the personal impact it had on me, before concluding with key takeaways on the role of film in understanding art and society.
Body Paragraph 1: Reflection of Social and Political Issues and the Message Conveyed
Dekada ’70 vividly reflects the social and political issues prevalent during the martial law era in the Philippines, a period characterised by curtailed civil liberties, economic inequality, and state-sponsored violence. The film centres on the Bartolome family, whose experiences encapsulate the broader societal struggles under Marcos’ regime. For instance, the imposition of martial law in 1972 led to the suspension of habeas corpus, arbitrary arrests, and censorship, which are depicted through the family’s encounters with activism and repression (Hedman and Sidel, 2000). From an accountancy perspective, this era’s economic policies, such as the promotion of export-oriented industrialisation and foreign borrowing, resulted in massive public debt and corruption, often masked by manipulated financial reporting. The film’s portrayal of these issues underscores how political authoritarianism can distort economic accountability, a critical concern for accountants tasked with ensuring transparent financial practices.
One key social issue reflected in the film is the erosion of family structures amid political turmoil. The protagonist, Amanda Bartolome, played by Vilma Santos, represents the traditional Filipino mother who gradually awakens to the injustices around her. Her sons’ involvement in anti-government activities highlights the generational conflicts exacerbated by martial law, where youth radicalisation clashed with parental fears of state retaliation. Politically, the film illustrates the regime’s use of propaganda and force to maintain control, as seen in scenes depicting protests and disappearances, drawing parallels to documented human rights violations during the period (Amnesty International, 1976). These elements convey a message of resilience and the need for collective awareness against oppression. For viewers, particularly in a contemporary context, the film serves as a cautionary tale about the dangers of unchecked power, encouraging reflection on current global issues like authoritarianism in various nations.
Moreover, the economic dimensions of martial law are subtly woven into the narrative, aligning with my studies in accountancy. The Marcos administration’s crony capitalism allowed favoured businesses to thrive through monopolies and embezzlement, leading to an estimated $5-10 billion in ill-gotten wealth (Boyce, 1993). In the film, the family’s middle-class struggles reflect the wider economic disparity, where inflation and unemployment soared, affecting household finances. This mirrors how accountants during that time might have faced ethical dilemmas in auditing or reporting for crony firms, potentially complicit in hiding financial irregularities. The message conveyed is thus one of vigilance: society must demand accountability from both political leaders and financial professionals to prevent such abuses. By humanising these issues, Dekada ’70 educates viewers on the interconnectedness of politics and economics, prompting a reevaluation of ethical standards in professions like accountancy. Indeed, this reflection encourages modern audiences to consider how similar dynamics persist in neoliberal economies, where corporate governance can be undermined by political interference.
The film’s authenticity in depicting these issues stems from its basis in real historical events, such as the 1970s student uprisings and the 1986 People Power Revolution that eventually toppled Marcos. Through its narrative, it conveys that personal stories are vital for understanding macro-level injustices, a point that resonates with accountancy’s emphasis on narrative reporting in financial statements to provide context beyond numbers (International Accounting Standards Board, 2018). Overall, Dekada ’70 not only mirrors the era’s turmoil but also imparts a timeless message about the human cost of political and economic mismanagement.
Body Paragraph 2: The Film as an Example of Contemporary Art
Dekada ’70 exemplifies contemporary art by blending realism with expressive storytelling to address ongoing social relevance, emotional expression, and societal awareness. Contemporary art, as defined in cultural studies, often engages with current issues through innovative forms, challenging viewers to confront uncomfortable truths (Smith, 2009). In this film, director Roño employs a narrative style that combines historical accuracy with dramatic flair, making it a vehicle for cultural critique. From an accountancy viewpoint, this artistic approach parallels the field’s use of case studies to illustrate ethical breaches, such as those in Enron or, more relevantly, the Philippine context of corporate fraud under martial law.
Key characters in the film embody elements that underscore its artistic merit. Amanda Bartolome is a symbol of social relevance, evolving from a submissive housewife to an empowered individual who questions the status quo. Her journey reflects the feminist awakening during martial law, where women increasingly participated in resistance movements (Enloe, 1989). This character’s development expresses the internal conflicts faced by many Filipinos, conveying themes of personal growth amid repression. Similarly, her husband Julian, portrayed by Christopher de Leon, represents the patriarchal figure complicit in societal norms, yet his subtle shifts highlight the potential for change. The sons—Jules, Gani, Eman, Jason, and Bingo—each illustrate different responses to political oppression: from radical activism to apathy, fostering awareness about youth agency. For example, Jules’ involvement in underground movements raises awareness of the risks of dissent, while Jason’s tragic fate underscores the brutality of state forces.
These characters contribute to the film’s status as contemporary art by expressing universal themes of human rights and justice, which remain pertinent today. The film’s use of symbolism, such as the recurring motif of the family dinner table disrupted by external chaos, artistically conveys how political issues infiltrate private spheres. This technique aligns with contemporary art’s emphasis on relational aesthetics, where art fosters dialogue and empathy (Bourriaud, 2002). In accountancy terms, this mirrors how financial scandals, like those during Marcos’ era, disrupt societal trust, necessitating artistic representations to highlight ethical lapses. Furthermore, the film’s production in 2002, post-Marcos, positions it as a retrospective yet timely critique, encouraging viewers to reflect on lingering effects like economic inequality.
Arguably, Dekada ’70‘s social relevance is amplified by its awards, including Best Picture at the 2002 Metro Manila Film Festival, indicating its impact on Philippine cinema. Through character-driven narratives, it raises awareness about cultural identity and political memory, essential for understanding how art can influence public discourse. As an accountancy student, I see parallels in how contemporary art can educate on fiscal responsibility, much like documentaries on financial crises promote transparency. Thus, the film stands as a testament to art’s power in expressing complex societal dynamics.
Body Paragraph 3: The Most Impactful Part of the Film and Lessons Learned
The part of Dekada ’70 that impacted me most was the climactic scene depicting the family’s confrontation with the realities of martial law during a protest, culminating in the loss of their son Jason. This moment, charged with emotional intensity, captures the raw horror of state violence, as Amanda’s anguish symbolises the collective grief of Filipino families. The scene’s realism, enhanced by powerful performances and stark cinematography, left a profound impression, evoking a sense of helplessness and outrage. As an accountancy student, this resonated with me because it illustrated how political instability can devastate economic security, forcing families to navigate financial hardships amid personal loss.
From this, I learned valuable lessons about society, culture, and politics. Societally, the film revealed how authoritarian regimes foster division, eroding community trust—a dynamic that affects economic collaborations, such as in business partnerships reliant on social capital (Putnam, 2000). Culturally, it highlighted the resilience of Filipino bayanihan (communal unity), yet also the scars of colonialism and dictatorship that shape national identity. Politically, it taught me about the perils of corruption, where leaders like Marcos amassed wealth through opaque financial dealings, underscoring the need for robust auditing systems to prevent such abuses (Transparency International, 2004).
These insights are particularly relevant to accountancy, where ethical frameworks like the International Ethics Standards Board for Accountants (IESBA) Code emphasise integrity in politically volatile environments (IESBA, 2018). The film’s depiction of economic disparity during martial law paralleled my studies on how inflation and debt crises impact financial reporting, often leading to creative accounting to hide deficits. Personally, it reinforced the importance of advocacy; just as Amanda evolves, accountants must challenge unethical practices. This scene, therefore, not only moved me emotionally but also deepened my understanding of how politics intersects with economic accountability, prompting reflection on my future role in promoting transparent financial systems in potentially unstable contexts.
Furthermore, the lesson extends to global politics, where similar issues persist in countries facing authoritarianism, reminding us that cultural narratives like this film are crucial for fostering awareness. Typically, such stories encourage a critical view of power structures, which in accountancy translates to scrutinising corporate governance in politically influenced markets.
Conclusion
In summary, Dekada ’70 effectively reflects the social and political issues of martial law, conveys messages of resilience and accountability, and exemplifies contemporary art through its expressive characters and themes. The film’s most impactful scene, involving familial loss amid protest, taught me about societal divisions, cultural resilience, and political corruption, with direct implications for ethical practices in accountancy.
Film is important in understanding art and society because it bridges personal narratives with broader critiques, fostering empathy and awareness. As contemporary art, it challenges viewers to confront historical injustices, much like how accountancy demands scrutiny of financial histories to inform future decisions. A strong takeaway is that in an era of global uncertainties, artistic works like Dekada ’70 remind us of the ethical imperatives in professions like mine, urging vigilance against the interplay of politics and economics. Ultimately, this reflection encourages ongoing dialogue about accountability, ensuring that lessons from the past inform a more equitable future.
References
- Abinales, P.N. and Amoroso, D.J. (2005) State and Society in the Philippines. Rowman & Littlefield.
- Amnesty International (1976) Report on Torture in the Philippines. Amnesty International Publications.
- Bourriaud, N. (2002) Relational Aesthetics. Les Presses du Réel.
- Boyce, J.K. (1993) The Philippines: The Political Economy of Growth and Impoverishment in the Marcos Era. University of Hawaii Press.
- Enloe, C. (1989) Bananas, Beaches and Bases: Making Feminist Sense of International Politics. University of California Press.
- Hedman, E.L.E. and Sidel, J.T. (2000) Philippine Politics and Society in the Twentieth Century: Colonial Legacies, Post-Colonial Trajectories. Routledge.
- International Accounting Standards Board (2018) Conceptual Framework for Financial Reporting. IFRS Foundation.
- International Ethics Standards Board for Accountants (2018) International Code of Ethics for Professional Accountants. IFAC.
- Putnam, R.D. (2000) Bowling Alone: The Collapse and Revival of American Community. Simon & Schuster.
- Smith, T. (2009) What is Contemporary Art? University of Chicago Press.
- Transparency International (2004) Global Corruption Report 2004. Pluto Press.
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