Instead it is the Japan Prize, the hallowed reward for having produced efficacious and quality materials for television that traverse geographic borders, creed and language, in the name of educational TV.
Last week, the Philippines did not fare too well although two entries from GMA Network reached the finals in the Issues and Adult categories. The two gripping episodes of ‘’I-Witness’’ succeeded at triggering sniffles among the international audience of critics, media practitioners and TV directors and producers. Ultimately, however, the jury from 14 countries felt the entries lacked what it takes to be named prize winner.
Philippine broadcast journalist Kara David was on hand to discuss her work, ‘’Skin and Bones’’ (Buto’t Balat). Accompanied by Julia, her precocious daughter, and Joseph, her husband-cameraman, Kara disarmed the audience with her candor and sincerity as she talked about the episode, its genesis and the realities of poverty and malnutrition in Bicol. We later discovered that this very episode, first aired on GMA in June 2005, not only surfaced awareness about the tragic relationship of poverty and malnutrition but also the seeming indifference of government about the issue.
Another I-Witness documentary, "Mother’s Alphabet’’ (Abakada ni Nanay) touched hearts and called attention to the heroism of volunteer teachers as well as informal school tutors whose altruism frequently remains unrewarded. We were certain it could have won the Maeda Prize, for an episode that provides an appropriate and effective response to educational demands in the entrant’s country, or even the Governor of Tokyo Prize (best program in the issues category) had the episode not exhibited too much objectivity (host Rhea Santos was twice shown shedding tears in sympathy for the subjects) and if the entry was shown as a continuous piece of work and cleansed of the annoying commercial gaps that played the I-Witness logo incessantly.
All entries of the Philippines to the Program Proposal division contest (one sent by IBC, two by the PetKo group and two by independent professionals who are recent UST graduates) were snubbed in favor of Afghanistan’s black horse entry, peculiarly titled "Education for All."
The Philippine contingent consisted of SEAFCTV president Ed Roces, treasurer Elvira Go and MTRCB chair Marissa Laguardia and this writer. During a lull in the otherwise tight screening schedule, we were hosted by the Tokyo Motor Show and later feted by Soka Gakkai’s revered Min-on Concert Association where the delegation was given royal treatment.
If the success of the Philippine participation in the Japan Prize cannot be measured by the number of awards it received, it can best be gauged by the immediate effect on the delegation.
Chair Laguardia is now armed with more samples of TV programs that work without having to employ ruses like sex and violence. She is more enlightened about how good television can make profit even if it marries intelligent material with attractive and entertaining formats.
Elvira Go, visibly touched by several entries that dealt with issues covering family and children, is now considering acquiring some episodes for telecast in the Philippines. Having shed bucketfuls of tears, Go is resolute about working out a block-timed program that will showcase the universal realities of family life leading to a discussion of local solutions to problems besetting the modern family.
