Search results for: philippine cinema

Authors: Michael Kho Lim

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This paper examines the status of the film industry as an industry in the Philippines—where or how it is classified in the Philippine industrial classification system and how this positioning gives the film industry an identity (or not) and affects (film) policy development and impacts the larger national economy. It is important to look at how the national government recognises Philippine cinema officially, as this will have a direct and indirect impact on the industry in terms of its representation, conduct of business, international relations, and most especially its implications on policy development and implementation. Therefore, it is imperative that the ‘identity’ of Philippine cinema be clearly established and defined in the overall industrial landscape. Having a clear understanding of Philippine cinema’s industry status provides a better view of the bigger picture and helps us determine cinema’s position in the national agenda in terms of priority setting, future direction and how the state perceives and thereby values the film industry as an industry. This will then serve as a frame of reference that will anchor the succeeding discussion. Once the Philippine film industry status is identified, the paper will then clarify how cultural policy is defined, understood, and applied in the Philippines in relation to Philippine cinema by reviewing and analyzing existing policy documents and pending bills in the Philippine Congress and Senate. Lastly, the paper delves into the roles that (national) cultural institutions and industry organisations play as primary drivers or support mechanisms and how they become platforms (or not) for the upliftment of the independent film sector and towards the sustainability of the film industry. The paper concludes by arguing that the role of the government and how government officials perceive and treats culture is far more important than cultural policy itself, as these policies emanate from them.

Keywords: cultural and creative industries, cultural policy, film industry, Philippine cinema

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Authors: Amanda Julia Binay, Patricia Elise Suarez

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Female representation in media is an important subject in the discussion of gender equality, especially in impactful and influential media like film. As the Filipino film industry continues to grow and evolve, the need for analysis on Filipino female representation on screen is imperative. Additionally, there has been limited research made on female representation in the Philippine film scene. Thus, the paper aims to analyze the presence and evolution of female representation in Philippine cinema and compare the findings with that of American films to see how Filipino filmmakers hold their own against the standards of international movements that call for more and better female representation, especially in Hollywood. The participants selected were Filipino and American films released within the years 1975 to 2020 in five (5) year intervals. Twenty (20) critically acclaimed and highest-grossing Filipino films and twenty (20) critically acclaimed and highest-grossing Hollywood films were then subject to the Bechdel and Peirce tests to obtain statistical measures of their female representation. The findings of the study reveal that the presence of female representation in Philippine film history has been consistent and has continued to grow and evolve throughout the years, with strong female leads with vibrant characteristics and diverse stories. However, analysis of female representation regarding American films has shown an extreme lack thereof with more misogynistic, sexist, and limiting ideals. Thus, the study concludes that the state of female representation in Philippine cinema and film industry holds its own when compared to American cinema and film industry and even outperforms it in many aspects of female representation, such as consistent inclusion and depiction of multi-dimensional female leads and female relationships. Hence, the study implies that women’s consistent presence in Philippine cinema mirrors Filipino women’s prominent role in Philippine society and that American cinema must continue to make efforts to change their portrayals of female characters, leads, and relationships to make them more grounded in reality.

Keywords: female representation, gender studies, feminism, philippine cinema, American cinema, bechdel test, peirce test, comparative analysis

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Authors: Seyedeh Rozhano Azimi Hashemi

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There is no doubt that ‘Art’ is a social phenomena and cinema is the most social kind of art. Hence, it’s clear that we can analyze the relation’s of cinema and art from different aspects. In this paper sociological cinema will be investigated which, is a subdivision of sociological art. This term will be discussed by two main approaches. One of these approaches is focused on the effects of cinema on the society, which is known as “Effects Theory” and the second one, which is dealing with the reflection of social issues in cinema is called ” Reflection Theory”. "Reflect theory" approach, unlike "Effects theory" is considering movies as documents, in which social life is reflected, and by analyzing them, the changes and tendencies of a society are understood. Criticizing these approaches to cinema and society doesn’t mean that they are not real. Conversely, it proves the fact that for better understanding of cinema and society’s relation, more complicated models are required, which should consider two aspects. First, they should be bilinear and they should provide a dynamic and active relation between cinema and society, as for the current concept social life and cinema have bi-linear effects on each other, and that’s how they fit in a dialectic and dynamic process. Second, it should pay attention to the role of inductor elements such as small social institutions, marketing, advertisements, cultural pattern, art’s genres and popular cinema in society. In the current study, image of middle class in cinema of Iran and changing the role of women in cinema and society which were two bold issue that cinema and society faced since 1979 revolution till 80s are analyzed. Films as an artwork on one hand, are reflections of social changes and with their effects on the society on the other hand, are trying to speed up the trends of these changes. Cinema by the illustration of changes in ideologies and approaches in exaggerated ways and through it’s normalizing functions, is preparing the audiences and public opinions for the acceptance of these changes. Consequently, audience takes effect from this process, which is a bi-linear and interactive process.

Keywords: Iranian Cinema, Cinema and Society, Middle Class, Woman’s Role

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Authors: Raja Rodziah Binti Raja Zainal Hassan

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The development of Malaysian political cinema is rapidly taking shape in the local film industry. The paper focuses on the production of independent political documentary by two Malaysian filmmakers, Amir Muhammad and Fahmi Reza. Revolutionary cinema can be understood by utilizing the Third Cinema Theory in order to analyse the meaning and its impact on the audience. The issue surrounding the political cinema in Malaysia is the question of national identity. The implementation of racial or ethnic based politics has resulted in hostility within Malaysia’s multiracial society. Amir Muhammad and Fahmi Reza revisit the Malaysian political history through their films in order to understand the reasons behind the hostility and conflict.

Keywords: Political cinema, third cinema theory, revolutionary cinema, national identity, racial or ethnic politics

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Authors: Rhisan Mae Enriquez-Morales

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The primary concern of this study is to answer the question: How does the Philippine government formulate its foreign policy with respect to its territorial claims over areas in the West Philippine Sea after the Scarborough standoff in April 2012? Specifically, the study seeks to provide understanding on the political process in the formulation of foreign policy relating to the Philippine claims in the West Philippine Sea after the 2012 Scarborough Standoff, by looking into the relationship of bureaucracies and how it influences the decision-making process. Secondly, this study aims to determine the long and short term foreign policies of the Philippines with respect to its territorial claims over the West Philippine Sea. Lastly, this study seeks to determine the implication of Philippine foreign policy in settling the West Philippine Sea dispute on the country’s national security. The Bureaucratic Politics Model (BPM) in Foreign Policy Analysis (FPA) is the framework utilized in this study, which focuses primarily on the relationship of bureaucracies in the formulation of foreign policy and how these agencies influence the process of foreign policy formulation. The findings of this study reveal that: first, the Philippines foreign policy in the West Philippine Sea continues to develop to address current developments in the WPS. Second, as the government requires demilitarization there is a shift from traditional to non-traditional security approach. This shift caused inconvenience from the defense sector particularly the Navy thinking that they are being deprived of their traditional roles. Lastly, the Philippine government’s greater emphasis on internal security operation implies the need to reassess its security concerns and look into territorial security.

Keywords: bureaucratic politics model, foreign policy analysis, security, West Philippine sea

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Authors: Ebru Thwaites Diken

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This article analyzes the works of certain directors in Danish cinema, namely Susanne Bier and Lone Sherfig, in the context of transnationalisation of Danish cinema. It looks at how the films' narratives negotiate and reconstruct the local / national / regional and the global. Scholars such as Nestingen & Elkington (2005), Hjort (2010), Higbee and Lim (2010), Bondebjerg and Redvall (2011) address transnationalism of Danish cinema in terms of production and distribution processes and how film making trascends national boundaries. This paper employs a particular understanding of transnationalism - in terms of how ideas and characters travel - to analyze how the storytelling and style has evolved to connect the national, the regional and the global on the basis of the works of these two directors. Strategies such as Hollywoodization - i.e. focus on stardom and classical narration, adhering to conventional European genre formulas, producing Danish films in English language have been identifiable strategies in Danish cinema in the period after the 2000s. Susanne Bier and Lone Scherfig are significant for employing some of these strategies simultaneously. For this reason, this article will look at how these two directors have employed these strategies and negotiated the cultural boundaries and exchanges.

Keywords: danish cinema, transnational cinema, susanne bier, lone scherfig, national cinema

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Authors: Esra Ince

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As an important means of cultural transmission, cinema is an important resource for seeing cultural and social definitions, meanings and descriptions of people with disabilities. This study is aimed to reveal how disabled people are represented in the films selected from Turkish cinema. For this purpose, the films were examined with qualitative content analysis. The Goffmanian perspective was adopted in the study. The relationship between disability and stigma has been tried to be explained. How the disabled, which Goffman defines as a stigmatized group due to their differences, are represented in the cinema has been examined within the dramaturgy model. In the research, it was seen that the disabled characters took place in similar representations in different regions of dramaturgy. It has been seen that the films reinforce the negative discourse and behaviors by reflecting the prejudices, attitudes and behaviors in the society and continue to stigmatize disability.

Keywords: disability, Turkish cinema, Goffman, stigma

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Authors: Prachi Chavda

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The world, as of today, is smaller than it was for those who lived few decades ago. Internet, media and telecommunications have impacted the world like never before. Culture is the pillar upon which a society mushrooms. A culture develops with human creativity over the years and also by the exchange and intermixing of ideas and way of life across different civilizations and we can say that one of the influencing medium of exchange and intermixing of these ideas is cinema. Cinema has been the wonderful as well as important medium of communication since it has been emerged. Change is the thumb rule of life and so have been Indian cinema. As society has evolved from time to time so has the stories of Indian Cinema and its characters, hence it directly effects to the Indian culture as cinema has been very strong mediator for information exchange. The paper tries to discuss deeply how Indian cinema (reel life) and Indian culture (real life) has been influencing each other that results into a constant modification in both. Moreover, the research tries to deal with the issue with some examples that as a outcome how movies impact the Indian culture positively and negatively on culture. Therefore, it spreads the wave of change in cultural settings of society. The paper also tries to light the psychology of youth of India. Today, children and youth greatly admire the ostentatious materialistic display of outfits and style of the actors in the movies. Also, the movies bearing romanticism and showcasing disputatious issues like pre-marital sex, live-in relationship, homo-sexuality etc. though without highlighting them extensively have indeed inspired the commoners. Pros and cons always exist. Such revelation of issues certainly give a spark in the minds of those who are in their formative years and the effect of which is seen with the passage of time Thus, we can say that emergence of cinema as a strong tool of social change as well as culture as a triggering factor for transformation in cinema. As, a finding we can say that culture and cinema of India are influencing factors for each other. Cinema and culture are two sides of a coin, where both are responsible for evolution of each other.

Keywords: cinema, culture, influence, transformation

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Authors: Jose Marie E. Ocdenaria, Riceli C. Mendoza

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Culturally, languages meet, merge, share, exchange, appropriate, donate, and divide in and to and from each other. Further, this type of recurrence manifests in East Asian cultures, where language influence diffuses across geographical proximities. Historically, China has notable impacts on Japan’s culture. For instance, Japanese borrowed words from China and their way of reading and writing. This qualitative and descriptive employing contrastive analysis study addressed the true and false cognates of Japanese-Philippine languages and Chinese-Philippine languages. It involved a rich collection of data from various sources like textual pieces of evidence or corpora to gain a deeper understanding of true and false cognates between L1 and L2. Cognates of Japanese-Philippine languages and Chinese-Philippine languages were analyzed contrastively according to orthography, phonology, and semantics. The words presented were the roots; however, derivatives, reduplications, and variants of stress were included when they shed emphases on the comparison. The basis of grouping the cognates was its phonetic-semantic resemblance. Based on the analysis, it revealed that there are words which may have several types of lexical relationship. Further, the study revealed that the Japanese language has more false cognates in the Philippine languages, particularly in Tagalog and Cebuano. On the other hand, there are more true cognates of Chinese in Tagalog. It is the hope of this study to provide a significant contribution to a diverse audience. These include the teachers and learners of foreign languages such as Japanese and Chinese, future researchers and investigators, applied linguists, curricular theorists, community, and publishers.

Keywords: Contrastive Analysis, Japanese, Chinese and Philippine languages, Qualitative and descriptive study, True and False Cognates

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Authors: Lesley Karen Penera

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Despite the countless that has been drawn to investigate Philippine English for a myriad of reasons, none was known to have ventured on a probe of its grammatical features as used in a technology-driven linguistic landscape by two generations in the digital age. Propelled by the assumption of an emerging Philippine English variety, this paper determined the grammatical features that characterize the digital native-immigrants’ Philippine English. It also ascertained whether mistake or deviation instigated the use of the features, and established this variety’s level of comprehensibility. This exploratory mixed-methods inquiry employed some qualitative and quantitative data drawn from a social networking site, the digital native-immigrant group, and the comprehensibility-raters who were selected through non-random purposive sampling. The study yields 8 grammatical features, mostly deemed results of deviation, yet the texts characterized by such features were mostly rated with excellent comprehensibility. This substantiates some of the grammatical features identified in earlier studies, provides evidentiary proof that the digital groups’ Philippine English is not bound by the standard of syntactic accuracy and corroborates the assertion on language’s manipulability as an instrument fashioned to satisfy the users’ need for successful communication in actual instances for use of English past the walls of any university where the variety is cultivated. The same could also be rationalized by some respondents’ position on grammar and accuracy to be less vital than one’s facility to communicate effectively.

Keywords: comprehensibility, deviation, digital immigrants, digital natives, mistake, Philippine English variety

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Authors: Anna Camille V. Flores

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Comics in the Philippines has taken on many uses for the Filipino people. They have been sources of entertainment, education, and political and social commentaries. History has been witnessed to the rise and fall of Philippine comics but the 21^st century is seeing a revival of the medium and the industry. It is within this context that an inquiry about Filipino identity is situated. Employing the analytical framework of postcolonialism, particularly Homi K. Bhabha’s concepts of Hybridity and the Third Space, this study analyzes three contemporary Philippine comics, Trese, Filipino Heroes League, and Dead Balagtas. The study was able to draw three themes that represent how Filipinos inhabit hybrid worlds and hybridized identities. First, the third space emerged through the use of hybrid worlds in the comics. Second, (re)imagined communities are established through the use of intertextual signifiers. Third, (re)negotiated identities are expressed through visual and narrative devices such as the use of Philippine mythology, historical and contemporary contexts, and language. In conclusion, comics can be considered as Third Space where these identities have the agency and opportunity to be expressed and represented.

Keywords: comics, hybridity and third space, Philippine comics, postcolonialism

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Authors: Pongsawee Supanonth

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This study aims to investigate the consumer behavior and marketing mixed factor affect on consumer decision making for independent movies presented in Lido cinema. The research method will use quantitative research, data was collected by questionnaires distributed to the audience in the Lido cinema for 400 sample by accidental sampling technique. Data was analyzed by descriptive statistic including percentage, mean, standard deviation and inferential statistic including independent t-test for hypothesis testing. The results showed that marketing mixed factors affecting consumer decision-making for Independent movies presented in Lido cinema by gender as different as less than the 0.05 significance level, it was found that the kind of movie ,quality of theater ,price of ticket, facility of watching movies, staff services and promotion of Lido cinema respectively had a vital influence on their attention and response which makes the advertisement more attractive is in harmony with the research hypotheses also.

Keywords: consumer behavior, marketing mixed factor, resonance, consumer decision making, Lido cinema

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Authors: Ebru Thwaites Diken

Abstract:

This article analyzes the works of certain directors in Danish cinema, namely Susanne Bier and Lone Sherfig, in the context of transnationalisation of Danish cinema. It looks at how the films' narratives negotiate and reconstruct the local / national / regional and the global. Scholars such as Nestingen & Elkington (2005), Hjort (2010), Higbee and Lim (2010), Bondebjerg and Redvall (2011) address transnationalism of Danish cinema in terms of production and distribution processes and how film making trascends national boundaries. This paper employs a particular understanding of transnationalism - in terms of how ideas and characters travel - to analyze how the storytelling and style has evolved to connect the national, the regional and the global on the basis of the works of these two directors. Strategies such as Hollywoodization - i.e. focus on stardom and classical narration, adhering to conventional European genre formulas, producing Danish films in English language have been identifiable strategies in Danish cinema in the period after the 2000s. Susanne Bier and Lone Scherfig are significant for employing some of these strategies simultaneously. For this reason, this article will look at how these two directors have employed these strategies and negotiated the cultural boundaries and exchanges.

Keywords: transnational cinema, danish cinema, susanne bier, lone scherfig

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Authors: Frankie Burgos, Emely Munar, Conrado Basa

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This paper aimed at developing an artificial neural network (ANN) model specifically for the Philippine Stock Exchange index closing value. The inputs to the ANN are US Dollar and Philippine Peso(USD-PHP) exchange rate, GDP growth of the country, quarterly inflation rate, 10-year bond yield, credit rating of the country, previous open, high, low, close values and volume of trade of the Philippine Stock Exchange Index (PSEi), gold price of the previous day, National Association of Securities Dealers Automated Quotations (NASDAQ), Standard and Poor’s 500 (S & P 500) and the iShares MSCI Philippines ETF (EPHE) previous closing value. The target is composed of the closing value of the PSEi during the 627 trading days from November 3, 2011, to May 30, 2014. MATLAB’s Neural Network toolbox was employed to create, train and simulate the network using multi-layer feed forward neural network with back-propagation algorithm. The results satisfactorily show that the neural network developed has the ability to model the PSEi, which is affected by both internal and external economic factors. It was found out that the inputs used are the main factors that influence the movement of the PSEi closing value.

Keywords: artificial neural networks, artificial intelligence, philippine stocks exchange index, stocks trading

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Authors: Hasan Gürkan, Rengin Ozan

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Cinema, as a popular mass media tool, affects the general perception of the society against sexual identity. By establishing on interaction relationship with cinema and social reality, the study also tries to answer what the importance of lesbian identity in social life in films in Turkey is. This article focus on representing the description of the women characters who call their selves lesbian in Turkey cinema. The study tries to answer these three questions: First, how the lesbian characters are represented in films in Turkey? Second, what is the reality of the lesbian sexual identity in the films? Third, what are the differences and similarities between the lesbian characters in films in Turkey before 2000s and after 2000s? The films are analysed by the sociological film interpretation in this study. When comparing the films before 2000 and after 2000, it is possible to say that there have been no lesbian characters in many films. Especially almost all of the films (Haremde Dört Kadın, Ver Elini İstanbul, Dul Bir Kadın, Gramofon Avrat, Lola and Billidikid), during 1960s, just threw looks indirect the lesbian sex identity. Just in the films Düş Gezginleri, İki Genç Kız and Nar, the women character (also called them as lesbian) are the leading role and the plot of the films is progressing over these characters.

Keywords: cinema in Turkey, lesbian identity, representation, stereotype

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Authors: H. Kelkoul, Y. Zaz

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Nowadays, the vigorous popularity of video processing techniques has resulted in an explosive growth of multimedia data illegal use. So, watermarking security has received much more attention. The purpose of this paper is to explore some watermarking techniques in order to observe their specificities and select the finest methods to apply in digital cinema domain against movie piracy by creating an invisible watermark that includes the date, time and the place where the hacking was done. We have studied three principal watermarking techniques in the frequency domain: Spread spectrum, Wavelet transform domain and finally the digital cinema watermarking transform domain. In this paper, a detailed technique is presented where embedding is performed using direct sequence spread spectrum technique in DWT transform domain. Experiment results shows that the algorithm provides high robustness and good imperceptibility.

Keywords: digital cinema, watermarking, wavelet DWT, spread spectrum, JPEG2000 MPEG4

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Authors: Steffany Anne Poblador, Ruben Jr. Tagare

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The Philippine Education System is now undergoing transition as a result of the implementation of Republic Act 10533, commonly referred to as the Enhanced Basic Education Act. Since its implementation in 2013, researchers have been examining the initial impact of this transition; however, investigations into the gains and drawbacks of the Philippine Senior High School Sports Track Program based on teachers’ assessment were scarcely adequate. As a result, this research used a Qualitative Phenomenology Research Design to elicit information on the gains and drawbacks faced by these instructors. Focus group discussions, in-depth interviews, and extensive field observation were conducted with participants from selected schools in Cotabato Province. During the triangulation of the data, five (5) significant themes for gains and six (6) concerns from the research participants emerged. The findings were then used to provide recommendations for a more effective implementation of the Sports Track Program in the Philippine Senior High School program.

Keywords: teachers’ gains and drawbacks, Philippine K to 12 problems, K to 12 transition years, favorable experiences, phenomenology

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Authors: Nefeli Dimitriadi

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This paper aims to present immersive cinema where real actors are filmed and integrated in Virtual Reality environments and 360 cinematic narrative, in comparison to 360 filming of real actors and sets and to fully computer graphics animation movies with 3D avatars. Objectives: This reseach aims to present immersive cinema where real actors are integrated in Virrual Reality environments and 360 cinematic narrative as the future of immersive cinema. Meghdology: A comparative analysis is conducted between real actors filming combined with Virtual Reality sets, to 360 filming of real actors and sets, and to fully computer graphics animation movies with 3D avatars, using as case study Virtual Reality movie Neurosynapses and others. Contribution: This reseach contributes in defining the best practices leading to impactful Immersive cinematic narratives.

Keywords: virtual reality, 360 movies, immersive cinema, directing for virtual reality

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Authors: Jerico M. Consolacion, Maria Cynthia R. Oliveros

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The Philippine White Mallard duck was compared with Pekin duck for potential meat production. A total of 50 ducklings were randomly assigned to five (5) pens per treatment after one month of brooding. Each pen containing five (5) ducks was considered as a replicate. The ducks were raised until 12 weeks of age and slaughtered at the end of the growing period. Meat from both breeds was analyzed. The data were subjected to the Independent-Sample T-test at 5% level of confidence. Results showed that post-mortem pH (0, 20 minutes, 50 minutes, 1 hour and 20 minutes, 1 hour and 50 minutes, and 24 hours ) did not differ significantly (P>0.05) between breeds. However, Pekin ducks (89.84±0.71) had a significantly higher water-holding capacity than Philippine White Mallard ducks (87.93±0.63) (P<0.05). Also, meat color (CIE L, a, b) revealed that no significant differences among the lightness, redness, and yellowness of the skin (breast) in both breeds (P>0.05) except for the yellowness of the lean muscles of the Pekin duck breast. Pekin duck meat (1.15±0.04) had significantly higher crude fat content than Philippine White Mallard (0.47±0.58). The study clearly showed that breed is a factor and provided some pronounced effects among the parameters. However, these results are considered as preliminary information on the meat quality of Philippine White Mallard duck. Hence, further studies are needed to understand and fully utilize it for meat production and develop different meat products from this breed.

Keywords: crude fat, meat color, meat pH, water-holding capacity

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Authors: Carlos Guillermo Lloga Sanz, Maria del Carmen Tamayo Asef

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As an object of study in Cuban universities, cinema is still in its infancy. This is relevant considering the significance of cinema within the local political culture and its impact on countries of the region. Discussions about the medium have been carried out mainly in the field of film criticism. The objective of this article is to reflect on the divergences between film studies and film criticism taking into account formal and theoretical features and to explore the transcendence of this debate for the intellectual ambiance of the Island. Methodologically, the study relies on theoretical elaborations based on literature review and non-structure interviews with Cuban film critics and scholars. The study finds that the gradation proposed by the Anglo-Saxon tradition, where film studies are considered a “higher stage," compared to criticism and cinephilia, does not apply to the Cuban space. Instead, to assess the state of reflection on cinema in Cuba, it is essential to consider it a starry node traversed by epistemic, institutional, and geopolitical matrices.

Keywords: film studies, film criticism, Cuban cinema, Cuban film studies

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Authors: Günevi Uslu Evren

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Propaganda is one of the most effective methods for changing individual and mass opinions. Propaganda tries to get the message across to people or masses to effect rather than to provide objective information. There are many types of propaganda. Especially, political propaganda is a very powerful method that is used by states during in both war and peace. The aim of this method is to create a reaction against them by showing within the framework of internal and external enemies. Propaganda can be practiced by many different methods. Especially during the Cold War Era, the US and USSR have tried to create an ideological effect by using the mass media intensively. Cinema, which is located at the beginning of these methods, is the most powerful weapon to influence the masses. In this study, the historical process of the Cold War is examined. Especially, these propagandas that had been used by United States and The Soviet Union were investigated. The purposes of propaganda and construction methods were presented. Cold War events and relations between the US and the USSR during the Cold War will be discussed. Outlooks of two countries to each other during the Cold War, propaganda techniques used defectively during Cold War and how to use the cinema as a propaganda tool will be examined. The film "From Russia with Love, James Bond 007" that was filmed in Cold War were examined to explain how cinema was used as a propaganda tool in this context.

Keywords: cinema, cold war, James Bond, propaganda

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Authors: Dorsa Moayedi

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‘The Cities’ and Cinema have a history going as far back as silent films; however, the standards of picturing a city in a film are somewhat vague. ‘Genius Loci’ of a city can be easily described with parameters that architects have detected; nevertheless, the genius loci of an ‘urban movie’ is untouched. Cities have been among the provocative matters that pushed filmmakers to ponder upon them and to picture them along with their urban identity thoroughly in their artworks, though the impacts of the urban life on the plot and characters is neglected, and so a city in a movie is usually restricted to ‘the place where the story happens’. Cities and urban life are among those that are in constant change and ongoing expansion; therefore, they are always fresh and ready to challenge people with their existence. Thus, the relationship between the city and cinema is metamorphic, though it could be defined and explored. The dominant research on the idea of urbanism has been conducted by outstanding scholars of architecture, like Christian Norberg-Schulz, and the studies on Cinema have been done by theorists of cinema, like Christian Metz, who have mastered defining their own realm; still, the idea to mingle the domains to reach a unified theory which could be applied to ‘urban movies’ is barely worked on. In this research, we have sought mutual grounds to discuss ‘urbanism in cinema,’ the grounds that cinema could benefit from and get to a more accurate audio-visual representation of a city, in accordance with the ideas of Christopher Alexander and the term he coined ‘The Timeless Way of Building.’ We concentrate on movies that are dependent on urban life, mainly those that possess the names of cities, like ‘Nashville (1975), Manhattan (1979), Fargo (1996), Midnight in Paris (2011) or Roma (2018), according to the ideas of urban design and narratives of cinema. Contrary to what has often been assumed, cinema and architecture could be defined in line with similar parameters, and architectural terms could be applied to the research done on movies. Our findings indicate that the theories of Christopher Alexander can best fit the paradigm to study an ‘Urban Movie’, definitions of a timeless building, elaborate on the characteristics of a design that could be applied to definitions of an urban movie, and set a prototype for further filmmaking regarding the urban life.

Keywords: city, urbanism, urban movies, identity, representation

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Authors: Ace Mari S. Simbajon, Rhaella J. Ybañez, Mae G. Nadela, Cherry E. Sagun, Nera Mae A. Puyo

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This study determined the usability of the Philippine banknotes. An experimental design was used in the study involving twenty (n=20) randomly selected blind participants. The three aspects of usability were measured: effectiveness, efficiency, and satisfaction. It was found out that the effectiveness rate of the current Philippine Banknotes ranges from 20 percent to 35 percent which means it is not effective basing from Cauro’s threshold of average effectiveness rate which is 78 percent. Its efficiency rate is ranging from 18.06 to 26.22 seconds per denomination. The average satisfaction rate is 1.45 which means the blind are very dissatisfied. These results were used as a guide in making the proposed tactile codification using embossed dots or embossed lines. A round of simulation was conducted with the blind to assess the usability of the two proposals. Results were then statistically treated using t-test. Results show statistically significant difference between the usability of the current banknotes versus the proposed designs. Moreover, it was found out that the use of embossed dots is more effective, more efficient, and more satisfying than the embossed lines with an effectiveness rate ranging from 90 percent to 100 percent, efficiency rate ranging from 6.73 seconds to 12.99 seconds, and satisfaction rate of 3.4 which means the blind are very satisfied.

Keywords: blind, Philippine banknotes, tactile codification, usability

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Authors: Dustin Dill

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The physical movement of crossing over water points to both developing narrative tropes and innovative cinematography in World Cinema today. Two prime examples, Alamar (2009) by Pedro González-Rubio and Kaili Blues (2015) by Bi Gan, demonstrate how contemporary storytelling in a film not only rests upon these water shots but also emerges from them. The range of symbolism that these episodes in the story provoke goes hand in hand with the diverse filming sequences found in the respective productions. While González-Rubio decides to cut the scene into long and longer shots, Gan uses a single take. The differing angles depict equally unique directors and film projects: Alamar runs parallel to many definitions of the essay film, and Kaili Blues resonates much more with mystery and art film. Nonetheless, the crossing of water scenes influence the narratives’ subjects despite the generic consequences, and it is within the essay, mystery, and art film genres which allows for a better understanding of World Cinema. Tiago de Luca explains World Cinema’s prerogative of giving form to a certain type of spectator does not always line up. Given the immense number of interpretations of crossing water —the escape from suffering to find nirvana, rebirth, and colonization— underline the difficulty of categorizing it. If before this type of cross-genre was a trait that defined World Cinema in its beginning, this study observes that González-Rubio and Gan question the all-encompassing genre with their experimental shots of a universal narrative trope, the crossing of water.

Keywords: cinematography, genre, narrative, world cinema

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Authors: Krishnanunni S.

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The COVID-19 Pandemic has had an impact on every part of our lives, and the film industry is no exception. The restrictions the pandemic has brought made filmmakers confine their films to limited spaces. In India, Malayalam cinema was the first to incorporate the pandemic into its stories and started producing films within existing constraints. The purpose of this study was to study how the limited location storytelling concept influenced Malayalam independent and lockdown films. To answer this question, the three of the most popular films that we shot during the pandemic: The Great Indian Kitchen, Joji and Joyful Mystery, were dissected through text analysis and in-depth interviews were conducted with the makers of The Great Indian Kitchen and Joyful Mystery. The study revealed that the pandemic had had an influence on the way filmmakers visualize their stories and shoot them, especially while working within the restrictions of the pandemic. It was also observed that working with limited locations was the only way for filmmakers to make films during the times of pandemic. But rather than a hindrance to their work, filmmakers saw it as a new possibility to create in times of confinement. The findings of this study expanded the work of previous researchers about films shot in limited locations and the significant changes the pandemic has brought to the film industry.

Keywords: limited location storytelling, pandemic, pandemic restrictions, lockdown cinema, pandemic films, Malayalam cinema, OTT revolution, cinema, films

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Authors: Sanjay Ranade

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Traditional film theory assumes the cinema audience in a darkened room where cinema is projected on to a white screen, and the audience suspends their sense of reality. Shifts in audiences due to changes in cultural tastes or trends have been studied for decades. In the past two decades, however, the audience, especially the youth, has shifted to digital media for the consumption of cinema. As a result, not only are audiences watching cinema on different devices, they are also consuming cinema in places and ways never imagined before. Public transport often crowded to the brim with a lot of ambient content, and a variety of workplaces have become sites for cinema viewing. Cinema is watched piecemeal and at different times of the day. Audiences use devices such as mobile phones and tablets to watch cinema. The cinema viewing experience is getting redesigned by the user. The emerging design allows the spectator to not only consume images and narratives but also produce, reproduce, and manipulate existing images and narratives, thereby participating in the process and influencing it. Spectatorship studies stress on the importance of subjectivity when dealing with the structure of the film text and the cultural and psychological implications in the engagement between the spectator and the film text. Indian cinema has been booming and contributing to global movie production significantly. In 2005 film production was 1000 films a year and doubled to 2000 by 2016. Digital technology helped push this growth in 2012. Film studies in India have had a decided Euro-American bias. The studies have chiefly analysed the content for ideological leanings or myth or as reflections of society, societal changes, or articulation of identity or presented retrospectives of directors, actors, music directors, etc. The one factor relegated to the background has been the spectator. If they have been addressed, they are treated as a collective of class or gender. India has a performative tradition going back several centuries. How Indians receive cinema is an important aspect to study with respect to film studies. This exploratory and descriptive study looked at 162 young media students studying cinema at the undergraduate and postgraduate levels. The students, speaking as many as 20 languages amongst them, were drawn from across the country’s media schools. The study looked at nine film societies registered with the Federation of Film Societies of India. A structured questionnaire was made and distributed online through media teachers for the students. The film societies were approached through the regional office of the FFSI in Mumbai. Lastly, group discussions were held in Mumbai with students and teachers of media. A group consisted of between five and twelve student participants, along with one or two teachers. All the respondents looked at themselves as spectators and shared their experiences of spectators of cinema, providing a very rich insight into Indian conditions of viewing cinema and challenges for cinema ahead.

Keywords: audience, digital, film studies, reception, reception spectatorship

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Authors: Chona Gelani, Mylene Uy, Keisuke Yasuda, Emi Ohta, Shinji Ohta

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The marine environment is undoubtedly a rich source of diverse organisms that possess bioactive secondary metabolites with important pharmacological activities. Marine sponges have since been contributing a wide array of compounds of biomedical and pharmaceutical importance. This study is an attempt to contribute to the growing and advancing marine natural products research. It aims to evaluate the cytotoxicity of the hexane extract (H) from the Philippine marine sponges, Rhabdastrella globostellata (Rg), Callyspongia sp. (Calsp), Callyspongia aerizusa (Ca), Carteriospongia sp. (Carsp), and Cinachyrella sp. (Cisp) using the eggs of starfish, Asterina pectinifera, and sea urchin, Hemicentrotus pulcherrimus. Specifically, the cytotoxicity of the marine sponge hexane extract was determined through its inhibition of starfish and sea urchin embryonic development. After 24 hours, CarspH and RgH inhibited early gastrulation of sea urchin at a minimum concentration of 15.63 and 31.25 μg/mL, respectively. CalspH inhibited the early gastrulation of both sea urchin and starfish at 125 μg/mL, whereas CaH halted the morula of sea urchin and early gastrulation of starfish at 250 μg/mL. CispH exhibited relatively weak inhibitory activity on starfish embryogenesis but inhibited the early gastrulation of sea urchin at 250 μg/mL. The results obtained from this study were used as basis for the separation, isolation and purification of the component(s) of the hexane extracts from the five Philippine marine sponges.

Keywords: embryonic development, marine sponge cytotoxicity, Philippine marine sponges, sea urchin and starfish embryogenesis

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Authors: L. Dinco John Christian, C. Ramos Camille, C. Reyes Maria Eloisa

Abstract:

HIV/AIDS has been dubbed as one of the most stigmatised diseases of the recent century. Nelson Mandela pointed out that PLWHA (People Living With HIV/AIDS) are not killed by the disease, but by the stigma surrounding it. Despite the numerous studies on HIV/AIDS Stigmatisation globally, little is known about how evident and how powerful the media can be in framing the views of the readers when it comes to print in the Philippine context. This study dealt with a quantitative content analysis of HIV/AIDS-related news articles published by the top three broadsheets such as Philippine Daily Inquirer, Manila Bulletin and the Philippine Star in the span of one year. The HIV/AIDS-related news articles were collected and subjected to coding according to their tones, stigmatising statements/terminologies and news prominence. An analysis of the results had supported the researchers’ objectives (1) that there are different tones of HIV/AIDS-related news articles, (2) that there is a significant relation between the Stigmatizing Statements/Terminologies and the tone and that the (3) technical properties of HIV/AIDS related news articles determine the news prominence. Results revealed that despite the fact that the broadsheets were overtly reporting HIV/AIDS in Anti-Stigma-toned articles, they were covertly suggesting Stigma by the use of Stigmatising statements/terminologies present in it rather than plainly disseminating current medical knowledge about the transmission and treatments of the disease; the technical properties of the HIV/AIDS related news articles determined its prominence.

Keywords: HIV, AIDS, newspaper, content analysis

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Authors: Mariam Farah

Abstract:

With the beginning of the 21 century, female Arab directors entered the industry of cinema in Israel. Before their entrance, the Palestinian cinema, directed in Israel and in other places in the world, was defined as political-masculine cinema. The recent research wonders if the entrance of female directors to the Arab-Israeli cinema brings a new, feminist and un- common discourse, just like female directors movies in other cultures. The research also examines which gendered, social and political identities or statements do the Arab female directors reveal in their works, and what do they say about their real life? In order to get answers to the previous questions, the paper conducts a narrative comparative research between movies that was directed by female and male Arab-Israeli directors. The narrative research examines specific categories in each movie such as: main topic, women role, women appearance and women characteristics. The findings show that a new discourse replaces the political-masculine traditional discourse in the Palestinian cinema. Female Arab directors in Israel leave aside the main theme in Palestinian movies: the Israeli-Palestinian conflict, and replace it with new themes related to women lives and reality. Women in female directors movies are presented within non-traditional, empowering, and feminist identities: independent, strong, and active women.

Keywords: feminism, gender, women presentation, women roles

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Authors: Nidhi Patel, Amol Shinde, Amrin Moger

Abstract:

Mainstream Hindi cinema also known as Bollywood, is the largest film producing industry in India. The Indian film industry underwent a sea change since last few years. The industry adapted to the latest technologies and creative manpower to improve visual and cinematic effects. The changes helped the industry to improve its creative looks and ease on production budget. The research focuses on this very change, i.e. the use of VFX. There has been growing use of VFX in feature films. The primary focus is on how VFX can make a difference in the experience of watching a movie. The research examines the use of CGI/VFX in the narrative, which delivers a visually fulfilling film. It also focuses on the use of CGI/ VFX as a cost cutting tool. The research was exploratory in nature. It studies the industry’s evolvement, increment in its use by filmmakers and their intention to use it in their films. The researcher used qualitative method for data collection as an in-depth interview of 10 artists from VFX studios in Mumbai was conducted. The finding reveals the way VFX is used in Hindi cinema by the directors. The researcher learnt that VFX is majorly used as a tool to enhance creativity and provide the audience with creative viewing experience.

Keywords: Bollywood, Hindi cinema, VFX, CGI, technology, creativity, cost cutting

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