WEEK #14 – DANCE
DANCE
– Dance is a universal form of expression that
transcends cultural boundaries.
– It is a dynamic art form that combines
movement, rhythm, and emotion to convey a
message or tell a story.
DANCING IS HISTORICALLY
SIGNIFICANT
– Dance is a universal form of expression that
has played a crucial role in human culture
throughout history.
– Beyond mere movement, dance has served
as a powerful tool for communication, social
cohesion, religious rituals, and artistic
expression.
– Examining the historical significance of
dance provides insight into the diverse ways in
which societies have utilized this art form.
DANCING IN PRIMITIVE AND
CULTURAL CEREMONIES
– In ancient cultures, dance was an integral
part of rituals and ceremonies. Primitive
societies used dance as a means of worship,
invoking gods or spirits through rhythmic
movements and gestures.
– Ritual dances often held symbolic meaning,
representing aspects of nature, fertility, or life
cycles. These dances helped reinforce
communal bonds and shared beliefs within a
community.
COURT DANCES AND SOCIAL STATUS
– In medieval and Renaissance Europe, court
dances were refined as a way for the elite to
showcase their grace and sophistication. These
dances often carried social and political
significance, serving as a means of
communication within the aristocracy.
– The choreography and etiquette of court
dances reflected the societal norms and
hierarchical structures of the time.
REVOLUTIONARY MOVEMENTS AND
SOCIAL CHANGE:
– Dance has been a vehicle for social and
political expression. In various historical
periods, dance has been used as a form of
protest, rebellion, or celebration during times
of social change.
– For example, the Jazz Age and the Roaring
Twenties saw the rise of social dances like the
Charleston, reflecting the spirit of rebellion
and liberation after World War I
CONTEMPORARY DANCE AS AN
ARTISTIC EXPRESSION:
– In the 20th century, dance evolved as a
recognized art form. Choreographers like
Martha Graham, Isadora Duncan, and
Merce Cunningham pioneered new
movements and techniques, challenging
traditional
notions of dance.
– Contemporary dance continues to push
boundaries, addressing social issues, exploring
diverse cultures, and experimenting with
different forms of movement.
COMPONENTS OF DANCE:
–– Dance, as an art form, is a dynamic
expression of human movement.
Understanding and applying the principles of
dance can elevate a performance from a series
of movements to a
cohesive and expressive composition.
● Body movement
● Space
● Time
● Energy
● Relationships
● Expressions and emotions
BODY MOVEMENT
– Posture: The way a dancer carries
themselves sets the tone for their performance.
Proper posture not only enhances the aesthetic
appeal of the dance but also influences the
execution of movements.
– Alignment: Alignment refers to the correct
positioning of body parts in relation to each
other. It ensures smooth and efficient
movement while minimizing the risk of injury.
SPACE
– Levels: Dance utilizes different levels within
space, such as high, medium, and low.
Understanding and
incorporating these levels add depth and
variety to choreography.
– Direction: Movements can occur in various
directions, including forward, backward,
sideways, and diagonally. The use of different
directions contributes to the overall spatial
dynamics of a dance.
TIME
– Tempo: Tempo refers to the speed of the
music and, consequently, the speed of
movement. Dancers must synchronize their
movements with the rhythm to create a
harmonious and coherent performance.
– Rhythm: Rhythm involves the pattern of
beats in music. Dancers use rhythm to time
their movements and create a sense of
musicality in their performance.
ENERGY
– Force: The force with which movements are
executed contributes to the overall energy of a
dance. Movements can be sharp, sustained,
fluid, or a combination of these, depending on
the desired effect.
– Tension and Relaxation: Understanding
how to balance tension and relaxation in
different parts of the body adds nuance to
dance movements, creating a dynamic and
expressive performance.
RELATIONSHIPS
– Connection: Dancers often interact with
each other or their environment.
Understanding the relationships between
dancers, or between the dancer and the
audience, enhances the storytelling aspect of
dance.
– Group Dynamics: In group performances,
it's crucial to maintain synchronization and
coordination. Group dynamics play a
significant role in creating visually appealing
and cohesive dances.
EXPRESSION AND EMOTIONS
– Facial Expressions: The face is a powerful
tool for conveying emotion. Dancers use facial
expressions to communicate the mood or story
of the dance.
– Body Language: Beyond just movement,
dancers use their entire bodies to express
emotions. Hand gestures, body angles, and
gestures contribute to the overall emotional
impact of the performance.
KINDS OF DANCE
– Dance is a universal form of expression that
has evolved over centuries, reflecting the
cultural, social, and artistic diversity of human
societies. The various kinds of dance can be
broadly categorized into Folk Dance, Classical
Dance, Contemporary Dance, and Social
Dance. Each category has its unique
characteristics, history, and significance.
FOLK DANCE
– Traditional dances rooted in specific cultures
● Folk dances are an integral part of a
community's cultural heritage,
often passed down through
generations.
● They showcase the customs,
rituals, and daily life of a particular
group, serving as a means of
cultural
Preservation.
– Preservation and evolution of folk dance
● Folk dance preservation involves
efforts to maintain the authenticity
and originality of traditional forms.
● Evolution occurs as folk dances
adapt to changing times while
retaining their core elements
E.g., Sublî
The Sublî is a religious folk dance of the
Tagalog ethno-linguistic group in the
Philippines, originating in Bauan and
Alitagtag, Batangas, and practiced in other
parts of that
province in the southwestern part of Luzon.
CLASSICAL DANCE
– Ballet, Kathak, Bharatanatyam, and other
forms of Classical Dances,
● Classical dances are highly stylized
forms with a strong emphasis on
technique, discipline, and precise
movements.
● Each classical dance form has its
own unique history, costumes, and
music, contributing to the rich
tapestry of performing arts.
– Emphasis on formal techniques and
structured movements
● Classical dancers undergo rigorous
training to master specific postures,
hand gestures, and footwork.
● Performances often follow a
structured format, adhering to
established traditions and rules.
E.g., Waltz
The Waltz, (from German walzen, “to
revolve”), highly popular ballroom dance
evolved from the Ländler in the 18th century.
Characterized by a step, slide, and step in 3/4
time, the waltz, with its turning, embracing
couples, at first shocked polite society.
Difference between folk dance and classical
dance:
– Folk dance is based on local stories, usually
about relationships among people or about
different seasons. Folk dances are all about
energy, enthusiasm and power. Classical
dances are performed by professional or
highly trained dancers who have studied their
form for many years.
CONTEMPORARY DANCE
– Contemporary dance combines the strong
but controlled legwork of Ballet, with
elements of
Modern Dance, focusing on the contract and
release of the body, and the unpredictable
changes in rhythm, speed, and direction. It
also employs floor work, fall and recovery,
and improvisation characteristics of Modern
dance.
– Evolution from traditional forms
● Contemporary dance is a dynamic
and fluid genre that has emerged
from a blend of various dance
styles.
● It encourages dancers to explore
new movements, break
conventions, and express individual
creativity.
– Embracing diverse styles and expressions
● Contemporary dance embraces a
wide range of influences, including
ballet, jazz, and traditional dances.
● Dancers often express personal
narratives and emotions, making it
a powerful form of self-expression.
SOCIAL DANCE
– Partner dances (salsa, tango, swing)
● Social dances often involve pairs or
groups of people interacting
through dance.
● Partner dances, like salsa and
tango, emphasize connection,
communication, and collaboration
between dancers.
– Social and recreational aspects of dance
● Social dance fosters a sense of
community, providing
opportunities for people to connect
and interact.
● Beyond formal performances,
social dance is a recreational
activity enjoyed at social
gatherings, clubs, and events.
E.g., Ballroom dancing
Ballroom dancing is a partnership dance where
couples, using step-patterns, move
rhythmically, expressing the characteristics of
music. Ballroom dancing consists of two
styles: the Smooth, or Standard, and the
Rhythm, or Latin.
WEEK #15: PHILIPPINE CINEMA
GOLDEN AGE
– 1940s-1950s - referred to as the "Golden
Age" of Philippine cinema, this period saw the
production of high-quality films.
INFLUENTIAL DIRECTORS
– Lino Brocka – A highly acclaimed director
known for socially relevant and politically
charged films.
– His notable works include "Maynila: Sa
mga Kuko ng Liwanag" (1975) and
"Insiang" (1976).
– Ishmael Bernal – Another influential
filmmaker, Bernal's works often delved into
societal issues.
– "Himala" (1982) is one of his most
celebrated films.
– Mike de Leon – Known for his
intellectually stimulating films, de Leon's
works include "Kisapmata" (1981) and
"Batch '81"
(1982).
FILM FESTIVALS
– Metro Manila Film Festival (MMFF) – An
annual film festival
showcasing locally-produced films.
– It started in 1975 and has become a
significant event in the Philippine film
industry.
CONTEMPORARY CINEMA
– In recent years, there has been a surge
in independent filmmaking.
– Officially, the Cinemalaya is the Philippine
Independent Film Festival.
– Filmmakers like Lav Diaz have gained
international recognition for their work.
HISTORY OF PHILIPPINE CINEMA
SILENT FILM ERA (1910-1920)
– The Lumiere Brothers' Cinematograph
reached the Philippines in 1897, but it wasn't
until the 1910s that local filmmakers began
producing silent films.
– The first Filipino-produced feature film,
"Dalagang Bukid", directed by Jose
Nepomuceno, was released in 1919.
GOLDEN AGE OF PHILIPPINE
CINEMA (1940-1950)
– The 1930s saw the establishment of the film
industry as a major form of entertainment.
– The period of “1940s to 1950s” is often
referred to as the “Golden Age” due to the
production of high-quality films with
memorable storytelling.
JAPANESE OCCUPATION AND WORLD
WAR II (1940s)
– The Japanese occupation during World War
II disrupted film production, and many films
were lost or destroyed.
– After the war, the industry slowly recovered,
leading to a resurgence in the post-war years.
POST WAR ERA TO MARTIAL LAW
(1950-1970)
– The 1950s and 1960s witnessed the rise of
popular film genres.
– The 1970s, however, saw challenges with
the declaration of martial law in 1972.
- State control over media, including cinema,
influenced the themes and content of films.
NEW WAVE CINEMA (1980)
– The 1980s marked the emergence of a new
wave of independent filmmakers who sought
to break away from the formulaic mainstream
productions.
– Directors like Lino Brocka and Ishmael
Bernal gained international recognition for
their socially relevant and thought-provoking
films.
COMMERCIALIZATION AND
INTERNATIONAL RECOGNITION
(1990-present)
– The 1990s saw a resurgence of the
commercial film industry, with the rise of
romantic comedies, action films, and horror
movies.
– Directors such as Marilou Diaz-Abaya and
Chito S. Roño contributed to this period.
CONTEMPORARY SCENE (2010-present)
– The 2010s witnessed the diversification of
genres and the growth of independent cinema.
– Filipino films continued to explore diverse
themes, reflecting the complexity of Philippine
society.
CINEMATIC GENRE OF PHILIPPINE
CINEMA
DRAMA
– Drama is a prevalent genre in Philippine
cinema, covering a broad spectrum of themes
such as family dynamics, romance, social
issues, and historical events.
ROMANTIC COMEDY (RomCom)
– Romantic comedies are immensely popular
in Philippine cinema.
– These films often explore love stories in a
lighthearted and humorous manner.
ACTION
– Action films have a strong presence in
Philippine cinema, featuring local action stars
engaged in intense fight scenes, car chases,
and thrilling stunts.
– These films often incorporate elements of
crime, revenge, or heroism.
HORROR
– Horror films have a significant following in
the Philippines. Local horror movies often
draw inspiration from Filipino folklore,
superstitions, and ghost stories.
– The genre explores supernatural elements,
haunted places, and the unknown.
FANTASY
– Fantasy films in Philippine cinema often
blend elements of folklore, mythology, and
magical realism.
– These films transport audiences to
imaginative worlds filled with mythical
creatures, enchanting landscapes, and epic
adventures.
COMEDY
– Comedy has been a staple in Philippine
cinema, with various sub-genres such as
slapstick, situational comedy, and satire.
– Filipino comedians and comedic actors play
a crucial role in the success of these films.
HISTORICAL FILMS
– These films often depict significant events,
historical figures, and the struggles of the
Filipino people, contributing to a sense oF
national identity and awareness.
THRILLER
– Thriller films in Philippine cinema combine
suspenseful storytelling with elements of
mystery, crime, or psychological drama.
– These films aim to keep audiences on the
edge of their seats with unexpected twists and
turns.

SCIENCE FICTION
– Thriller films in Philippine cinema combine
suspenseful storytelling with elements of
mystery, crime, or psychological drama.
– These films aim to keep audiences on the
edge of their seats with unexpected twists and
turns.
EROTIC OR BOLD FILMS
– In certain periods of Philippine cinema,
particularly during the 1970s and 1980s, a
genre known as "bomba" films gained
popularity.
– These films often featured bold or erotic
content.
GENERAL CONCEPTS OF FILMS
NARRATIVE STRUCTURE
– Films typically follow a narrative structure
that includes elements such as exposition,
rising action, climax, falling action, and
resolution.
– The way a story is structured can greatly
impact how it engages the audience.
SCREENPLAY
– The screenplay serves as the foundation for
a film, containing the script, dialogue, and
directions for actors and crew.
– It provides the blueprint that guides the
production process.
CINEMATOGRAPHY
– Cinematography involves the art and
technique of capturing images on film or
digitally.
– It includes aspects like framing, camera
movement, composition, lighting, and shot
selection.
EDITING
– Editing is the process of selecting and
combining shots to create a coherent and
seamless narrative.
– It involves decisions about pacing, rhythm,
and the overall flow of the film.
SOUND DESIGN
– Sound design encompasses all the auditory
elements in a film, including dialogue, music,
sound effects, and ambient noise.
– A well-crafted sound design enhances the
emotional impact of scenes and contributes to
the overall atmosphere.
ACTING
– Acting is a crucial element in conveying the
emotions and intentions of characters.
– Good performances can elevate the quality
of a film and make the narrative more
compelling.
GENRE
– Films are often categorized into genres based
on common themes, styles, or subject matter.

VISUAL STYLE
MISE-EN-SCENE
– A film's visual style encompasses the overall
– Mise-en-scène refers to the arrangement of
look and feel created by the combination of
visual elements within a frame.
cinematography, production design, costumes,
– It includes set design, costume choices,
and color grading.
lighting, and the positioning of actors.
SYMBOLISM AND METAPHOR
WEEK #16 ANALYZING FILMS
– Filmmakers often use symbolism and
metaphor to convey deeper meanings and
TYPES OF FILMS
themes within their work.
● Realism
– Visual elements, motifs, and recurring
● Classical
symbols contribute to the layers of
● Formalism
interpretation.
SHOTS
– The building blocks of film, and shot
selection has a significant impact on the way a
viewer interprets the action on screen.
ANGLES
● Bird’s Eye View
● High View
● Neutral / Eye Level
● Low View
● Worm’s Eye View
LIGHTING
● High Key Lighting
● Low Key Lighting
● Chiaroscuro Lighting
● Silhouette/Black Lighting
COLOR VISUAL/STYLE
– In film-making, the use of color plays a
significant role to communicate the audience
the tone of the scene
TYPES OF COLOR
– saturated - communicates optimism,
fantasies, love, or some pleasant scenery
– desaturated - communicates the past, strife,
sorrow, or some other dystopia scenery
SOUNDS
– Diegetic - Sound whose source is visible on
the screen or whose sound is implied to be
present by the action in the film
– Non Diegetic - any sound that does not
come from inside the story itself.
EDITING
– one of the aspects or parts of a film that
usually tend to go unnoticed
MISE-EN-SCENE SEMIOTIC ANALYSIS
– a term used to describe the setting of a scene – It is the interpretation of signs and symbols,
in a play or a film. typically involving metaphors and analogies to
both inanimate objects and characters within a
● placement around frame film. Because symbols have several meanings,
● face to the camera writers often need to determine what a
● Space particular symbol means in the film and in a
● frame constraints broader cultural or historical context.
● tight
● open E.g., For instance, a writer could explore the
symbolism of the flowers in Vertigo by
HOW TO ANALYZE A FILM connecting the images of them falling apart to
● Characteristics the vulnerability of the heroine.
● Film Contents
● Cinema Effects
NARRATIVE ANALYSIS
WRITING A FILM ANALYSIS – Narrative analysis is an examination of the
● Watching the film story elements, including narrative structure,
● Brainstorming ideas character, and plot. This type of analysis
● Different types of film analysis considers the entirety of the film and the story
- Semiotic it seeks to tell.
- Narrative
- Cultural/historical E.g., You could take the same object from the
- Mise-en-scene analysis previous example—the flowers—which meant
● Reviewing your draft one thing in a semiotic analysis, and ask
instead about their narrative role. That is, you
might analyze how Hitchcock introduces the
WEEK #17 FILM ANALYSIS flowers at the beginning of the film in order to
DIFFERENT TYPES OF FILM return to them later to draw out the completion
ANALYSIS of the heroine’s character arc.
HISTORICAL ANALYSIS
– One of the most common types of analysis is
the examination of a film’s relationship to its
broader cultural, historical, or theoretical
contexts. Whether films intentionally comment
on their context or not, they are always a
product of the culture or period in which they
were created. By placing the film in a
particular context, this type of analysis asks
how the film models, challenges, or subverts
different types of relations, whether historical,
social, or even theoretical.
E.g., The clip from Vertigo depicts a man
observing a woman without her knowing it.
You could examine how this aspect of the film
addresses a midcentury social concern about
observation, such as the sexual policing of
women, or a political one, such as Cold
War-era McCarthyism.
MISE-EN-SCENE ANALYSIS
– This analysis attends to how the filmmakers
have arranged compositional elements in a
film and specifically within a scene or even a
single shot. This type of analysis organizes the
individual elements of a scene to explore how
they come together to produce meaning. You
may focus on anything that adds meaning to
the formal effect produced by a given scene,
including: blocking, lighting, design, color,
costume, as well as how these attributes work
in conjunction with decisions related to sound,
cinematography, and editing.
E.g., in the clip from Vertigo, a mise-en-scène
analysis might ask how numerous elements,
from lighting to camera angles, work together
to present the viewer with the perspective of
Jimmy Stewart’s character.
BASIC TERMS IN FILM
TROPE
– It is a common convention repeated in many
films. A symbolic visual, auditory, or narrative
element with a predictable
meaning.
COMPOSITION
– It is the arrangement of subjects, props, and
environments within a given shot.
SEQUENCE
– It is anything repeated more than a few times
in a film. It can be a visual (an image or film
technique), sonic (a sound or piece of music),
or rhetorical (a word, phrase, metaphor, etc.).
MOTIF
– It is a series of shots combined to represent a
discrete set of actions or a coherent narrative
section.
CINEMATOGRAPHY
– It is a term used to define the ways in which
the camera captures the shot. We speak of such
things as the different lenses used by the
camera, how the camera frames the shot, the
angle of the camera relative to the action, and
how the camera moves.
COSTUME
– It is a signal of characterization. It can be a
vital way of subtly revealing key parts of how
the characters move through the world. So
engaging with how successful it is in doing so
can form a key part of analyzing films.
This item is designed to express character,
social setting, and/or mythos.
MISE-EN-SCÈNE
– It literally means "put into the scene," this
term refers to the arrangement of actors and
objects in front of the camera.
DECOR
– This set is whether in the studio or on
location. Includes colors, styles, textures,
architecture, props and the socio-cultural
locations or psychological states they are
intended to evoke.
POSITION OF CAMERA
– The viewer’s access to the cinematic world
depends on the position. After all, what the
shot sees is what we see. Therefore, the
position of it involves the audience in different
ways and helps create an impression of the
character. This item is held at a lower angle,
looking up at a character, makes them seem
powerful and dominant.
COLOR
– This is an expressive element that can help
the audience interpret a character’s emotions.
It can also have a metaphorical meaning. It
creates hidden messages by its incorporation
into the décor.
FRAMING
– This accompanies the position of the camera.
It also reveals a selective view of a scene. This
scene chooses what to reveal to the audience.
EDITING
– It refers to how the individual shots are
spliced together. The norm here is
"continuity" in which shots are put together
to achieve narrative continuity—to make the
action appear to flow logically and naturally
from shot to shot.
SOUND
– It comes from the scene itself, such as
spoken dialogue or ambient noise, and these
are imposed on the scene, such as voice-overs
or musical scores.
LIGHTING
– The way it shines on the actors and objects
makes possible a series of suggestive readings.
For example, a shadow on a character makes
them feel mysterious.