Geofferson Bacud Ting

  Logos, Pathos, Ethos:  Constructive-Destructive Cinematic Devices in the films of  Vince Tañada’s “Katips” and Darryl Yap’s “Maid in Malacañang” By: Joey Ting             Film is a popular art. After its discovery in the 1850’s by European gamechangers, phenomenally, film has become origins of various sources of purposes, intentions and goals but never as a business. These European innovators didn’t think it would become such popular, hence, taking it as toy for artistic triumphs. Even the American scientists and innovators have enamored themselves to pirate, if not copied, the trajectory insights of the ‘cinematographe’ (the camera itself with the power of recording in one machine) to be an essential framework for this cinematic industry as a profession, like the booming business industry. Moving forward, as it transgresses time and space in world cinema, film has evoked the appeal of the logos (logic), pathos (feelings), and ethos (credibility) through its cinematic devices us

Among the Netflix miniseries that we have today, Creators Scott Frank and Allan Scott’s ‘The Queen’s Gambit’ (2020) assure the viewers of the triumphant cognitive and affective factors of the said latest released Netflix hit. From a 1983 novel by Walter Stone Tevis more popularly known as Walt Tevis, this novel of the same title has been made into a compelling cinematic visual form. Tevis’s other works as novelist include ‘The Hustler’, ‘The Color of Money’, ‘The Man Who Fell to Earth’ from which have become films in the past years. His work for ‘The Queen’s Gambit’ makes it the most exciting, engaging, and exceptional in both the cognitive and affective aspects of a human being.       ‘The Queen’s Gambit’ is by far Netflix’s most engaging miniseries for the year 2020. It has seven episodes. Each episode is definitely cliff-hanged as the viewer gets into the proceeding one. The major plotline follows the story of the talented orphan Beth Harmon played by an exceptionally-stunning

'Contagion' (2011) Genre: Medical Drama From Film to Reality: Critical Perspectives of the film ‘Contagion’ (2011) during the COVID-19 pandemic By Joey Ting The turn from the industrial to information age is definitely a big leap. Having introduced the concepts of technological advancements, media digitization, massive information transference among many other crucial innovations and developments (Jenkins-Ford-Green 2013), films are considered to be a potent force if not the only moving art that could be digitized and preserved cinematically of this period. One of the more significant properties of film these days is otherwise known as the story. How does one explain ‘medical crisis’ to people? What causes it? What cures it? The film ‘Contagion’ is a 2011 American medical thriller of filmmaker Steven Soderbergh, also known for his hyperlink directorial film style where different characters are presented in multi-narrative devices. In the interconnectio

'Hollywood' (2020) Genre: Drama Netflix’s ‘Hollywood’ mirrors the decadence of Philippine film and television culture By Joey Ting The premiered Netflix’s ‘Hollywood’ this May 1, 2020 has become one of the nicest things I’ve watched so far under an enhanced community quarantine in Manila. Well, I’ve watched it two days after its release and at first, I thought this would be an interesting interpretation of a ‘Hollywoodized’ scenarios for two hypothetical reasons: One, Netflix, I presumed, is known to be helping out a lot of independent film, theater and television artists all over the world which provides courageous attempts in excellent digital web craftsmanship along with compelling storytelling ideologies and of course, a platform for ‘well thought-of’ screenplay structures both catered for film and film for television productions; Two, content is exceptionally attention-getting and subliminally catchy since the day Netflix has produced contextually-driven

'Parasite' (2019) Genre: Drama '1917' (2019) Genre: War Drama How to win an Oscar: Cinematic devices of Bong Joon-Ho’s ‘The Parasite’ and Sam Mendes’s ‘1917’ By Joey Ting             Winning an Oscar trophy in the prestigious Hollywood award-giving body assures each of the filmmaker to finally rest on their laurels and pave the way for another chapter in their so-called artistic film careers. Having the speech onstage as one accepts the award is another daunting yet nerve-wracking obligation despite the prepared monologue and the long-list of gratitude to the artistic and production team of the film that has been recognized. Most especially, if the film announced as run-away winner comes from Asia, a transitionary evidence that this continent will rule the next phase of the world. As Daniel Pink’s book ‘A Whole New Mind: Why Right-Brainers will rule the Future’ states, ‘In recent years, few issues have generated more controversy or stroked mor

'UnTrue' (2020) Genre: Mystery Suspense Drama ‘UnTrue’ sets a grayer standard in both film and plot making By Joey Ting The film ‘UnTrue’ (2020), produced by The Idea First Company and released through Viva, sets a grayer standard in both film and plot making which an ordinary Filipino audience member would not really appreciate much of the film if not for the celebrity cast Xian Lim and Christine Reyes. The film making style of famed ‘Kita Kita’ (2017) director Sigrid Andrea Bernardo is usually to say the least temperamental and moody, perhaps depending on her aesthetic mood of love and despair on specific points in her life and times. In the case of my favorite ‘Ang Huling Cha Cha ni Anita’ (2013) where flashback and flashforward styles stem from the known filmic techniques of William Wyler’s ‘Wuthering Heights’ (1939), Orson Welles’s ‘Citizen Kane’ (1941), Akira Kurosawa’s ‘Rashomon’ (1950) and Quentin Tarantino’s ‘Pulp Fiction’ (1994) and ‘Kill Bill