DOCSLIB.ORG

Catalogue 2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue 2010 EQUIPO CINES DEL SUR Director_José Sánchez-Montes I Relaciones institucionales_Enrique Moratalla I Directores de programación_Alberto Elena, Casimiro Torreiro I Asesores de programación_María Luisa Ortega, Esteve Riambau I Programador Transcine y cinesdelsur.ext_ ÍNDICE José Luis Chacón I Gerencia_Elisabet Rus I Auxiliar administración_Nuria García I Documentación Audiovisual Festival_Jorge Rodríguez Puche, Rafael Moya Cuadros I Coordinador Producción_Enrique Novi I Producción_Clara Ruiz Molina, Daniel Fortanet I Coordinadora de comunicación, difusión y prensa_María Vázquez I Auxiliares de comunicación, difusión y prensa_ Ramón Antequera, Anne Munzert, Ana Cabello, José Manuel Peña I Jefa de prensa_Nuria Díaz I Comunicación y prensa_Estela 7 Presentación_Welcome Hernández, Isabel Díaz, Neus Molina I Márketing_José Ángel Martínez I Publicaciones_Carlos Martín I Catálogo_Laura 11 Jurado 2010_Jury 2010 Montero Plata I Gestión de programación, tráfico de copias y material promocional_Reyes Revilla I Auxiliares de programación, tráfico de copias y material promocional_Zsuzsi Gruber, Frederique Bernardis I Relaciones con la industria_Nina Frese I Auxiliar relaciones con la industria_Bram Hermans I Relaciones públicas_Magdalena 19 PROGRAMACIÓN_Programming Lorente I Coordinador de invitados_Enrique Novi I Invitados_Marichu Sanz de Galdeano, Toni Anguiano I Asesor Consejería de Cultura_Benito Herrera I Protocolo_María José Gómez I Web_Enrique Herrera, María Vázquez I 21 Secciones Oficial e Itinerarios_Official and Itineraries Sections Coordinador de traducción e interpretación_Pedro Jesús Castillo Ortiz I Traducción e interpretación_Pedro 24 Sesión Inaugural_Opening Session Jesús Castillo, Alexis Weninger, Julie Boéri, José María Conde Benítez I Secretario Jurado Oficial_Adriana Fernández I Secretario Jurado NETPAC_Carles Civit I Imagen del cartel_Ángel Lozano I Diseño del premio_ 26 Sesión de Clausura_Ending Session Luis Jarillo I Cabecera_LZ Producciones I Comisario exposición : desbordamiento valdeomar_Centro 29 Sección Oficial_Official Section Guerrero I Comisario exposición Enfoques_Centro Andaluz de la Fotografía I Más Factor Humano_Antonio 51 Itinerarios_Itineraries José Millán I Voluntarios_José Ángel Martínez I Jefe técnico de proyecciones_José Antonio Caballero Soler I Equipo técnico de proyecciones_José Antonio Caballero Martín, José Domingo Raya, Carlos 67 Retrospectiva: Cuarenta años de cine filipino, 1970-2010_ Montes, Raúl Morales I Diseño_Catálogo > Ángel Lozano, Juan Gómez, Pauline Lozano, Juan González, Retrospective: Forty Years of Filipino Film, 1970-2010 José Alberto Rodríguez, Lucía Moreno I Subtítulos_Sublimage, Marta Lima, Manuel Soubiès, Nouchine Mote Bassem I Diseño Web_Catálogo I Gestión copias_Cayco I Depósito Legal_GR 2647-2010 95 Pantalla Abierta_Open Screen 99 Mediterráneos_Mediterranean EL LEGADO ANDALUSÍ 109 Netpac @ 20 Directora_Inmaculada López I Relaciones institucionales, internacionales y protocolo_ Juan Manuel Cid I Publicaciones_Inmaculada Cortés I Comunicación_Julia Saiz-Pardo I 115 Sesiones Especiales_Special Sessions Administración_Ana Ruiz Valera, Pilar López López, Inmaculada Pretel 117 > Homenaje a Jafar Panahi_Tribute to Jafar Pahani COMITÉ INSTITUCIONAL 121 > Memoria del Sur_Memories of the South Consejería de Cultura de la Junta de Andalucía 129 > Transcine Diputación de Granada 135 > Más Factor Humano_More Human Factor Ayuntamiento de Granada Patronato de la Alhambra y el Generalife 143 > Extraño Tanto Mar_Strange so Much Sea Universidad de Granada 151 > cinesdelsur.ext Textos_Centro Guerrero, José Luis Chacón, Alberto Elena, Nina Frese, Juan Guardiola, Carlos Martín, Antonio José Millán, Laura Montero, José Sánchez-Montes, Casimiro Torreiro 159 PUBLICACIONES_PUBLiCaTionS Agradecimientos_Ángel Aguilera, Cristina Álvarez, Pilar Aranda, Abbas Arnaout, Mª Dolores Asensio, Amal Badr, Fernando Bueno, Pablo G. Casado, Francisco 163 ACTIVIDADES PARALELAS_ParaLLEL aCTiViTiES Cuenca, Kim Dong Ho, Escuela Internacional de Protocolo, Javier H. Estrada, Jesús 165 Enfoques_Approaches Fernández, Fundación Euroárabe, Miguel Galadí, Enrique Gámez, Yolanda García Parrado, Juan Guardiola, Juan Güeto, Jesús Hidalgo, José Antonio Hurtado, 169 Cines del Norte, Cines del Sur_Cinemas of the North, Cinemas of the South Roberto López, Soledad López, Mariano Maresca, José Millán, Esaú Moreno 171 Southern Film Festivals Camacho, Nicolás Navarro, Enrique Ojeda, Jerónimo Páez López, Jaime Pena, 175 : desbordamiento de val del omar_: val del omar Overflow Mila Peregrín, Amal Ramsis, Ashley Ratnavibhushana, Manuela Reina, Ana Rejón, María Paz Rey, Nuria Rico, Moisés Salama, Domingo Sánchez Mesa, Manuela Santiago Martín, Rima Shermohammadi, Rosa Torres, Aruna 185 REGLAMENTO 2010_rEgULaTionS 2010 Vasudev, Elena Vilardell, Lucy Virgen, Sonia Ziadi, María Zumárraga 7 | PRESENTACIÓN WELComE PRESENTACIÓN PAULINO Plata Consejero de Cultura de la junta de andaluCía_Minister of Culture of the regional governMent of andalusia l Festival de Granada Cines del Sur, enciende he Granada Film Festival Cines del Sur is re- de nuevo sus proyectores para iluminar toda vving up its film projectors to illuminate the E la ciudad con luces y colores de mundos leja- T entire city with lights and colours from distant nos, pero cada vez menos desconocidos gracias a los worlds, places that may be far away from here but that efectos de la globalización. are better understood than ever before thanks to the effects of globalisation. La Junta de Andalucía mantiene un año más su apuesta por un proyecto que no entiende de fronte- The Regional Government of Andalusia has once ras ni distancias cuando se trata de hablar de arte, again offered its support to a project that knows no un proyecto hecho realidad gracias al apoyo de to- borders or distance when the subject at hand is art, a das las instituciones que colaboran con nosotros project that has been made possible by all the institu- con entusiasmo. tions that enthusiastically collaborate with us. En esta cuarta edición, volveremos a disfrutar de pelí- In this fourth edition, we will again enjoy films pre- culas inéditas que provienen de países que están fue- viously unseen in Spain that come from countries ra de los grandes centros de producción. Venidas de outside the large production centres. They come from Asia, África o América Latina, desgranan historias que Asia, Africa and Latin America, and they tell stories nos aproximan a vidas muy diferentes a las nuestras, that give us a glimpse of lives very different from our pero que tienen como eje los grandes temas comunes own, but that share the same essence, the central the- a todo ser humano. mes common to all humanity. Las secciones habituales del Festival se ven enriqueci- The Festival’s usual sections are enriched this year by das este año con una completa retrospectiva del cine a complete retrospective of Filipino film from the last 8 9 | | filipino de las últimas cuatro décadas. Además, el en- four decades. In addition, the meeting of Southern cuentro de la Plataforma de Festivales del Sur, las me- Film Festivals, roundtable discussions, seminars and sas redondas, los seminarios y los debates aportan una debates will contribute reflections that are increasin- reflexión especialmente necesaria en estos tiempos. gly necessary in our times. PRESENTACIÓN PRESENTACIÓN PRESENTACIÓN Esta propuesta de aunar cine y cooperación ha tenido The Festival’s blend of film and co-operation has been WELComE una magnífica acogida por parte del público en sus very favourably received by audiences in its first three tres ediciones iniciales. Con esta nueva entrega el editions. With this new edition, the event continues JOSÉ SÁNCHEZ-MONTES direCtor del festival de granada Cines del sur_direCtor of the granada filM festival Cines del sur certamen prosigue su proceso de maduración y se along its path to maturity and opens itself up to new abre a nuevos espacios, ofreciendo extensiones en la spaces, offering extensions in the province so as to provincia con objeto de incorporar más espectadores. reach more and more viewers. onsolidar un festival de cine es una tarea difí- aking a film festival strong is no easy task. cil. Siempre decimos que el Festival de Grana- We always say that the Granada Film Fes- En algunos países, ser cineasta puede convertirse en In some countries, filmmakers are at risk for wanting to C da Cines del Sur es todavía demasiado joven M tival Cines del Sur is still too young to feel un riesgo cuando se pretende ejercer la libertad con- exercise their freedom and talk about the difficulties faced para sentirse firme, aunque los datos nos dan muchos solid, although the figures give us plenty of reasons tando las penurias de los compatriotas o la opresión by their fellow countrymen or the oppression of reigning motivos para mantener la esperanza de situar definiti- to hope that this event will become a permanent event del poder. Andalucía ofrece en Cines del Sur un espa- powers. With Cines del Sur Andalusia offers a space for free- vamente este evento en el calendario de la ciudad y en on the city’s calendar and will be among the most im- cio de libertad y cultura, de diversidad y convivencia. dom and culture, for diversity and peaceful co-existence. el de los festivales de referencia internacional. portant international festivals. La asistencia de público, la programación, los pre- Audience attendance, programming, budget alloca- supuestos, los invitados, todos los años el ciclo se tions, special guests... with every new edition the cy-
Load more

Recommended publications
  • PATRIARCHAL STRUCTURES and PRACTICES in TURKEY: the CASE of SOCIAL REALIST and NATIONAL FILMS of 1960S
    PATRIARCHAL STRUCTURES AND PRACTICES IN TURKEY: THE CASE OF SOCIAL REALIST AND NATIONAL FILMS OF 1960s A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF THE MIDDLE EAST TECHNICAL UNIVERSITY BY HAT İCE YE Şİ LDAL ŞEN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF SOCIOLOGY OCTOBER 2005 Approval of the Graduate School of Social Sciences Prof. Dr. Sencer Ayata Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Assoc. Prof. Dr. Sibel Kalaycıo ğlu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Prof. Dr. Mehmet C. Ecevit Supervisor Examining Committee Members Prof. Dr. Kurtulu ş Kayalı (DTCF, Hist) Prof. Dr. Mehmet C. Ecevit (METU, Soc.) Prof. Dr. Yıldız Ecevit (METU, Soc.) Assoc. Prof. Dr. Filiz Kardam (Çankaya U. ADM) Assoc. Prof. Dr. Mesut Ye ğen (METU, Soc.) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Hatice Ye şildal Şen Signature : iii ABSTRACT PATRIARCHAL STRUCTURES AND PRACTICES IN TURKEY: THE CASE OF SOCIAL REALIST AND NATIONAL FILMS OF 1960s Ye şildal Şen, Hatice Ph. D., Department of Sociology Supervisor: Prof.
    [Show full text]
  • Xbox 360 Total Size (GB) 0 # of Items 0
    Done In this Category Xbox 360 Total Size (GB) 0 # of items 0 "X" Title Date Added 0 Day Attack on Earth July--2012 0-D Beat Drop July--2012 1942 Joint Strike July--2012 3 on 3 NHL Arcade July--2012 3D Ultra Mini Golf July--2012 3D Ultra Mini Golf Adventures 2 July--2012 50 Cent: Blood on the Sand July--2012 A World of Keflings July--2012 Ace Combat 6: Fires of Liberation July--2012 Ace Combat: Assault Horizon July--2012 Aces of Galaxy Aug--2012 Adidas miCoach (2 Discs) Aug--2012 Adrenaline Misfits Aug--2012 Aegis Wings Aug--2012 Afro Samurai July--2012 After Burner: Climax Aug--2012 Age of Booty Aug--2012 Air Conflicts: Pacific Carriers Oct--2012 Air Conflicts: Secret Wars Dec--2012 Akai Katana July--2012 Alan Wake July--2012 Alan Wake's American Nightmare Aug--2012 Alice Madness Returns July--2012 Alien Breed 1: Evolution Aug--2012 Alien Breed 2: Assault Aug--2012 Alien Breed 3: Descent Aug--2012 Alien Hominid Sept--2012 Alien vs. Predator Aug--2012 Aliens: Colonial Marines Feb--2013 All Zombies Must Die Sept--2012 Alone in the Dark Aug--2012 Alpha Protocol July--2012 Altered Beast Sept--2012 Alvin and the Chipmunks: Chipwrecked July--2012 America's Army: True Soldiers Aug--2012 Amped 3 Oct--2012 Amy Sept--2012 Anarchy Reigns July--2012 Ancients of Ooga Sept--2012 Angry Birds Trilogy Sept--2012 Anomaly Warzone Earth Oct--2012 Apache: Air Assault July--2012 Apples to Apples Oct--2012 Aqua Oct--2012 Arcana Heart 3 July--2012 Arcania Gothica July--2012 Are You Smarter that a 5th Grader July--2012 Arkadian Warriors Oct--2012 Arkanoid Live
    [Show full text]
  • PH Braces for Fuel Crisis After Attacks on Saudi Oil Facilities
    WEEKLY ISSUE @FilAmNewspaper www.filamstar.com Vol. IX Issue 545 1028 Mission Street, 2/F, San Francisco, CA 94103 Email: [email protected] Tel. (415) 593-5955 or (650) 278-0692 September 19-25, 2019 Elaine Chao (Photo: Wikimedia) VP Robredo faces resolution of her fraud, sedition cases Trump Transpo Sec. By Beting Laygo Dolor acting as presidential electoral tribu- by the Commission on Elections, which Chao under scrutiny Contributing Editor nal (PET) is expected to release the Marcos charged was an election taint- US NEWS | A2 decision on the vote recount of the ed with fraud and massive cheating. ANYTIME within the next week or 2016 elections filed by former sen- To prove his claim, Marcos so, Vice-president Leni Robredo can ator Ferdinand Marcos, Jr. against requested and was granted a manual expect a decision to be handed out in her. recount of votes in three provinces. two high-profile cases involving her. Robredo defeated Marcos by some TO PAGE A7 VP Leni Robredo (Photo: Facebook) In the first, the Supreme Court 250,000 votes based on the final tally ■ By Daniel Llanto FilAm Star Correspondent IN THE wake of the drone attacks on Saudi Arabia’s oil facilities, Foreign PH braces for fuel Affairs Sec. Teodoro Locsin Jr. said Riza Hontiveros (Photo: Facebook) the loss of half of the world’s top oil Divorce bill in producer is so serious it could affect the country “deeply” and cause the “Philip- crisis after attacks discussion at PH Senate pine boat to tip over.” PH NEWS | A3 “This is serious,” Locsin tweeted.
    [Show full text]
  • Philippine Humanities Review, Vol. 13, No
    The Politics of Naming a Movement: Independent Cinema According to the Cinemalaya Congress (2005-2010) PATRICK F. CAMPOS Philippine Humanities Review, Vol. 13, No. 2, December 2011, pp. 76- 110 ISSN 0031-7802 © 2011 University of the Philippines 76 THE POLITICS OF NAMING A MOVEMENT: INDEPENDENT CINEMA ACCORDING TO THE CINEMALAYA CONGRESS (2005-2010) PATRICK F. CAMPOS Much has been said and written about contemporary “indie” cinema in the Philippines. But what/who is “indie”? The catchphrase has been so frequently used to mean many and sometimes disparate ideas that it has become a confusing and, arguably, useless term. The paper attempts to problematize how the term “indie” has been used and defined by critics and commentators in the context of the Cinemalaya Film Congress, which is one of the important venues for articulating and evaluating the notion of “independence” in Philippine cinema. The congress is one of the components of the Cinemalaya Independent Film Festival, whose founding coincides with and is partly responsible for the increase in production of full-length digital films since 2005. This paper examines the politics of naming the contemporary indie movement which I will discuss based on the transcripts of the congress proceedings and my firsthand experience as a rapporteur (2007- 2009) and panelist (2010) in the congress. Panel reports and final recommendations from 2005 to 2010 will be assessed vis-a-vis the indie films selected for the Cinemalaya competition and exhibition during the same period and the different critical frameworks which panelists have espoused and written about outside the congress proper. Ultimately, by following a number PHILIPPINE HUMANITIES REVIEW 77 of key and recurring ideas, the paper looks at the key conceptions of independent cinema proffered by panelists and participants.
    [Show full text]
  • Kod-4000 Sort by Title Tagalog Song Num Title Artist Num
    KOD-4000 SORT BY TITLE TAGALOG SONG NUM TITLE ARTIST NUM TITLE ARTIST 650761 214 Luke Mejares 650801 A Tear Fell Victor Wood 650762 ( Anong Meron Ang Taong ) Happy Itchyworms 650802 A Wish On Christmas Night Jose Mari Chan 650000 (Ang) Kailangan Ko'y Ikaw Regine Velasquez 650803 A Wit Na Kanta Yoyoy Villame 650763 (He's Somehow Been) A Part Of Me Roselle Nava 650804 Aalis Ka Ba?(Crying Time) Rocky Lazatin 650764 (He's Somehow Been)A Part Of Me Roselle Nava 650805 Aangkin Sa Puso Ko Vina Morales 650765 (Nothing's Gonna Make Me) Change Roselle Nava 650806 Aawitin Ko Na Lang Ariel Rivera 650766 (Nothing's Gonna)Make Me Change Roselle Nava 650807 Abalayan Bingbing Bonoan 650187 (This Song) Dedicated To You Lilet 650808 Abalayan (Ilocano) Bingbing Bonoan 650767 ‘Cha Cha Cha’ Unknown 650809 Abc Tumble Down D Children 650768 100 Years Five For Fighthing 650188 Abot Kamay Orange&Lemons 650769 16 Candles The Crest 650810 Abot Kamay (Mtv) Orange&Lemons 650770 214 (Mtv) Luke Mejares 650189 Abot-Kamay Orange And Lemons 650771 214 (My Favorite Song) Rivermaya 650811 About Kaman Orange&Lemons 650772 2Nd Floor Nina 650812 Adda Pammaneknek Nollie Bareng 650773 2Nd Floor (Mtv) Nina 650813 Adios Mariquita Linda Adapt. L. Celerio 650774 6_8_12 (Mtv) Ogie Alcasid 650814 Adlaw Gai-I Nanog Rivera 650775 9 & Cooky Chua Bakit (Mtv) Gloc 650815 Adore You Eddie Peregrina 650776 A Ba Ka Da Children 650816 Adtoyakon R. Lopez 650777 A Beautiful Sky (Mtv) Lynn Sherman 650817 Aegis Rachel Alejandro 650778 A Better Man Ogie Alcasid 650190 Aegis Medley Aegis 650779 A
    [Show full text]
  • Brillante Mendoza
    Didier Costet presents A film by Brillante Mendoza SYNOPSIS Today Peping will happily marry the young mother of their newborn baby. For a poor police academy student, there is no question of turning down an opportunity to make money. Already accustomed to side profits from a smalltime drug ring, Peping naively accepts a well-paid job offer from a corrupt friend. Peping soon falls into an intense voyage into darkness as he experiences the kidnapping and torture of a beautiful prostitute. Horrified and helpless during the nightmarish all-night operation directed by a psychotic killer, Peping is forced to search within if he is a killer himself... CAST and HUBAD NA PANGARAP (1988). His other noteworthy films were ALIWAN PARADISE (1982), BAYANI (1992) and SAKAY (1993). He played in two COCO MARTIN (Peping) Brillante Mendoza films: SERBIS and KINATAY. Coco Martin is often referred to as the prince of indie movies in the Philippines for his numerous roles in MARIA ISABEL LOPEZ (Madonna) critically acclaimed independent films. KINATAY is Martin's fifth film with Brillante Mendoza after SERBIS Maria Isabel Lopez is a Fine Arts graduate from the (2008), TIRADOR/SLINGSHOT (2007), KALELDO/SUMMER University of the Philippines. She started her career as HEAT (2006) and MASAHISTA/ THE MASSEUR (2005). a fashion model. In 1982, she was crowned Binibining Martin's other film credits include Raya Martin's NEXT Pilipinas-Universe and she represented the Philippines ATTRACTION, Francis Xavier Pasion's JAY and Adolfo in the Miss Universe pageant in Lima, Peru. After her Alix Jr.'s DAYBREAK and TAMBOLISTA.
    [Show full text]
  • Expressions of Tagalog Imaginary the Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959)
    ISSN: 0041-7149 ISSN: 2619-7987 VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio p. AfricA . UNITAS Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) . VOL. 89 • NO. 2 • NOVEMBER 2016 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Expressions of Tagalog Imaginary The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Antonio P. AfricA since 1922 Indexed in the International Bibliography of the Modern Language Association of America Expressions of Tagalog Imgaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939–1959) Copyright @ 2016 Antonio P. Africa & the University of Santo Tomas Photos used in this study were reprinted by permission of Mr. Simon Santos. About the book cover: Cover photo shows the character, Mercedes, played by Rebecca Gonzalez in the 1950 LVN Pictures Production, Mutya ng Pasig, directed by Richard Abelardo. The title of the film was from the title of the famous kundiman composed by the director’s brother, Nicanor Abelardo. Acknowledgement to Simon Santos and Mike de Leon for granting the author permission to use the cover photo; to Simon Santos for permission to use photos inside pages of this study. UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November).
    [Show full text]
  • Kathryn Bernardo Winning Over Her Self-Doubt Bernardo’S Story Is Not Just All About Teleserye Roles
    ittle anila L.M.ConfidentialMARCH - APRIL 2013 Stolen Art on the Rise in the Philippines MANILA, Philippines - Art dealers and buyers beware: Criminal syndicates have developed a taste for fine art and, moving like a pack of wolves, they know exactly what to get their filthy paws on and how to pass the blame on to unsuspecting gallery staffers or art collectors. Many artists, art galleries, and collectors who have fallen victim to heists can attest to this, but opt to keep silent. But do their silence merely perpetuate the growing art thievery in the industry? Because he could no longer agonize silently after a handful of his sought-after creations have been lost KATHRYN to recent robberies and break-ins, sculptor Ramon Orlina gave the Inquirer pertinent information on what appears to be a new art theft modus operandi that he and some of the galleries carrying his works Bernardo have come across. Perhaps the latest and most brazen incident was a failed attempt to ransack the Orlina atelier Winning Over in Sampaloc early in February! ORLINA’S “Protector,” Self-Doubt stolen from Alabang design space Creating alibis Two men claiming to be artists paid a visit to the sculptor’s Manila workshop and studio while the artist’s workers Student kills self over Tuition were on break; they told the staff they were in search of sculptures kept in storage. UP president: Reforms under way after coed’s tragedy The pair informed Orlina’s secretary that they wanted to purchase a few pieces immediately and MANILA, Philippines - In death, and its student support system In a statement addressed to the asked to be brought to where smaller works were Kristel Pilar Mariz Tejada has under scrutiny, UP president UP community and alumni, Pascual housed.
    [Show full text]
  • Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
    List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.
    [Show full text]
  • Filipino Film-Based Instructional Plan for Pre Service Education Students
    International Journal of e-Education, e-Business, e-Management and e-Learning Filipino Film-Based Instructional Plan for Pre Service Education Students Leynard L. Gripal* University of the Philippines Diliman, Quezon City, Philippines. * Corresponding author. Tel.: 632 981 85 00 local 3404; email: [email protected] Manuscript submitted August 20, 2015; accepted December 15, 2015. doi: 10.17706/ijeeee.2016.6.1.56-70 Abstract: A Filipino film-based instructional plan was implemented in a pre service education class offered at a polytechnic college in Marikina City Philippines. Modified Dick & Reiser’s instructional plan and two films about Filipino school teachers were utilized in this study which is descriptive and quasi-experimental in nature. The qualitative measures include selection of film and effects of the created instructional plan. The quasi-experimental measures include implementation of the plan to the students. Simple student survey, post-survey of student’s feedback and focus group discussion feedback were used to analyze the study. The results stated that the films Munting Tining by Gil Portes and Mila by Joel Lamangan are good full length films that showed Filipino school teacher. A well-designed and –prepared Filipino film-based instructional plan that is based on the 1996 modified instructional plan by Dick & Reiser is a great aid in teaching pre-service education students. The created Filipino film-based instructional plan made impact to pre service education students. Key words: Dick & Reiser, Filipino film, instructional design, learning, teaching. 1. Introduction The ever changing technological environment renders interrelated and connected in a world. Communities, institutions and people including educators are challenged to answer to the call of globalization through various means, one of which is technology awareness.
    [Show full text]
  • 2013 Annual Report.Pmd
    CULTURAL CENTER OF THE PHILIPPINES ANNUAL REPORT 2013 TABLE OF CONTENTS I. Vision-Mission & Objectives II. The CCP III. Chairman’s Report IV. President’s Report V. Artistic Programs 1. Performances 2. CCP Resident Companies 3. Training and Education 4. Lessees 5. Exhibitions 6. Film Showings 7. Arts Festivals 8. Arts for Transformation & Outreach Programs VI. Arts and Administration 1. Administrative and General Services 2. Human Resource Management 3. Production and Exhibition Management 4. Cultural International Exchanges 5. Arts Education VII. Financial Summary and Analysis VIII. Organizational Chart IX. Board of Trustees and Key Officials VISION Art matters to the life of every Filipino MISSION Be the leading institution for arts and culture in the Philippines by promoting artistic excellence and nurturing the broadest publics to participate in art making and appreciation. OBJECTIVES Artistic Excellence. Create, produce and present excellent and engaging artistic and cultural experiences from the Philippines and all over the world. Arts for Transformation. Nurture the next generation of artists and audiences who appreciate and support artistic and cultural work. Sustainability and Viability. Achieve organizational and financial stability for the CCP to ensure the continuity of its artistic and cultural program and contribute to the flourishing creative industry in the Philippines. Human Resource Development. Develop a loyal, competent and efficient workforce towards fulfilling a vital role in the cultural institution. HISTORY The Cultural Center of the Philippines (CCP) is the premiere showcase of the arts in the Philippines. Founded in 1969, the CCP has been producing and presenting music, dance, theater, visual arts, literary, cinematic and design events from the Philippines and all over the world for more than forty years.
    [Show full text]
  • Hd-Sample Article
    HUMANITIES DILIMAN (JULY-DECEMBER 2013) 10:2, 85-105 T.R. Quiling Jr. Projecting Homes: Domestic Spaces in Three Filipino Films Tito R. Quiling Jr. University of the Philippines Diliman ABSTRACT The house is a fundamental space for a character’s consciousness, and this structure is a familiar image in Filipino films. This particular space as a setting in which the narrative and the characters are able to move in, is essential. This paper analyzes the influence of domestic spaces and the characteristics of home, which correspond to the characters’ consciousness and the narrative. These are presented in the selected films: Oro, Plata, Mata (1982) by Peque Gallaga, “Hellow, Soldier,” the second episode in Lino Brocka’s Tatlo, Dalawa, Isa (1975), and Kisapmata (1981) by Mike De Leon. The method for assessment consists of three parts: (1) the background in which the films are set, (2) the influence of the house using Gaston Bachelard’s notion of the house in The Poetics of Space (1994) as a framework, (3) and the behavior of the characters as portrayed in the films. The significance of domestic spaces to a character’s experience is illustrated in the selected texts. Keywords: Philippine cinema, domestic space, house, film, architecture INTRODUCTION Viewers go to movie theaters for entertainment, to distract themselves from the troubled tones of daily life. For the past 115 years, Filipinos have been going to the movies, fascinated by the lifelike images onscreen (Quirino 10). Alternatively, cinema lends itself to the formation of reality. Film productions are derived from everyday situations, which are either highlighted by their simplicity or greatly dramatized through the convincing performances of the actors.
    [Show full text]