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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. -
Millennial Traversals Outliers, Juvenilia, & Quondam Popcult Blabbery ALSO by JOEL DAVID
UNITAS Millennial Traversals Outliers, Juvenilia, & Quondam Popcult Blabbery ALSO BY JOEL DAVID The National Pastime: Contemporary Philippine Cinema Fields of Vision: Critical Applications in Recent Philippine Cinema Wages of Cinema: Film in Philippine Perspective Book Texts: A Pinoy Film Course (exclusively on Amauteurish!) Manila by Night: A Queer Film Classic SINÉ: The YES! List of 100+ Films That Celebrate Philippine Cinema (with Jo-Ann Q. Maglipon; forthcoming) VOLUME 89 • NUMBER 1 UNITASSemi-annual Peer-reviewed international online Journal of advanced reSearch in literature, culture, and Society Millennial Traversals Outliers, Juvenilia, & Quondam Popcult Blabbery PART II: EXPANDED PERSPECTIVES Joel david since 1922 Indexed in the International Bibliography of the Modern Language Association of America Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery (Part II: Expanded Perspectives) Original Digital Edition Copyright 2015 by Joel David and Ámauteurish Publishing. All Rights Reserved. Cover still from Tiyanak, © 1988 Regal Films. All Rights Reserved. UNITAS is an international online peer-reviewed open-access journal of advanced research in literature, culture, and society published bi-annually (May and November). UNITAS is published by the University of Santo Tomas, Manila, Philippines, the oldest university in Asia. It is hosted by the Department of Literature, with its editorial address at the Office of the Scholar-in-Residence under the auspices of the Faculty of Arts and Letters. Hard copies are printed on demand or in a limited edition. Copyright @ University of Santo Tomas Copyright The authors keep the copyright of their work in the interest of advancing knowl- edge but if it is reprinted, they are expected to acknowledge its initial publication in UNITAS. -
Portraits of Youth in Philippine Films
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Portraits of youth in Philippine films Cruz, Isagani R. 1987 Cruz, Isagani R. (1987). Portraits of youth in Philippine films. In AMIC Seminar on Youth Culture and the Media : Bangkok, Aug 13‑15, 1987. Singapore: Asian Mass Communication Research and Information Centre. https://hdl.handle.net/10356/86233 Downloaded on 25 Sep 2021 21:21:05 SGT ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Portraits Of Youth In Philippine Films By Isagani R Cruz Paper No.7 ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library WORKING PAPER ONLY NOT FOR PUBLICATION \> ' [He* Portraits of Youth in Philippine Films Isagani R. Cruz, Ph.D. De La Salle University Manila, Philippines In classical literary theory, art was usually viewed as a mirror of reality. Modern literary theory has modified this classical view somewhat. It is today more customary to talk of art as a mirror in which people see themselves. Instead of merely passively reflecting reality, art is more often seen today as an active participant, or at least a catalyst, in the way people define themselves. In many ways, people behave according to the way art portrays them. ft Such theorizing, of course, is almost always couched in the impractical jargon of literary theory, which is today caught in the fashions of deconstructive and post—structuralist thought. For researchers more interested in the practical applications of ideas rather than the ideas themselves, however, this theorizing leads to a workable process of analysis that looks at reality through its symbols, rather than the other way around. -
Newsletter 01/12 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 01/12 DIGITAL EDITION Nr. 305 - Januar 2012 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 01/12 (Nr. 305) Januar 2012 editorial Hallo Laserdisc- und sten Mustervorführungen geschlossen. Um Ihnen DVD-Fans, waren bereits vielverspre- schon einen kleinen Vorge- liebe Filmfreunde! chend. Seien Sie also ge- schmack zu geben, haben spannt. Wir werden Sie na- wir auf dieser Seite schon Mit 86 prall gefüllten Seiten türlich rechtzeitig informie- mal das Teaser-Poster ab- heissen wir Sie ganz herzlich ren, sobald unser Projekt gebildet. willkommen zu unserem er- fertiggestellt ist. Denn dann sten Newsletter in unserem werden Sie den “Director’s In diesem Sinne – freuen Jubiläumsjahr 2012. Gerne Cut” auf unserer Website Sie sich mit uns zusammen hätten wir Ausgabe 305 (www.laserhotline.de) an- auf ein adrenalintreibendes schon wesentlich früher ins schauen können. Eine an- Jahr! Feld geschickt, doch wie es schließende Kinoauswertung halt immer so ist: Termine, ist übrigens auch nicht aus- Ihr Laser Hotline Team Termine, Termine. Dafür aber sieht die aktuelle Aus- gabe vom Umfang eher aus wie eine Doppelnummer – und das obwohl wir auf Grafik praktisch fast voll- kommen verzichtet haben. Aber Sie kennen ja unsere Einstellung: Information geht vor! Auch wenn Sie lange nichts mehr von uns gehört haben, so waren wir doch extrem fleissig. Denn um un- ser 20jähriges Jubiläum ge- bührend feiern zu können, haben wir mit der Produkti- on unseres ersten eigenen Films begonnen. -
V-Magazine-Issue-12-E-Mail.Pdf
V 1 V 2 V T h e No s t a l g i a Is s u e S e p t e m b e r 20 0 7 V Cover Story VT H E V I L M A • limang makulay M A G A Z I N E na dekada, Published quarterly by 18 - 23 Members of the four Vilma Santos e-groups. • Vi And Bot: Editor Sweet Love, Rendt Viray Sweet Sixteen, 24 - 25, 30 Contributing Writers: Jen Aquino Noel DeGuzman • Itinatampok Willie Fernandez Vilma Santos, Franco Gabriel 29 Mar Garces Kristine Lomeda Eric Nadurata Allan Trambulo Features Alfonso Valencia Contributing Photographer: Liam Tayag • total tv recall Photo Credits for (Multiply Exclu- Nostalgia Issue : sive): the show Jen Aquino for all seasons… Willie Fernandez 39 Eric Nadurata Nar Santander Alan Trambulo • first time, 41 Cover credits: Photo courtesy of Eric Nadurata, Graphic Design by Rendt Viray To meet the Vilmanians • now showing - around the globe, visit our Yahoo E-groups: bakasin mo sa • VISION gunita, 43 - 44 • Star For All Season • VSR • Vilma Santos Canada • Laban ni Sister Stella L Departments • e-mails from around the globe, 4 • galing sa Yahoo, 31 - 32 • editoryal, 5 • tula, 33, 45 • labo labo lababo, 6 - 7 • vision gallery, alan trambulo, 34 - 35 • access events, 8 - 9 & 14 - 15, 38 • tuhog, mario o garces, 36 - 37 • heaven!, eric nadurata, 10 - 11 • beyond bubly bunso, kristine lomeda, 42 • alam mo ba?, alfonso valencia, 12 - 13, • movie reviews, 46 40 • featured vilmanian, 48 - 49 • vits, 16 - 17 V writers: Kristine Lomeda and • scene, 50 Jen Aquino combine their names, • mini survey, noel deguzman, 26 - 28 you’ll get Kris Aquino - truly, a Vilmanian! 3 V “...truly, a labor of love...” {{ e - mails }} From Around the GLOBE - Jojo Terencio “sweet na sweet” Thanks so much for the 52 pages magazine! Was this the same V magazine that was intro- duced to the group about 2 years ago? I was surprised to learn that the magazine has evolved to be a very entertaining and very comprehensive magazine about Gov. -
Michelle Madrigal As Cathy and Bela Padilla As So Is There Really a Formula for Success? Just Middle-Aged Men
ittle anila L.M.ConfidentialAPRIL - MAY 2013 Magna Carta for the Poor Mission Impossible MANILA , Philippines - “Mission Impossible.” This was how President Aquino described the proposed Magna Carta for the Poor that he vetoed, as the government had no means to allocate around P3.3 trillion from the P2-trillion annual national budget to uplift the lives of the poor. The Chief Executive justified that he cannot give false hope to 95 million Filipinos, especially since the government is cash-strapped. President Benigno Aquino III has vetoed the Magna Carta for the poor, noting the absence of a provision which gives the government ample time to provide for basic demandable rights. MICHELLE “Let’s be merciful to government officials or employees who will be given this mission impossible and end up facing charges for failing to do the impossible. This is why I was forced to veto this law,” Aquino explained. The P3.3-trillion estimate that Madrigal Budget Secretary Florencio Abad gave the President does not even include the 10 percent administrative fees that will be needed for processing. “The P3.3 trillion also has a 10 percent administrative fee – the people who will process their applications for housing, Making her Mark supervision on the construction of houses, those who will distribute the food, etcetera,” Aquino said. In all, it will be P3.3 trillion plus roughly about with Love & Lies P300 billion “just to administer” the rights of the impoverished Filipinos, and in order for the program to be fully implemented. Aquino disclosed that the government has to spend around P600 billion for mass housing alone for the 26 percent of Filipinos who are living below the poverty line out of the 95 million total population. -
2016 YCC Citations Final
The Film Desk of the Young Critics Circle The 27th Annual Circle Citations for Distinguished Achievement 2016in Film for + SINE SIPat: Recasting Roles and Images, Stars,Awards, and Criticism Thursday, 27 April 2017 Jorge B. Vargas Museum University of the Philippines Roxas Avenue, UP Campus Diliman, Quezon City | 1 } 2 The 27th Annual CIrcLE CItatIONS for Distinguished Achievement in 2016Film for + SINE SIPat: Recasting Roles and Images, Stars, Awards, and Criticism 3 4 The Citation he Film Desk of the Young Critics Circle (YCC) first gave its annual citations in film achievement in 1991, a year after the YCC was Torganized by 15 reviewers and critics. In their Declaration of Principles, the members expressed the belief that cultural texts always call for active readings, “interactions” in fact among different readers who have the “unique capacities to discern, to interpret, and to reflect... evolving a dynamic discourse in which the text provokes the most imaginative ideas of our time.” The Film Desk has always committed itself to the discussion of film in the various arenas of academe and media, with the hope of fostering an alternative and emergent articulation of film critical practice, even within the severely debilitating culture of “awards.” binigay ng Film Desk ng Young Critics Circle (YCC) ang unang taunang pagkilala nito sa kahusayan sa pelikula noong 1991, ang taon pagkaraang maitatag ang YCC ng labinlimang tagapagrebyu at kritiko. Sa kanilang IDeklarasyon ng mga Prinsipyo, ipinahayag ng mga miyembro ang paniniwala na laging bukas ang mga tekstong kultural sa aktibong pagbasa, sa “mga interaksiyon” ng iba’t ibang mambabasa na may “natatanging kakayahan para sumipat, magbigay-kahulugan, at mag-isip .. -
Nora Aunor >>> Page 36
VILMA & NORA VILMARivalryRivalry no&no More!More!NOR A TaposTapos NaNa BaBa AngAng Labanan?Labanan? Nananahimik na ba kayo? Sawa na ba kayo sa mga awayan ang paggawa ng babasahin inyong binabasa ngayon. Hindi niya naisip na ang pagsusulat ko ay isang hobby. Isang out- at bangayan? Alam ko. Tulad mo wala na akong panahon let ng isang simpleng tagahanga. Bakit raw nagaaksaya ako makipagtalo. Tapos na ba ang labanan? Puedeng sabihin. ng panahon. Tulad ng ibang hobby kagaya ng panggagat- Sinong nanalo at sinong natalo. Kung ang pagbabasihan ay silyo o paghahardinero, ang pagsusulat ko’y nagdudulot ng ang career at family life malinaw na si Vilma ay nakaka- ligaya katulad ng kapag nakakabasa ako ng magagandang angat. Maging ang mga Noranians tulad nina Boy Abunda at bagay tungkol sa aking paboritong artista. Hindi niya mara- German Moreno ay pawang nagsasabi na napag-iiwanan na hil nakikita ito. Sa kabila nito nanatili ako sa pagsusulat at ang kanilang minamahal na si Nora. Sa mga ordinaryong paggawa ng babasahin hawak niyo. Tulad ng iba’t ibang tagahanga ni Nora hindi nila matatanggap kalian man na mga tagahanga ni Ate Guy at Ate Vi tapos na ang mga napag-iiwanan na nga ang kanilang idolo. Pilit nilang ibina- pakikipagdebate ko. Pinagdaanan ko na ito at ang libreng balik ang dekada sitenta kung saan malinaw na nilampaso ng oras ko ay ginugugol ko sa ibat ibang bagay tulad ng pag- bikolanang manganganta ang original Tondo girl na si Ate Vi. susulat. Kung sino ang mas sikat at kung sino ang mas ma- Pilit nilang ibinabalik ang kasikatan natapos na. -
Universidade Anhembi Morumbi Carolina De
UNIVERSIDADE ANHEMBI MORUMBI CAROLINA DE OLIVEIRA SILVA AUSENTES, VINGATIVAS, IRREVERENTES, INFANTIS: As personagens femininas na obra de Quentin Tarantino SÃO PAULO 2017 CAROLINA DE OLIVEIRA SILVA AUSENTES, VINGATIVAS, IRREVERENTES, INFANTIS: As personagens femininas na obra de Quentin Tarantino Dissertação de Mestrado apresentada à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Pós- Graduação em Comunicação, área de concentração em Comunicação Audiovisual da Universidade Anhembi Morumbi, sob a orientação do Prof. Dr. Rogério Ferraraz. SÃO PAULO 2017 Ficha catalográfica elaborada pela Biblioteca UAM com os dados fornecidos pelo(a) autor(a) S579a Silva, Carolina de Oliveira Ausentes, Vingativas, Irreverentes, Infantis: As personagens femininas na obra de Quentin Tarantino / Carolina de Oliveira Silva. - 2017. 194f. : il.; 30cm. Orientador: Rogério Ferraraz. Dissertação (Mestrado em Comunicação) Universidade Anhembi Morumbi, São Paulo, 2017. Bibliografia: f.180-192 1. Comunicação 2. Análise fílmica 3. Personagens femininas. 4. QuentinTarantino 5. Exploitation. 6. Pós-feminismo I. Título. CDD 302.2 CAROLINA DE OLIVEIRA SILVA AUSENTES, VINGATIVAS, IRREVERENTES, INFANTIS: As personagens femininas na obra de Quentin Tarantino Dissertação de Mestrado apresentado à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Pós- Graduação em Comunicação, área de concentração em Comunicação Audiovisual da Universidade Anhembi Morumbi, sob a orientação do Prof. Dr. Rogério Ferraraz. Aprovado em ----/-----/----- Prof. Dr. Rogério Ferraraz Profa. Dra. Laura Loguércio Cánepa Prof. Dr. Mauro Baptista Vedia RESUMO Esta pesquisa objetiva a compreensão das personagens femininas na obra do cineasta estadunidense Quentin Tarantino, a partir de um tipo de cinema extremamente influente na constituição de seu estilo: o exploitation das décadas de 1950-1970, em sua índole desafiadora de integração entre convenções e rupturas. -
Lino Brocka and the New Cinema of the Philippines
91 THE STRUGGLE OF THE OPPRESSED: LINO BROCKA AND THE NEW CINEMA OF THE PHILIPPINES THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Arminda V. Santiago, B.A., M.A. Denton, Texas August 1993 Santiago, Arminda V., The Struggle of the Oppressed: Lino Brocka and the New Cinema of the Philippines. Master of Arts (Radio, Television, Film), August 1993, 227 pp., appendix, bibliography, 115 titles. This study is an examination of Lino Brocka's development as a filmmaker of the New Cinema of the Philippines. It provides a close textual analysis of two recent Brocka films, Macho Dancer (1988) and Fight for Us (1989) using a sociocultural approach to the study of the representation of aspects of social reality and their relationship to contemporary Philippine society. The study is divided into six chapters: Chapter I contains the introduction to the study, Chapter II traces the development of Philippine cinema in relation to Philippine socio-political history, Chapter III describes the New Cinema film movement in the Philippines, Chapter IV provides a biographical sketch of Lino Brocka in which the development of his critical attitude, notions of social reality, and significant works are discussed, Chapter V contains the film analyses, and Chapter VI contains the conclusions to the study. ACKNOWLEDGMENTS The author would like to thank the following institutions and individuals for helping make this thesis possible: The Fulbright-Hays Scholarship Program of the United States Information Agency The Institute of International Education The Philippine American Education Foundation The Institute of Library Science, University of the Philippines The College of Mass Communication, University of the Philippines The Film Center, University of the Philippines The Filipiniana Section of the Main Library, University of the Philippines Professor Grace Javier Alfonso, University of the Philippines Professor Joel S. -
Newsletter 20/11 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 20/11 DIGITAL EDITION Nr. 303 - Dezember 2011 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 20/11 (Nr. 303) Dezember 2011 editorial Hallo Laserdisc- und DVD-Fans, liebe Filmfreunde! Alle Jahre wieder stehen nicht nur Tausen- de von unschuldigen Tannen in bundesdeut- schen Wohnzimmern und quälen sich Mil- lionen von Mitbürgern durch die restlos überfüllten Kaufhaustempel, um nutzlose Dinge zu kaufen, die sie – schön verpackt – unter die absterbende Tanne legen, nur bührend zu feiern, wird es gleich eine ganze um sie drei Tage später wieder in einem Reihe von 4K-Screenings geben. Das be- TRUE GRIT (2010) (OV) überfüllten Konsumtempel gegen einen deutet also, dass DCPs mit einer nativen 08.12. um 23.00 Uhr, anderen nutzlosen Gegenstand einzutau- Auflösung von 4K mittels des 4K- 10.12. um 15.00 Uhr schen. Zugegeben: dieser Blick auf die Projektors auf die gewölbte Cinerama-Bild- Weihnachtszeit hat nichts mit „Oh Du wand des großen Saals projiziert werden. THE DARK KNIGHT (OV) fröhliche!” zu tun, sondern ähnelt mehr Der dazugehörige unkomprimierte PCM 15.12. um 23.00 Uhr, einem Horrorszenario. Tatsache ist jedoch, 5.1 bzw. 7.1 Sound ist selbstverständlich. 17.12. um 15.00 Uhr dass sich dieses Szenario tatsächlich Jahr Und damit der auch richtig knackig klingt, für Jahr wiederholt. Lerneffekt gleich Null. wurde vor noch nicht allzu langer Zeit eine DER SOLIST (DF) vollkommen neue Audiotechnik installiert, Da haben es Filmfans wesentlich einfacher 22.12. -
PHILIPPINE FILM: 1961-1992 Filmmaking in the Philippines
PHILIPPINE FILM: 1961-1992 Filmmaking in the Philippines reached industry status in the decade of the 1950s. The total output of the various movie companies then in operation kept the two major outlets in Manila at that time—Life Theater on Quezon Boulevard in Quiapo and Cine Dalisay on Rizal Avenue in Santa Cruz—regularly supplied with new Tagalog films. The majority of the feature films were produced by four companies—Sampaguita, LVN, Premiere, and Lebran. Each of them had its own roster of stars and technicians and its own filming equipment and facilities to merit being called a studio. Break-up of the Studio System The “studio system” was characterized principally by long-term planning based on business goals set by the investors. As indicated by the full-page advertisements that usually made their appearance in the yearend issues of the movie magazines of the time, planning meant lining up a predetermined number and variety of film offerings for the entire forthcoming year, consisting of action pictures, melodramas, comedies, musicals, fantasy films, and whatever else was deemed appealing to a variegated audience. Under such a system, the audience was provided with alternatives. Not that the alternatives were severally stamped with quality as individual motion pictures. As a matter of fact, the studio system turned out mostly formula-oriented movies to ensure easy acceptability among audiences who were thought to be passive viewers seeking only to be entertained. Nevertheless, with four studios competing for the patronage of moviegoers, the array of film offerings was guarantee enough that the audience had a choice.