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The Future of Film through IMAX and Digital Cinemas: A sneak peek at James Cameron’s ‘Avatar’ and looking into the current digital cinemas in the Philippines

Experiencing “Avatar” is seeing the future of film technology right before my very eyes. The realms of CGI and 3D technology on this age of filmmaking are definitely starting to write their own history already. From the initial experimentations to the developing of the medium to the hype of the format, both the filming process and the theatrical playing field prove that the evolution of cinema technology is really revolutionizing our film experiences in various levels. Gone were the days when imagination

SM holds the Philippines’ 1st CINEXPO

The 1st CINEXPO held last Feb. 17 to 18, 2009 at the SMX Convention Center brought together movie industry companies, media partners, ad agencies, film professionals, and student organizations for the first ever cinema convention in the Philippines. The event opened the door to the discussion of the latest cinema trends and issues, networking and partnerships, and exhibition of films, various media products, and services. The CINEXPO featured the latest technological advances and the changingcurrents in cinema where film producers, production

Guide to making a story for your own silent movie project

Silent movies are regarded as pioneers in cinema history. These classic pieces don't have synchronized dialogue accompanying the visuals. Instead, the speaking lines are shown as muted gestures, pantomime, and text frames. Interestingly, some filmmakers still go back to the historical roots of cinema as they come up with their own silent film projects. They produce such works by following the distinctive elements typically seen in these early motion-picture offerings. Brief History The birth of cinema before the dawn of the

Cine Europa 16 promotes stronger European-Filipino ties

Now on its 16th edition, the annual Cine Europa Film Festival, once again, opens its doors to free public screenings of compelling European film titles for Filipinos. This year, the festival partners with the Film Development Council of the Philippines (FDCP) and the Independent Filmmakers' Cooperative (IFC) to create a more expansive cinema program for its ever-increasing audience. This two-month celebration of film and culture happens from September to October 2013 across the Philippines. It features 21 European films from 18

(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) 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) Film Semiotics in the Earlier Lens of Christian Metz

In response to: The chapter “Some Points in the Semiotics of the Cinema” from the book “Film Language: A Semiotics of the Cinema” by Christian Metz A response paper for my Advanced Film Theory and Criticism class Being not very much used to the way it approached its scientific methodology, particularly his semiotic approach to film studies, I found the chapter “Some Points in the Semiotics of the Cinema” from French film theorist Christian Metz’s seminal work “Film Language: A Semiotics of the

(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

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