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Our ‘Bernardo Carpio’ Short Film Project Takes a Step Forward

This project is a jumpstart to that same endeavor that began almost a decade ago, which had to be shelved due to documentary issues in processing and releasing the second tranche of the budget from the funding agency. We knew that there will always be a right time for this, and after proposing to the National Commission for Culture and the Arts (NCCA) in the last quarter of 2019, we received the good news by February 2020 that we got

Filmmakers and Film Criticism Video Essay Transcript

Video Essay Transcript for My Students For this film theory and criticism course, some of you may not find this very appealing, especially if you are more of a production person and not someone who would prefer spending more time in reading books about film theories and criticism and engage in intellectual discourse relating films watched with assigned readings. But think of this way, being filmmakers, knowing film’s roots, how it develops and how it manages to survive and thrive through

Bernardo Carpio Short Animated Film Call for Character Design

Sharing this from my fellow artists from Tuldok Animation Studios. This is our short film adaptation of the Bernardo Carpio story. We never thought that jumpstarting this animated short would have this personal impact to us involved in the project, given the entire world is currently at a halt. Suddenly, we realized how the lockdown and this story have something in common... The Bernardo Carpio Film Call for Character Design First, we hope you are coping up well in these trying times. As

(Response Paper) David Bordwell: The Blurred Line Separating Art Cinema with Classical Hollywood Cinema

In response to: The David Bordwell essay “The Art Cinema as a Mode of Film Practice” from the journal “Film Criticism” A response paper for my Advanced Film Theory and Criticism class In the essay “The Art Cinema as a Mode of Film Practice,” American film theorist and film historian David Bordwell primarily discussed how art cinema can be considered as a distinct mode of film practice by comparing it to classical narrative cinema (which can be traced to studio feature filmmaking in Hollywood since

(Response Paper) The Evolution of Cinema and the Film Language with Alexandre Astruc

In response to: The Alexandre Astruc essay “The Birth of a New Avant-garde: La Caméra-Stylo” from the article originally printed in “L'Écran française” as "Du Stylo à la caméra et de la caméra au stylo"  A response paper for my Advanced Film Theory and Criticism class This 1948 essay by French film critic and film director Alexandre Astruc entitled “The Birth of a New Avant-garde: La Caméra-Stylo” reminded me of the wonders in the evolution of art and technology. It is natural to see

(Response Paper) Elizabeth Spelman: Centuries of a Woman’s Body as a Gift and as a Curse

In response to: The Elizabeth Spelman essay “Woman as Body: Ancient Contemporary Views” from the journal “Feminist Studies” A response paper for my Advanced Film Theory and Criticism class I find philosopher Elizabeth Spelman’s “Woman as Body: Ancient Contemporary Views” as an eye-opening essay. It helped me better understand the oppression of women through the centuries, while making me realize the importance of really knowing iconic figures in history more than the popular accounts about them. This becomes of extreme importance in the case of

(Response Paper) Francois Truffaut’s Impassioned Take on the Auteur

In response to: The François Truffaut essay “A Certain Tendency of the French Cinema” from the article originally printed in the French film magazine "Cahiers du Cinéma" A response paper for my Advanced Film Theory and Criticism class French filmmaker and film critic Francois Truffaut’s essay “A Certain Tendency of the French Cinema” presented such strong, impassioned convictions on what he thought and felt about cinema during his time. He capitalized on his emotions while still offering certain moments of objectivity through film examples that,

(Response Paper) Understanding Andrew Sarris’ Premises of the Auteur Theory

In response to: The Andrew Sarris essay “Notes on the Auteur Theory in 1962” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen A response paper for my Advanced Film Theory and Criticism class American film critic Andrew Sarris’ “Notes on the Auteur Theory in 1962” expressed the concerns about the auteur theory, particularly outside the insights coming from the French thinkers and the film magazine Cahiers du Cinema. Unlike Francois Truffaut in his essay “A Certain Tendency

(Response Paper) The Thrill of the Senses: Pauline Kael’s Wedge Against Andrew Sarris’ Auteur Circles

In response to: The Pauline Kael essay “Circles and Squares” originally published in the journal “Film Quarterly” A response paper for my Advanced Film Theory and Criticism class The doctrine of the auteur as established by American film critic Andrew Sarris was literally lambasted by another American film critic who I think is an “auteur” in her own field – Pauline Kael. Although I didn’t always agree with her insights, being generally fond of the vim and vigor of her writing style and

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