1ST QUARTER

FILM PRODUCTION
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 20 century world.
th
 A Technology-driven Art
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.
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.
KINETOSCOPE
• The Kinetoscope is an early motion picture
 exhibition device. The Kinetoscope 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.Dickson and his team at
the Edison lab also devised theKinetograph, 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.
 The Collaborative Art of Filmmaking

What is filmmaking?

Who are involve in filmmaking?

FILM
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.
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.
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.
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.
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.
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.
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.
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.
 Philippine Filmmakers
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.
 Philippine Filmmakers

•Lino Brocka
•Laurice Guillen
•Marilou Diaz Abaya
•Maryo J. delos Reyes
•Brillante Mendoza
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.
• 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."
Mike de Leon
Mike de Leon
Ishmael Bernal
LAURICE GUILLEN
 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.
 Laurice Guillen

Salome, 1981

Tanging Yaman, 2001

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 Díaz-
Abaya 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.
 1998: José Rizal, written by Ricky Lee,
Jun Lana, produced by GMA Films;
starring Cesar Montano, Jaime Fabregas,
Gina Alajar, Jhong Hilario, Gloria Diaz,
Pen Medina; multi-awarded by the 
Metro Manila Film Festival (1998),
Gawad Urian, Star Awards, FAMAS;
commercially released at the Iwanami
Hall, Tokyo (2000); exhibited at the film
festivals of Berlin, Munich, Düsseldorf,
Madrid, Paris, Singapore, Fukuoka,
Tokyo, Pusan, Montreal, Vancouver,
Guggenheim Museum of New York,
Chicago, San Francisco, Los Angeles,
San Diego, Hawaii, and others.
Jose Rizal, 1998
 1999: Muro Ami (Reef
Hunters), written by Ricky
Lee, Jun Lana, produced by
GMA Films; starring Cesar
Montano, Amy Austria, Pen
Medina, Jhong Hilario;
multi-awarded by the 
Metro Manila Film Festival
 (1999), FAMAS, Star
Awards; exhibited in the
film festivals in Fukuoka,
Tokyo, Los Angeles, Hawaii,
Muro-ami, 1999
and others.
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.
Magnifico is a 2003 Filipino 
FAMAS Award-winning 
drama film directed by Maryo
J. De los Reyes, written by
Michiko Yamamoto, and
starring Jiro Manio, Lorna
Tolentino, Albert Martinez, 
Gloria Romero. The film was
shot in the province ofLaguna
 and is based on the grand prize-
winning piece from a 2001
national screenplay writing
contest sponsored by theFilm
Development Council of the Phi
lippines
.
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. 
Kinatay (the Execution of P), 2009
 Project and Practicum
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 film of about 3 to 10 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. The theme of the Film or Video to create is” To the Filipino Youth.”
7.The finished video/film product should be put or burn into a CD and imprinted the movie thriller in front of the CD cover.
8. The list of the members should be encoded at the back of CD cover
9. 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.
 ANIMATION
• Animation is the process of creating motion and shape change[Note 1] illusion by means
of the rapid display of a sequence of static images that minimally differ from each
other. The illusion—as in motion pictures in general—is thought to rely on the 
phi phenomenon. Animators are artists who specialize in the creation of animation.
• Animations can be recorded on either analogue media, such as a flip book, 
motion picture film, video tape, or on digital media, including formats such as 
animated GIF, Flash animation or digital video. To display animation, a digital camera,
computer, or projector are used along with new technologies that are produced.
• Animation creation methods include the traditional animation creation method and
those involving stop motion animationof two and three-dimensional objects, such as 
paper cutouts, puppets and clay figures. Images are displayed in a rapid succession,
usually 24, 25, 30, or 60 frames per second.
• Many TV shows[Note 2] today use animation and animation gives them that more of a
unique look, allowing them to do more than what they could do with actors.
 Philippine Animation Studio, Inc.

The Philippine Animation Studio, Inc. (PASI)

was established in 1991 and has since
collaborated on numerous animation
projects and series with foreign partners.
Among these have been Captain Flamingo,
Producing Parker, Groove High, and Space
Heroes Universe.
Among the other exciting
milestones in the fast-emerging
Philippine animation industry
was the creation in 2008 of
Urduja, an animated film
adaptation of the legend of the
warrior princess of Pangasinan.
Produced by APT Entertainment,
Seventoon, and Imaginary
friends, Urduja is recognized as
the first fully-animated Filipino
film, created by an all-Filipino
group of animators using the
traditional (hand-drawn)
animation process with some 3D
effects.
 Another released in 2008
was Dayo: Sa Mundo ng
Elementalia, said to be the
country’s first all-digital full-
length animated feature
film. Produced by Cutting
Edge Productions, the film
presents Philippine mythical
creatures as heartwarming
characters in a young boy’s
adventure.

Dayo: Sa Mundo ng Elementalia

Another breakthrough
was the first Filipino
full 3D animated film,
RPG Metanola, co-
produced by Ambient
Media, Thaumatrope
Animation, and Star
Cinema in 2010.
Activity 3
Animation Group Project: A Stop-Action Cartoon”
1. The group members will make use of a mobile phone, tablet, or digital camera to do this most
simple and basic process for creating what is known as “stop-action animation.”
2. The members will think of an action that will be captured as a series of still images lasting a
total of 10 to 15 seconds. It can be an action to be done by a human or a movement of an
object.
3. They will then carry out the action or movement, while taking a still image of each
progressive step in that action or movement.
4. The still images will then be made to “move” using a digital animation program (as discussed
in Quarter II). If the program allows the inclusion of a music clip or sound effects, the group
may opt to add this as well.
5. The finished stop-action cartoons will be saved and turned over to the Arts teacher for
safekeeping until they will be presented as part of the culminating exhibit.
 Print Media
Alongside the digital media forms discussed above,
there remains to more conventional form known as print
media. Include here are large-scale publications such as
newspapers, magazines, journal, books of all kinds, as
well as smaller-scale posters, brochures, flyers, menus,
and the like. Of course, all of these now have their digital
counterparts that may be accessed and read on the
internet.
Advertising
• One major field that still relies heavily on print media is advertising.
Despite the soaring popularity and seemingly limitless possibilities of
online advertising and social media, Philippine artists are still called
upon to create advertisements that will be physically printed. These
appear in newspapers, magazines, posters, brochures, and flyers—
each with their specific target readerships and markets, and highly-
specialized approaches for reaching these target groups.
Activity 4
“Presenting Products/Services with a Cause”
1. The group members will decide on original products or
services can be presented as supporting or advocating.
2. Using image capture and manipulation programs
discussed in Quarter II, the group members will create
their choice of posters, banners/streamers, brochures,
or print advertisements to present these
products/services with a cause.
3. The finished print advertisements will be turned over
to the Arts teacher for safekeeping until they will
presented as part of the culminating exhibit.
 Comic Books
Another field of print media that highlights the artistic
gifts of Filipinos is that of comic books, or komiks as
they are locally referred to. The popularity of
Philippine comics began in the 1920s when Liwayway
magazine started featuring comic strips, such as Mga
Kabalbalan ni Kenkoy (The Misadventures of Kenkoy)
created by Tony Velasquez went on to be recognized
as the “Father of Filipino Comics.”
Mga Kabalbalan ni Kenkoy
With the coming of the Americans to the country, local comics were clearly
influenced by popular U.S. comics with superheroes as the main characters
--- resulting in local counterparts such as Darna and Captain Barbell.
Even decades before, however, komiks creators had already introduced characters, themes,
and story lines from Philippine folklore, mythology, and history. With books and libraries not
yet readily accessible to a majority of the Filipino public, comics became a major form of
reading material around the country, avidly read and shared by young and old alike.