Media and Information

Literacy
Quarter 2 – Module 7:
Producing Multimedia Content
Media and Information Literacy
Alternative Delivery Mode
Quarter 2 – Module 7: Producing Multimedia Content
First Edition, 2020

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Published by the Department of Education

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Development Team of the Module

Writers: Ronan DC. Vergara
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Layout Artist: Ren Mac Mac G. Motas
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Media and Information
Literacy
Quarter 2 – Module 7:
Producing Multimedia Content
Introductory Message
For the facilitator:

Welcome to the Media and Information Literacy – Grade 12 Alternative Delivery Mode
(ADM) Module on Producing Multimedia Content!

This module was collaboratively designed, developed and reviewed by educators both
from public and private institutions to assist you, the teacher or facilitator in helping
the learners meet the standards set by the K to 12 Curriculum while overcoming
their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration their
needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of
the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to manage
their own learning. Furthermore, you are expected to encourage and assist the
learners as they do the tasks included in the module.

ii
For the learner:

Welcome to the Media and Information Literacy – Grade 12 Alternative Delivery Mode
(ADM) Module on Producing Multimedia Content!

The hand is one of the most symbolized parts of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a learner
is capable and empowered to successfully achieve the relevant competencies and
skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in the
module.

What I Know This part includes an activity that aims to

check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.

What’s In This is a brief drill or review to help you link

the current lesson with the previous one.

What’s New In this portion, the new lesson will be

introduced to you in various ways such as a
story, a song, a poem, a problem opener, an
activity or a situation.

What is It This section provides a brief discussion of the

lesson. This aims to help you discover and
understand new concepts and skills.

What’s More This comprises activities for independent

practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.

What I Have Learned This includes questions or blank

sentence/paragraph to be filled in to process
what you learned from the lesson.

What I Can Do This section provides an activity which will

help you transfer your new knowledge or skill
into real life situations or concerns.

iii
 Assessment This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.

Additional Activities In this portion, another activity will be given

to you to enrich your knowledge or skill of the
lesson learned. This also tends retention of
learned concepts.

Answer Key This contains answers to all activities in the

module.

At the end of this module you will also find:

References This is a list of all sources used in developing

this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any part of the
module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are
not alone.

We hope that through this material, you will experience meaningful learning and
gain deep understanding of the relevant competencies. You can do it!

iv
 What I Need to Know

MOST ESSENTIAL LEARNING COMPETENCY

Analyze how the different dimensions are formally and informally produced,
organized, and disseminated

OBJECTIVES
After going through this module, you are expected to:
1. Discuss the stages of creating multimedia content;
2. Identify the factors considered in content creation;
3. Relate forms of media to relevant concepts.
 What I Know

Identify the three stages of multimedia production. Then classify the following steps
into their respective stages. Follow the format below.

User Testing Graphics designing Editing

Storyboarding Sound recording Creative briefing
Scriptwriting Shooting

STAGE 1 STAGE 2 STAGE 3

 Lesson
Producing Multimedia
1 Content
We have had a lengthy discussion of the different dimensions of media. This time
around, we will have shorter lessons in preparation for your final performance task.

Integration is the key concept for this lesson because we will now look into the
different dimensions of information and media as a whole and analyze them based
on some given standards. We will explore the process of creating content and
disseminating it through relevant platforms. Through these examples, we hope to
reach the expected goal of contributing meaningful content in social media, and to
realize this, we got to start planning now.

What’s In

Let’s review the different dimensions of media and information. Identify the
dimension most related to the items below. Write text, audio, visual, motion or
manipulative.

_____________ 1. Rubik cube _____________ 11. infographics

_____________ 2. truck _____________ 12. modelling clay
_____________ 3. hip hop beat _____________ 13. mp3
_____________ 4. script _____________ 14. century gothic
_____________ 5. photograph _____________ 15. AAC
_____________ 6. FLAC _____________ 16. zoom
_____________ 7. rule of thirds _____________ 17. rolling shot
_____________ 8. sans serif _____________ 18. haptics
_____________ 9. game app _____________ 19. ttf
_____________ 10. tilt _____________ 20. point of view

Are you positive that you will get a perfect 20 here? If you are in doubt, I suggest that
you review the previous lessons.
 What’s New

Prior to the discussion of our topic today, it is imperative that you must familiarize
yourself with the typology of media language. Understanding the definite end of your
discourse through mass media is of the essence to determine the rudiments of your
interpersonal correspondence.

Gets n’yo? O Malabo? Just think: if you’ll talk like that with your tropa in a party,
they’d think you’re possessed. Hirap e. May binabagayan ang salita. ‘Pag nagpost ka
sa FB at anlabo mo, asa ka pang magka-likes. Suwerte mo na pag naging meme ka.
Kung hindi, nganga ka lang dun.

Ito ay sa kadahilanang napakahalaga ng pagpili ng angkop na wika sa

pakikipagtalastasan, at upang masasabing tama ang iyong pagpili, kinakailangang
kilalanin kung sino ang makikinig sa iyong mga pahimakas.

Ok, enough of this. I guess you find it awkward to switch from technical English to
casual Taglish to formal Filipino, not this time when you well know that this module
is supposed to be in conversational English.

We cannot say that one language style is better than the other. It all depends on who
is at the other end of the conversation line. What good would it do to be as eloquent
as Shakespeare or as endearing as Huseng Sisiw, when we are talking to toddlers
who befriend Barney and Dora? Media content may be formal or informal, exclusive
or universal and this must be reflected on the different media components of your
content. We cannot say that one is better than the other, as they are of equal footing.
Formal media like webinars, newscasts, textbooks, documentaries, and the like are
as important as their informal counterparts, like vlogs, video games, texting, and TV
variety shows. What matters is that the content must have the ability to connect to
the defined audience and serve its purpose.
 What is It

What’s Cooking?

The process of producing media content, whether traditional or new, is long and
tedious. Take for instance the actual process of writing distance learning modules: it
takes hundreds and even thousands of man hours to plan, write, illustrate, layout,
review, edit, review, reedit, finalize, and print one learning module before it is packed
and handed to learners. After that, more time is needed for the users to read the
materials and give feedback to the publishers, who will then find means to enhance
content for further use. Indeed, the quest for quality content is practically endless.

I tried Googling the phrase “how to produce good media content” in search of a good
material to share, and I ended up seeing dozens of articles to choose from. I
encourage you to check out those websites if you have available internet connection,
but in case you don’t, here are factors to consider in producing a good content.

1. Establish your THESIS STATEMENT

This may look like a piece of your Practical Research subject but establishing
the thesis statement is the first concern of any storyteller. Every content has
a story, even if it is not text based. The content is the message the source
wishes to inform the audience, and this must be clear at the very start. Before
creating a content, think first: what message do I want to impart to my
audience?

2. Know your AUDIENCE

These are the people you are conversing with through your work. Identify their
preferences, their level of understanding, their biases, their manner of
thinking. For instance, there are a hundred and one strategies of creating an
instructional material in science, but the strategies are reduced and organized
if you give focus to a particular group, say for instance Grade One pupils,
which obviously do not have the level of understanding of senior high school
students.

3. Determine your PURPOSE

Once you have identified your audience, you must determine the purpose why
you are producing a content. Do you want to entertain, teach, correct wrong
perceptions, call somebody’s attention, advertise, make an appeal, etc.? You
 may combine purpose, for instance, your content may be entertaining and at
the same time, informative; you may advertise a product and call the attention
of your audience about a certain social issue. However, if you are dealing with
a simple or short content, limit your purpose to one or two, or you might end
up presenting a hodge-podge of ideas and confuse your audience.

4. Choose your STYLE

What will be your approach in relaying your content? Definitely, you must be
guided by the profile of your audience and the nature of your platform. Decide
on the genre that you will employ. Would you go for an academic discussion
or a storytelling session? Would you relay your song through hip hop or
through rock? Would your audience find infographics more appealing than
comic strips? Is face-to-face focus group discussion already allowed, or would
a discussion via Zoom more feasible? Would a short narrative film be better
than a documentary? Check the platform through which you will
communicate with them. Does your audience rely heavily on social media for
information? What app do they access most? In case your audience do not
have access to new media, what traditional media do they prefer most?

5. Think of an INNOVATION

Today’s generation is always in search for novelties – things they have never
seen before and ideas that are fresh and new. Back in New Year’s Eve 2000,
when all nations attempted to celebrate the new millennium with a
tremendous twist, performers from Australia performed an extraordinary
production number right on top of the Sydney Opera House. That was a new
sight to behold, very apt for the turn of the century. As you plan your work,
think of new possibilities. Open new doors; think out of the box.

6. Decide your LANGUAGE

A person’s foreign language hits the mind; his or her native language hits the
heart. Would you rather stimulate the thinking of your audience, or would you
want your content to be heartfelt? But then, a common language spoken by a
vast majority across nations would ensure maximum understanding. Would
you go for this idea?

7. Explore other OPTIONS

Is a single medium enough for you to inform, or would multimedia help in

gaining wide audience? Remember that media convergence is a trend. If you
follow a certain vlogger, you will notice that aside from YouTube, he or she will
use Facebook, Instagram and TikTok as alternative content platforms, some
even publish books, appear on TV and speak over the radio. Do you intend
your content to be delivered that way also?
 8. Think of what others can GIVE back.

This is not about getting paid for your work; this is all about the effect on your
audience upon viewing your content. Consider this: netizens will not shower
you with emojis just because there is a button available to react. They will do
so because they appreciate the message you wish to convey. Consider yourself
as an advocate of change for the community and for the world through your
content.

So what’s cooking? Get the first letter of the words in all caps and you will get…
TAPSILOG! I hope the code will help you remember the concepts that you can use as
you plan for your project. Remember: for you to ensure reaching your communication
goals, you must strategize.

The U.S. Agency for Healthcare Research and Quality (AHRQ) Effective Healthcare
(EHC) continuously fund research to improve information dissemination of their
health advocacies. In one of their research, AHRQ and EHC were able to come up
with four effective communication techniques (2012). Below is the table of the
techniques and their corresponding effectiveness.

Technique Definition Observations

Tailoring the Communication Tailored communication delivered
message designed for an via print or the Internet is more
individual based on effective than nontailored
information from the communication in increasing
individual. knowledge and changing behavior.
Effect sizes can vary based on
length of follow-up, variables
tailored, type of behavior,
population studied, and number of
intervention contacts.
Targeting the Communication Communication that is targeted to
message to designed for audience segments is a strategy
audience segments subgroups based on used to make information more
group membership or relevant based on group
characteristics such membership characteristics.
as age, gender or sex, Characteristics can be determined
race, cultural by role, demographic, or social
background, psychological variables. Meta-
language, and other analysis shows its practice is more
“psychographic” common in large-scale
characteristics such communication efforts due to its
as a person’s potential effectiveness.
attitudes.
Using narratives Communication Narrative forms of communication
delivered in the form increase information processing
 of a story, and increase the persuasiveness of
testimonial, or messages; people become
entertainment transported into a situation that
education. can enhance emotions, attitudes,
and behaviors.
Framing the Communication that Messages framed as emphasizing
message conveys the same the benefits of preventive action are
messages in alternate significantly better than loss-
ways (e.g., what is framed messages, although the
gained or lost by difference is small.
taking an action or
making a choice).

What’s More

Stages of Production in Multimedia

After all that has been discussed, we are just in step one. This goes to show that
careful planning is the key, not just to achieve our set communication goals, but also
to facilitate our production process. You don’t want to end up with useless materials
at the end of your production, do you?

Basically, production of multimedia has three stages, pre-production, production

and post-production. If you are a creator, you must pass through these stages to
ensure the quality of your content and maximize your time and resources.

Smith (2019) explained the stages of production in multimedia in the context of small
business. The six steps she enumerated are practical because it is close to what you
can actually do, given all the limitations that we have. As you read along, consider
the situation of content creators working for a client.

Pre-Production Stage
1. Planning Meeting

This kicks-off the multimedia production process. The main goal of this stage
is to unify the project team members in a common vision for the project and
to lay out the lines of action each member must do.

2. Creative Brief and Script Writing

 A creative brief is a short, yet detailed summary of a company’s background
and the campaign goals it aims to achieve (Turits, 2019). This may be used
for any type of project and may serve as a blueprint for all creative content
projects needed.

Since most multimedia projects entail a story, scriptwriting comes next in the
process. A good script will serve as an outline for content creators to convey
the prescribed message to the specified audience within the definite time.
Scripts may be full detailed or may come in the form of sentence outline.

3. Storyboarding to Tie the Elements Together

The ideas laid out in a script needs to be concretized through images and
sound. Thus, to accomplish this, content creators need a story board.

A storyboard is a visual
representation of a film
sequence and breaks down
the action into individual
panels. It sketches out how a
video sequence will unfold. A
storyboard is similar to a
trial-run for your finished
film, video, or commercial,
laid out in a comic book-like
form. (Studiobinder, 2019)

A storyboard panel for a

scene includes a sketch of the
visual elements, the voiceover
or title text, and any
production notes. It guides
"Storyboard" by FngKestrel is licensed under CC BY-NC-ND 2.0
the process, keeps everyone in
check and gives structure to
the project. (Smith, 2019)

Production Stage

4. Production and Designing the Visual Aspects

During the design stage, designers take over the visual aspects of the project
to determine how it looks and feels. Aided by the storyboards, the production
staff create graphics, shoot photo stills or videos, record sound, and collect all
necessary images. Design is always done with an eye toward the audience.
(Smith, 2019)

In my team’s experience in making short films, proper planning results to a

well-executed production stage, allowing us to economize our time and
resources in the process. Documentaries normally take a longer time for
shoots, because the script only serves as guidelines and the creators rely on
actual, unrehearsed and spontaneous footage that characterizes the
documentary genre.
Post-Production Stage

5. Review and Editing

This is also called the post-production stage, and it is the most complex of the
multimedia development process. All the sound and visual components are
combined in a logical sequence. Editing a one-minute content can even take
hours depending on the requirements specified in the storyboard. Creators
who specialize on same-edit videos such as those done in weddings and other
social occasions need intensive planning and technical preparations to
produce the required product. The client always has the final say on the look
of the content, that is why rounds of client review and editing may also
happen.

6. User Testing

During this stage, test members of the audience use the multimedia piece
while team members observe. Depending on the goals of the project, the staff
might observe users' reactions or have them answer questions to see if the
project hits the right marks. After user testing, there are usually further
adjustments to the project. Once the team and clients are satisfied, the project
goes out for distribution.

For instance, the children’s TV show

“Sesame Street” has been a proponent
of early childhood development
worldwide, and many countries have
obtained franchise for this show to
come up with their national versions,
like “Batibot,” its Filipino counterpart,
which came out in the 1980s. Before
airing an episode, the producers must
test it with a group of preschoolers to
gauge its formative aspect. As a result,
stories and characters change, such as
Cookie Monster, the character to eats
anything. To educate preschoolers on
healthy eating habits, episodes were
created under the “Healthy Habits for
Life” curriculum, with Cookie Monster "Cookie Monster Avatar" by @NonprofitOrgs is licensed
learning about “sometimes food” and under CC BY 2.0
“anytime food” (Merrill, 2019).
 What I Have Learned

Although multimedia is almost synonymous to new or digital media. The process

discussed above applies to al media conventions. For this exercise, we will be using
traditional media content.

Let us work on the first three things to consider in preparing a creative content: TAP
(thesis statement, audience, purpose).

Analyze these two posters and answer the following.

POSTER A
"[title is removed]" by Original:
DenitzaTchacarova Derivative: ‫ باسم‬is licensed
under CC BY-SA 2.0

1. What is the thesis statement?

2. Who are the main audience of this

poster?

3. What do you think is the purpose of

this poster?

POSTER B
"We Can Do It! Poster" by DonkeyHotey is
licensed under CC BY 2.0
1. What is the thesis statement?

2. Who are the main audience of this

poster?

3. This poster was first released during

the Second World War to boost the
morale of women factory workers, but
this remains popular until today.
What is the purpose of this poster
that remains relevant up to the
present times?
 What I Can Do

View these screenshots of the 2014 National Council for Children’s Television (NCCT)
Sine Pambata Film Festival awardee for Best Story and Best One-minute Video,
“Robot ang Tatay Ko,” and read its narrative under each frame. Then, answer the
questions that follow. If you have internet connection, you may view this video
through this link:

https://www.youtube.com/watch?v=kFapLoC9MtM

ROBOT ANG TATAY KO

A. (INTRO MUSIC) B. Siya ang tatay kong hindi ordinaryo.

C. Kapag nagagalit, nagiging robot na D. Pati si Nanay, na may super powers

macho. Takot sa kanya ang mga din, dahil sa lakas ni Tatay, hindi siya
kapitbahay… umaaray. At ang balat niya, nagbabago
ang kulay sa bawat hataw at aray.
E. Sabi niya sa akin, tiis-tiis na lang.
Balang araw, lalabas din daw ang aking
kapangyarihan. Ako, may powers din?
Ang galling naman!
F. Isang araw, noong ako ay nasa
bahay, naging robot uli si tatay. Hindi
nagpatalo ang kalaban. Kaya bago pa
ang hatawan, lumabas na ang aking
kapangyarihan. Aaaaah! Super scream
na abot kung saan-saan.

G. Dumating ang pulis at sinama si H. “Saan siya dadalhin?” Ang tanong

tatay. ko kay nanay.Aayusin daw nila ang
buhay ni tatay, at sa kanyang
pagbalik, hindi na siya robot na
matapang, kundi tanging pagmamahal
ang kanyang kapangyarihan..

ITEM INSTRUCTION
1 (2 points) Identify the THESIS STATEMENT of the film
2 Who are the expected AUDIENCE?
3 What is its PURPOSE?
4 What is the STYLE or genre of this content?
5 In what way does the story show INNOVATIVE ideas in form and
content?
6 What is the LANGUAGE used?
7 Propose an OPTION for
a. an alternative platform where the content can be viewed
b. another style of storytelling
8 (2 points) What can your audience GIVE BACK (what do you expect your
audience would do after watching this video)?
TOTAL POINTS: 10
 Assessment

1. The core of any media content

a. philosophy
b. production plan
c. thesis statement
d. visual storytelling technique
2. A summary of a company’s background and goals used in pre-production
a. company profile
b. creative brief
c. prospectus
d. vision-mission
3. A visual guide used in producing a media content
a. idiot board
b. outline
c. script
d. storyboard
4. The production stage when editing takes place
a. pre-production
b. production
c. post-production
d. review
5. A step in media production wherein sample audience views and comments on
the produced material prior to mass release.
a. critiquing
b. editing
c. focus-group discussion
d. user testing

Additional Activities

Reflection:
Take your stand as a young Filipino dreaming big for every young Filipino. Reflect
on this question and answer.
What is the most important lesson Filipino children need to learn and how can media
help in teaching this?

Walang Himala!
If you have reliable internet connections,
you are highly encouraged to do this
activity.

In 2008, a Filipino film was hailed as “the

CNN Asia Pacific Screen Awards Viewers
Choice Award for Best Asia-Pacific Film of
all Time.” This movie is National Artist
Ishmael Bernal’s 1982 opus “Himala,”
starring Nora Aunor. It tells the story of a
simple village girl named Elsa who sparked
controversy after allegedly seeing an
apparition of the Blessed Virgin Mary giving
her the power to heal ailments. "Elsa sculpture by Gerry Leonardo-20140509-
20140509_173845" by IlocosNorte is licensed under CC BY-NC-
ND 2.0
30 years after its first release, filmmakers
Sari Lluch Dalena and Keith Sicat made a
documentary about Himala. Fortunately, this is available for viewing through the
CinemaOne YouTube Channel. Visit the channel and search for “Himala Ngayon” or
click this link below.

https://www.youtube.com/watch?v=X56Ac94gPoY

This documentary will provide you with information on how one of the greatest
Filipino films of all time was made from the point of view of the producer, scriptwriter,
assistant director (Bernal has long passed away), production designers, actors, and
even the bit players from Ilocos Norte. Through their stories, you will gain insights
on the details of film production. Hopefully, this will inspire you to dream big and
aim for really great things in your chosen fields. Happy viewing!

A Story in a Story

Let’s talk “Filipino Millennial” this time, although later on, we will end with
something else. One of my mentors in storytelling always quipped: “Ano ang hugot
sa istorya mo?” (What are the sentiments in your story?) I just used the term
sentiments as the closest I can to translate “hugot,” But the latter is of a different
level. (Recall our discussion on the difference of native language to other languages.)
I see “hugot” not just as a personal sentiment. It is an outpouring of emotions that
you want to make public. Your content is a big bundle of “hugot,” and unless you
want to be misunderstood, your content must be carefully planned so that your
audience will share what you feel.
When it comes to planning for something spectacular, one thing pops up in my mind:
Parasite.

“Parasite”, the South Korean film directed by Bong Joon-ho, is a groundbreaking

movie that received accolades in the most recent awards season, not to mention the
prestigious Palme d’Or at Cannes Film Festival 2019. There are many factors that
made Parasite stand out from the other films that year. First is its ability to shift
genres, from comedy to thriller to drama. Another is its production design,
particularly, the use of stairs to tell the story that involves characters from
contrasting social status. Below is a condensed version of an article on the movie,
focusing on an interview with Director Bong and on the elements that contributed to
its creation. Take time to read this in order to understand how personal experiences
can be translated into a meaningful content.

The making of Parasite: Bong Joon-ho talks satire, social inequality, and
staircase cinema
By James Mottram February 10, 2020

"The film is such a unique

experience, it's an unexpected film,"
commented jury head Alejandro
González Iñárritu, a neat
summation of a work that
brilliantly straddles arthouse and
mainstream with a daring mix of
black comedy and social
commentary.
The seventh movie of an
increasingly extraordinary career,
Parasite has become Bong's biggest
hit worldwide; at the time of writing
it's taken $167.6 million (becoming
the highest-grossing South Korean
film in the process) – eclipsing his
previous best, 2006 monster movie
The Host. In America, it's the South Korean Director Bong Joon-ho. In an interview, he
highest-grossing foreign-language said that he watched the films of Filipino director, the
film of the year, making history at late Lino Brocka, when he was in film school. Perhaps
the Academy Awards as the first this is one of the reasons for his inclination to social
foreign-language film to be awarded commentaries.
the coveted Best Picture prize – it
"File:Okja Japan Premiere- Bong Joon-ho (37867629864).jpg" by Dick Thomas
also picked up awards for Best Johnson from Tokyo, Japan is licensed under CC BY 2.0
Director, Best International
Feature Film, and Best Original
Screenplay.
 The story of the poor Kim family (headed up by Bong regular Song Kang-ho),
Parasite begins as the son, Ki-woo (Choi Woo-sik), gets a job tutoring English to the
daughter of a wealthy tech CEO, Park Dong-ik (Lee Sun-kyun). Soon enough, others
in the Kim family, via less-than-legitimate means, find gainful employment in the
Park's luxury household.
Bong also tutored for a rich family when he was in college (he studied sociology
at Yonsei University in Seoul). "The sequence that depicts when he enters the house
was pretty similar to what I experienced," he says. "I grew up in a middle-class family
that's in between the poor and the rich family in this film, but despite that, when I
first entered, I had this very eerie and unfamiliar sense of this house. Actually, they
had a sauna on their second floor – at the time it was quite shocking to me!”

Mind the wealth gap

Nevertheless, the
director didn't dream up
Parasite until he was in the
complex post-production for
Snowpiercer, his 2013
dystopian sci-fi about the
haves and have-nots riding on
a perpetually moving train
through the Earth's second
Ice Age. "Snowpiercer was
about class struggle and class
difference," says Bong,
pointing out that the film
deals with struggles between The Kim family makes both ends meet doing odd jobs, like
the elite in the train's luxury folding pizza boxes in their semi-basement dwelling. The house
front carriages and those alone is a clear symbol of their lowly social status, compared to
bringing up the rear. "This the elevated ultra-modern dwelling of the Park family which
time, I think I wanted to talk they infiltrate through their corrupted schemes.
about the gap between rich
"Movie #3 of 2020: Parasite. Wow I liked this. Not quite a thriller. Not quite a horror. Not
and poor – a similar theme – quite a comedy. Overal hard to explain without spoiling it. Definitely weird.
in a more realistic way, and ⭐⭐⭐⭐" by Cristiano Betta is licensed under CC BY 2.0
on a smaller scale."
On the surface, the contemporary-set Parasite does look simpler than
Snowpiercer and even Bong's last film, 2017's Netflix-backed Okja, the story of a
'super-pig' developed by a multinational specializing in genetic engineering. "In Okja,
you have around 300 [VFX] shots of the pig. Not only did that require a lot of money,
but also incredible energy as well. But with this film I was able to spend that energy
on the characters and the nuance… I felt like I was able to look at the film through
a microscope and pay attention to more details."
While he'd broached social inequality in his films before, Parasite did mark a
first for Bong. During the shoot, the film's cinematographer Hong Kyung-pyo – who
previously shot Snowpiercer and 2009's murder-mystery Mother – remarked to Bong:
"This is our first time filming rich characters," Bong explains. "Even in Mother and
The Host, my films have always featured quite poor characters... This was our first
time filming a rich family and a rich house. Even Captain America [star Chris
Evans]… he was dressed in rags in Snowpiercer!"
Originally the film was called 'The Décalcomanie' – a reference to the artistic
concept of 'decalcomania' or 'decal', where an image is created and can be
transferred, or reflected, onto another surface. But Bong changed it to its less-
pretentious title, though one that may not necessarily refer to the Kim family. "In the
story, they are conmen and they do bad things, but they're not really the true villains.
They're characters in this grey area. I'm more or less focused on the situations and
the horrible system they're in that forces them to be the parasite of this story."
At one point, Song Kang-ho's patriarch pauper Ki-taek reads about how 500
college graduates applied for a lowly security-guard position – a fact Bong took from
a real-life article. "The poor characters in this film are actually quite smart and
capable. You think that with those skills and abilities they would do pretty well if
they had a job, but the issue is they don't have a job – there is not enough
employment for them. And I think that's the economic situation that we face in Korea
and also across the world."
As the Kims' systematic infiltration of the Park household takes place, Bong
was keen to look at how money matters impact on a family, and how desperate it can
make you. "The economy is something you really feel," he says. "It's like right next to
your own body." Films he watched during pre-production? Joseph Losey's The
Servant (1963), with Dirk Bogarde engaging in power dynamics with James Fox's
employer; Claude Chabrol's This Man Must Die (1969); and Kim Ki-young's The
Housemaid (1960), a domestic horror-thriller that'd give Fatal Attraction a run for its
money.
This latter film, which features a key sequence set around the stairs in the
family home, was particularly influential. "We like to call Parasite an example of
'staircase cinema'," explains Bong, "because the staircase is very important in the
story, and that is definitely one of the influences by Kim Ki-young." Yet, it's not just
the staircase that matters in Parasite. The Park house – where much of the action
takes place – is a brilliantly designed playground, subtly explored in the film's first
hour in ways that impact the second half.
A director who thinks visually – he even draws all his own storyboards – Bong
figured out the basic structure of this modernist open-plan living space by the time
he'd written the script. But his designs were for a story that, without venturing into
spoiler territory (seriously, you must see the film for yourself), involves a lot of
sneaking around from various characters. "This idea of visibility and non-visibility
within the house was very important. So the production designer took my sketch and
took it to an actual architect for advice, and they said, 'No one builds houses like
this, architecturally! This is ridiculous!'"
The intricately designed house – eventually constructed on a soundstage –
even features a bunker, built by the rich for protection against their trigger-happy
neighbors in North Korea. Is this really a concern? "Mostly Koreans, we don't really
think about it. Of course, we are afraid of war and we do worry about it, but we just
go on with our daily lives. Because ultimately there is nothing we can do." What
about his house? Does he own a panic room?
"I live in a very normal apartment," he grins. "Dig down and it's the house
below!" Elements like this reveal the jet-black humor that snowballs in Parasite's
wildly unexpected second half, as the Kims' plans unravel. "When you see events
unfold, when you don't expect it at all, you feel very flustered and I enjoy that sense
of being very flustered," says Bong. "I'm a little hesitant to say this – because I don't
want to seem too much of a pervert! – but when the audience is laughing at these
scenes, at the same time they doubt their own laughter. Can I really laugh? They
almost feel sorry that they're laughing about these scenes, and that's what I really
enjoy."

Home comforts

After the more internationally flavored Snowpiercer and Okja, did he revel in
being back on home turf? "I don't necessarily divide projects into one that's for a
Korean audience and one that's for an international audience," he says, "but I can't
deny the fact that I get a lot of joy from just creating a story where I, as a Korean,
depict situations and details that a Korean audience would fully understand, and we
would share a laugh with these details. Of course, the audience laughed out loud
when we screened at the Lumière [in Cannes], but in Korea we'd have 10 per cent
more laughter!"
Parasite, however, hits more universal themes in a domestic setting we can all
relate to. "I get more excited when I have these limitations – very enclosed, almost
claustrophobic spaces," he says. "I get anxious when I feel like I have an infinite
number of spaces where I can pick and choose." All round, it's been an experience
that will influence Bong's career to come. "I'm looking to pursue films more of this
size in the future," he says. Whatever he does, the spotlight will be on him.
What I Can Do
1. Even children have superpowers
2. Children, especially those who have experienced violence at home
3. To inform children that they can do something against domestic
violence
4. It may be considered as fantasy or science fiction, but it may fall
under magical realism.
What I Have Learned
POSTER A
1. Stop domestic violence.
2. To women, specially those who are victims of domestic violence.
3. The original title of this poster is “Open Your Eyes,” and its purpose is to
urge the victims of domestic violence to do so and combat violence.
POSTER B
1. We (Women) can do it.
2. Women
3. Women empowerment remains a relevant issue, but this also transcends
to mean empowerment to all regardless of gender.
What’s In
1. Manipulative 6. Audio 11.Visual 16.Motion
2. Motion 7. Video 12.Manipulative 17.Motion
3. Audio 8. Text 13.Audio 18.Manipulative
4. Text 9. Manipulative 14.Text 19.Text
5. Visual 10. Motion 15.Audio 20.Visual
What I Know
STAGE 1 STAGE 2 STAGE 3
Pre-production Production Post-production
storyboarding graphic designing user testing
scriptwriting sound recording editing
creative briefing shooting
Answer Key
context of your situation.
closest possible answers. Alternatives may be considered depending on the
The answer presented in “What I Have Learned” and “What I Can Do” are the
Notes to the Teacher
Assessment
1. C
2. B
3. D
4. C
5. D
What I Can Do (continuation)
5. In a simple manner, it is able to combine fantasy and poetry to tackle a
real, relevant social issue.
6. Filipino
7. Possible options
a. AVP for classroom discussion; TikTok, due to its brevity
b. Children’s storybook
8. Children are expected to be aware of their power to “scream,” that is, to
speak up against social problems such as violence against women and
children.
References
Agency for Healthcare Research and Quality (2012). Communication and
Dissemination Strategies To Facilitate the Use of Health-Related Evidence.
Retrieved from https://effectivehealthcare.ahrq.gov/products/medical-
evidence-communication/research-protocol.

Arguelles, R. (Producer), & Dalena, S.L. and Sicat, K. (Directors). (2012). Himala
Ngayon [Documentary film]. Retrieved from https://www.youtube.com/
watch?v=X56Ac94gPoY.

Merrill, S. (2019). How Sesame Street’s Muppets Became Revolutionaries. Edutopia.

https://www.edutopia.org/article/how-sesame-streets-muppets-became-
revolutionaries.

Mottram, J. (2020). “The making of Parasite: Bong Joon-ho talks satire, social
inequality, and staircase cinema.” Total Film. Retrieved from
https://www.gamesradar.com/making-of-parasite-bong-joon-ho-interview/.

NCCT DepEd (2015, August 12). ROBOT ANG TATAY KO (CinePambata 2014 Best
One-Minute Video) [Video]. YouTube. https://www.youtube.com/ watch?v=
kFapLoC9MtM.

Smith, E. (2019). “Six Stages of Production in Multimedia.” Chron. Retrieved from

https://smallbusiness.chron.com/six-stages-production-multimedia-
32412.html. Retrieved on 23 November 2020.

Studiobinder (2019). “How to Make a Storyboard for Video and Film: The Definitive
Guide.” Retrieved from https://www.studiobinder.com/blog/how-to-make-
storyboard/.

Turits, M. (2019). “How to Write a Creative Brief [With Examples].” NewsCred

Insights. https://insights.newscred.com/how-to-write-a-creative-brief-with-
examples/.
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