Grade 10 Arts Q3

1. PRODUCTION
DIRECTOR
CAMERA
DATE SCENE TAKE
FILM
225 #2
05/22/2020
Necy Hope Palen

2. Another art form which has risen to
tremendous heights within the last
century is film or cinema. As its early
name “motion pictures” declared, film
brought yet another dimension into
play—that of moving images. The
possibilities of this medium created a new
art form that was to become a powerful
social and economic force, and a legacy
of the 20th century world.

3. Table of Contents.
A
Technology-
driven Art
Philippine
Filmmakers
Film Genres
Next
Lesson…
The
Collaborative
Art of
Filmmaking
Activity

4. A Technology-driven
Art

5. Did you know?
Cinema, just as all modern arts, has
been greatly influenced by
technology. In the case of cinema,
however, it is an art form that came
in the late 1800s with “series
photography” and the invention of
celluloid strip film. This allowed
successive still photos of a moving
subject to be compared on a strip of
film advancing a single camera.

6. Did you know?
The need to view these moving images led to the rise of the
Kinetoscope, a peepshow cabinet with an eyehole through which
these earliest “movie” could be viewed one person at a time. A motor
inside the cabinet moved the film strip along in a loop, with an electric
bulb providing one technological advancement after another. The
French developed the “cinematographe,” a handcracked camera,
printer, and projector all in one that lightweight enough to bring outside
the studio.

7. What is Kinetoscope?

8. Kinetoscope
Pandas don’t hibernate.
It is estimated that more than 50 million kangaroos live there. They are Australia’s
national symbol and appear on postage stamps, coins, and airplanes.
There are more kangaroos than humans in Australia.
Koalas don’t have much energy and, when not feasting on leaves, they spend
their time dozing in the branches. Believe it or not, they can sleep for up to 18
hours a day!
Koalas are even more lazy than cats.
When winter approaches, they head lower down their mountain homes to
warmer temperatures, where they continue to chomp away on bamboo!

9. The Kinetoscope is an early motion picture exhibition device. It was designed for films to
be viewed by one individual at a time through a peephole viewer window at the top of
the device. The Kinetoscope was not a movie projector but introduced the basic
approach that would become the standard for all cinematic projection before the advent
of video, by creating the illusion of movement by conveying a strip of perforated film
bearing sequential images over a light source with a high-speed shutter. First described
in conceptual terms by U.S. inventor Thomas Edison in 1888, it was largely developed by
his employee William Kennedy Laurie Dickson between 1889 and 1892.[1] Dickson and his
team at the Edison lab also devised the Kinetograph, an innovative motion picture
camera with rapid intermittent, or stop-and-go, film movement, to photograph movies
for in-house experiments and, eventually, commercial Kinetoscope presentations
This is where you section ends. Duplicate this set of slides as many times you need to go over all your sections.

10. The Kiss

11. What is filmmaking? Who are involve in filmmaking?
The Collaborative Art
of Filmmaking

12. The Collaborative
Art of Filmmaking
Filmmaking, because of its technical complexity, involves entire teams of artists, writers, and
production experts, supported by technicians taking charge of the cameras, lighting equipment,
sets, props, costumes, and the like all under the supervision of a film director

13. Film directing
– it is the director, like the painter and
sculptor in traditional art, who envisions the
final effect of the film on its viewers, visually,
mentally, and emotionally. While the painter
and sculptor work with physical materials,
the film director works with ideas, images,
sounds, and other effects to create this
unique piece of art. He/she conceptualizes
the scenes, directs the acting, supervises
the cinematography and finally the editing
and sound dubbing in much the same way
as a visual artist composes an artwork.
Clearly, however, the director does not do
all these alone.

14. Acting
Acting – first and foremost, there was
the art of acting for film. With live
theater as the only form of acting at
that time, film actors had to learn to
express themselves without the
exaggerated facial expressions and
gestures used on stage. With the
addition of sound in the 1930s, they
then had to learn to deliver their lines
naturally and believably.

15. Cinematography
– behind the scenes, there was
cinematography or the art of film
camera work. This captured the
director’s vision of each scene
through camera placement and
movement, lighting, and other
special techniques.

16. Editing
– this was joined by film editing, the art
of selecting the precise sections of film,
then sequencing and joining them to
achieve the director’s desired visual
and emotional effect. Sound editing
was also developed, as films began to
include more ambitious effects beyond
the dialogue and background music.

17. Production/Set design
– this recreated in physical terms –
through location, scenery, sets, lighting,
costumes, and props –the mental image
that the director had of how each scene
should look, what period it should depict,
and what atmosphere it should convey.
This included creating worlds that did not
exist as well as worlds that were long gone,
designing each production component
down to the very last detail.

18. Film Genres

19. Film Genres
The public response to motion pictures was
immediate and enthusiastic. From
makeshift nickelodeons (movie theaters
charging a nickel for entrance) in 1904 to
luxurious “dream palaces” for middle class
moviegoers by 1914, public showings of
movies were a big hit. With World War I over
and the establishment of Hollywood as the
center of American filmmaking in 1915, the
movie industry was on its way to becoming
one of the biggest and most influential of
the century. With financial success came
the rush to release more and more films, in
an ever-wider variety –leading to the many
film genres we know today.

20. Film directing
first there were the silent films
starring Charlie Chaplin, and the
“slapstick comedy” films of Buster
Keaton and later Laurel and Hardy.
With sound still unavailable, these
films relied on purely visual comedy
that audiences found hilarious.
Then, there emerged the gangster
movie genre as well as horror and
fantasy films that took advantage of
the sound technology that was
newly available at that time.

21. Philippine Filmmakers

22. In the Philippines film scene, the American influence
was evident in the pre-World War II and Liberation
years with song-and-dance musicals, romantic
dramas, and comedy films. Beginning with the
turbulent 1970s, however, progressive Filipino
directors emerged to make movies dealing with
current social issues and examining the Filipino
character.
This is where you section ends. Duplicate this set of slides as many times you need to go over all your sections.

23. Lino Brocka
Laurice Guillen
Marilou Diaz Abaya
Maryo J. delos Reyes
Brillante Mendoza

24. LINO BROCKA
Catalino Ortiz Brocka (April 3, 1939 –
May 21, 1991) is a Filipino film director.
He is widely regarded as one of the
most influential and significant Filipino
filmmakers in Philippine cinema history.
In 1983, he founded the organization
Concerned Artists of the Philippines
(CAP), dedicated to helping artists
address issues confronting the country.

25. Brocka was openly gay and he often
incorporated LGBT themes into his
films. He has directed landmark films
such as Tinimbang Ka Ngunit Kulang
(1974), Maynila sa mga Kuko ng
Liwanag (1975), Insiang (1976), Bayan
Ko: Kapit sa Patalim (1984),
andOrapronobis (1989). In 1997, he was
posthumously given the National Artist
of the Philippines for Film award for
"having made significant contributions
to the development of Philippine arts.

26. Brocka was openly gay and he often
incorporated LGBT themes into his
films. He has directed landmark films
such as Tinimbang Ka Ngunit Kulang
(1974), Maynila sa mga Kuko ng
Liwanag (1975), Insiang (1976), Bayan
Ko: Kapit sa Patalim (1984),
andOrapronobis (1989). In 1997, he was
posthumously given the National Artist
of the Philippines for Film award for
"having made significant contributions
to the development of Philippine arts.

27. Mike de Leon
– this recreated in physical terms –
through location, scenery, sets, lighting,
costumes, and props –the mental image
that the director had of how each scene
should look, what period it should depict,
and what atmosphere it should convey.
This included creating worlds that did not
exist as well as worlds that were long gone,
designing each production component
down to the very last detail.

28. Mike de Leon
– this recreated in physical terms –
through location, scenery, sets, lighting,
costumes, and props –the mental image
that the director had of how each scene
should look, what period it should depict,
and what atmosphere it should convey.
This included creating worlds that did not
exist as well as worlds that were long gone,
designing each production component
down to the very last detail.

29. Ishmael Bernal
– this was joined by film editing, the art
of selecting the precise sections of film,
then sequencing and joining them to
achieve the director’s desired visual
and emotional effect. Sound editing
was also developed, as films began to
include more ambitious effects beyond
the dialogue and background music.

30. LAURICE GUILLEN
Guillen studied at St. Theresa's College, Cebu City, earned an AB
English degree before finishing an MA in Communication at
Ateneo de Manila University, followed by a television production
course under Nestor Torre, in 1967. She then began work as an
actress, starring in productions of Mrs. Warren's Profession,
before crossing over to film and television work, playing a
seductress in Tinimbang Ka Ngunit Kulang, and Corazon Aquino
in the drama A Dangerous Life, In 2009 she accepted a role in the
indie filmKarera, her first role in an independent production. Other
credits include in the film Sister Stella L and Moral. However, it was
on television that she became a household name when she joined
the cast of "Flor de Luna" in 1978 as Jo Alicante, Flor de Luna's
temperamental step mother. She went on to portray the role until
the mid-80s when the show folded.

31. LAURICE GUILLEN
Guillen studied at St. Theresa's College, Cebu City, earned an AB
English degree before finishing an MA in Communication at
Ateneo de Manila University, followed by a television production
course under Nestor Torre, in 1967. She then began work as an
actress, starring in productions of Mrs. Warren's Profession,
before crossing over to film and television work, playing a
seductress in Tinimbang Ka Ngunit Kulang, and Corazon Aquino
in the drama A Dangerous Life, In 2009 she accepted a role in the
indie filmKarera, her first role in an independent production. Other
credits include in the film Sister Stella L and Moral. However, it was
on television that she became a household name when she joined
the cast of "Flor de Luna" in 1978 as Jo Alicante, Flor de Luna's
temperamental step mother. She went on to portray the role until
the mid-80s when the show folded.

32. Marilou Díaz-Abaya
Marilou Díaz-Abaya (March 30, 1955 –
October 8, 2012) was a multi-awarded
film director from the Philippines. She
was the founder and president of the
Marilou DíazAbaya Film Institute and
Arts Center, a film school based in
Antipolo City, Philippines. She was the
director of the 1998 film José Rizal, a
biographical film on the Philippines'
national hero.

33. Marilou Díaz-Abaya
Marilou Díaz-Abaya (March 30, 1955 –
October 8, 2012) was a multi-awarded
film director from the Philippines. She
was the founder and president of the
Marilou DíazAbaya Film Institute and
Arts Center, a film school based in
Antipolo City, Philippines. She was the
director of the 1998 film José Rizal, a
biographical film on the Philippines'
national hero.

34. Marilou Díaz-Abaya
Marilou Díaz-Abaya (March 30, 1955 –
October 8, 2012) was a multi-awarded
film director from the Philippines. She
was the founder and president of the
Marilou DíazAbaya Film Institute and
Arts Center, a film school based in
Antipolo City, Philippines. She was the
director of the 1998 film José Rizal, a
biographical film on the Philippines'
national hero.

35. Maryo J. de los Reyes
Maryo J. de los Reyes is a
film and television director
from the Philippines. He
began his career in the
1970s.

36. Maryo J. de los Reyes
Maryo J. de los Reyes is a
film and television director
from the Philippines. He
began his career in the
1970s.

37. Brillante Mendoza
Brillante Mendoza is a Filipino film
director. He was born and raised
in San Fernando, Pampanga. He
took Advertising Arts of the then
College of Architecture and Fine
Arts at the University of Santo
Tomas. He has directed sixteen
films since 2005

38. Brillante Mendoza
Brillante Mendoza is a Filipino film
director. He was born and raised
in San Fernando, Pampanga. He
took Advertising Arts of the then
College of Architecture and Fine
Arts at the University of Santo
Tomas. He has directed sixteen
films since 2005

39. Thank you!
Do you have any questions?
Necy Hope Antony

40. Activity 2
Film Group Project: “Moving Selfies”
1. Your teacher will divide the class into groups of eight to 10 students each.
2. Together with your group mates, arrange for access to at least one of any
of the following devices with video capabilities: a. a mobile with video camera
b. a tablet with video camera c. a digital video camera
3. As a group, choose a catchy tune or song of about two minutes in length.
4. On your own time outside of class hours, create with your group a series of
“video selfies” of yourselves with that tune as the background music.
5. Using a video editing program (as discussed in Quarter II), work together
to synchronize the video segments with the beat and lyrics of your chosen
song.
6. Save the finished video and turn it over to your Arts teacher for
safekeeping until it will be presented as part of the culminating exhibit.