This is a response paper to “On Poetics and Practice of Film Criticism in the Philippines – A Roundtable Discussion and Videos” published by the Plaridel Journal for my Advanced Film Theory and Criticism class.
Film scholar Joel David presented key issues hounding the arrested development of Pinoy film criticism in this article published by The Manila Review.
Indeed, Mr. Eric de Guia whom we dearly love as Kidlat Tahimik Jr. (because he said his son is the Sr.), lives up to the name he is best known for — two somehow contrasting but very powerful Filipino words rolled into one to create an even more powerful energy for its bearer.
This event entitled “CinePHlix,” features a Q&A with the filmmakers and a film forum about “the blurring line between cinema and television and the rise of online distribution.”
In celebration of the 100 years of Philippine Cinema, Filipino film workers organized the “Sandaan: Philippine Cinema Centennial Conference” at the University of the Philippines Film Institute (UPFI) and De La Salle-College of Saint Benilde (BenildeFilm) this September 2017.
I couldn’t agree more when someone said that more woman filmmakers should be included in the syllabi of academicians, whether in major subjects of film students or any related media subjects and electives, especially those of mass communication and communication arts students. Academic papers, journals, books, and even blogs and vlogs that are easily accessible by everyone, should be able to find many female names to feature.
Having been immersed in the Korean film industry through a film training program, I should say that the Koreans’ love for cinema is quite impressive.
In celebration of the Philippine International Arts Month, “Cinema Rehiyon: Alter Nativo,” is a four-day event that will feature short and full-length films created by regional filmmakers and is open to all audiences for free.