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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) Cinema and Ideology with Jean-Luc Comolli and Jean Narboni

In response to: The Jean-Luc Comolli and Jean Narboni essay “Cinema/Ideology/Criticism” from the journal “Screen” A response paper for my Advanced Film Theory and Criticism class This essay entitled “Cinema/Ideology/Criticism” by French writers Jean-Luc Comolli and Jean Narboni started with an introduction of the pioneering French film magazine Cahiers du Cinema, offering a general overview of its objectives, goals, and ideology. It also presented the perennial question “What is film?” and “What is cinema?” – questions that continue to linger around many

(Response Paper) Ideology, Reality, and the Apparatus Film Theory with Jean-Louis Baudry

In response to: The Jean-Louis Baudry essay “The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema” from the Leo Braudy and Marshall Cohen book “Film Theory and Criticism: Introductory Readings” A response paper for my Advanced Film Theory and Criticism class In this essay “The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema,” French psychoanalytic film theorist Jean-Louis Baudry asserted that cinema is, by nature, ideological. This is because films are created to represent reality and the mechanics

(Response Paper) The Evolution of the Contemporary Film: From Reading Classical Narrative and Spectacle Cinema to Defying and Deconstructing Through Counter and Art Cinema

In response to: “Film Form and Narrative” from the book “Introduction to Film Studies” by Alan Rowe and Paul Wells A response paper for my Advanced Film Theory and Criticism class The core of cinema is telling stories. I always believe there is a story behind every work of art. There is a story in painting, music, sculpture, theater, and other forms of art. Each one has its own language. Each one has a different approach to telling a story. In the

(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) Looking Beyond the Vestiges of Film Language

In response to: “Film Language,” 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 From formalist to realist to post-structuralist approaches, starting with montage and moving further with psychoanalysis and the system of the suture, the chapter “Film Language” in the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohenpresented how different film theorists, through the decades, have paved way to

(Response Paper) Film as Art vs. Film as Mechanical Imitation of Reality with Rudolph Arnheim

In response to: “Rudolf Arnheim: From Film as Art – The Complete Film” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen Film theorist Rudolph Arnheim started this chapter entitled “Rudolf Arnheim: From Film as Art – The Complete Film” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen with a sort of warning saying, “the technical development of motion picture will soon bring the mechanical imitation of nature

(Response Paper) Sigfreid Kracauer’s Photographic Reality, Cinematic Illusion, and Everything Else in Between

In response to: “Sigfried Kracauer: From Theory of Film – Basic Concepts” 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 In this reading entitled “Sigfried Kracauer: From Theory of Film – Basic Concepts” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen, realist film theorist Sigfried Kracauer highlighted the crucial role of photography in the development of moving picture.

(Response Paper) Bela Balazs’ Physiognomy of Things: The Power of Close-up in Cinema

In response to: “Bela Balazs: From Theory of the Film – The Close-up” 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 Humans are curious creatures whose most dominant sense is sight. The art of looking beyond the ordinary allows people to discover the soul of things, and in the case of film, this happens through the use of shots. For Bela Balazs in this

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