Before there was film-editing software, there was old-school film editing using the Moviola and the Steenbeck. Before the dawn of non-linear editing suites where filmmakers started using computer software such as Avid, Final Cut Pro, Adobe Premiere, and Sony Vegas, editors used the Moviola or the Steenbeck, now referred to as "old school film editing machines." During their times, the use of these editing machines was required for any film shot in 8mm, 16mm, or 35mm film. Prior to the actual
Whether you come from film school or you have no formal background in filmmaking, deciding to start a filmmaking career is always a challenging, but fulfilling endeavor. Some intend to make films on the side, while maintaining their day jobs for financial stability and security. These are filmmakers who want to shoot films outside the mainstream system. Those who become successful in this film-making route are the ones usually seen in international film festivals and independent film screenings. While some jump
The film city of Busan, Korea paved way for another successful year for the prestigious Busan International Film Festival (BIFF) from Oct. 8 to 16, 2009. The Philippines, once again, made big waves in this year’s festival. In its 14th year, BIFF has truly evolved to become one of the most important film festivals that filmmakers, film professionals, cinephiles, and the general film audience look forward to every October. For this year, 355 films from 70 countries (a record number) were
Filmmaker in Focus (FFF) presents filmmakers Monster Jimenez, Jerrold Tarog, Dan Villegas, and Carl Chavez. This free and open-to-the-public webinar is an advocacy project spearheaded of my FLMKSAY (History of Philippine Cinema) class at the De La Salle-College of Saint Benilde, School of Design and Arts. https://youtu.be/cj0aP31eAxs Full video of the webinar https://youtu.be/cbOblIYavQs 19-minute edited version of the webinar https://youtu.be/ryyr0SbrZ-M 6-minute edited version of the webinar
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
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
In response to: “What is Criticism? (A Preliminary Dialogue)” and “The Critic as Artist and Vice Versa” in the book “Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth” by A. O. Scott A response paper for my Advanced Film Theory and Criticism class After reading “What is Criticism? (A Preliminary Dialogue)” and “The Critic as Artist and Vice Versa” in the book “Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth,” writer A.O.
This decade is the Second Wave of the Digital Revolution in film and TV — It’s time to evolve. I read this post, alongside the many news reports about the 2019 Academy Awards lobbying for the qualification of the Alfonso Cuaron film “Roma,” being a Netflix film with minimal theatrical release: https://www.insidehook.com/article/movies/reality-bite-for-steven-spielberg-netflix-isnt-the-enemy-its-elitism Theory of evolution; survival of the fittest. My take, if you don’t evolve, you risk yourself of dying a natural death that may be way sooner than you expect. The issue