Iskomunidad - User contributions [en]

Celluloid homes

2015-07-03T14:55:14Z

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

''Quiling, Tito Jr. R. (2015). Unpublished master's thesis. College of Mass Communication, University of the Philippines, Diliman''

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

[[Category:Theses]] | [[Category:CMC Thesis]] | [[Category:Department of Film]] | [[Category:Graduate Studies]] | [[Category:Graduate Studies Department]] | [[Category:2015 Thesis]] | [[Category:Thesis--Cinema]] | [[Category:Thesis--Architecture]]

Celluloid homes

2015-07-03T14:53:47Z

Trquiling:

Celluloid homes

2015-07-03T14:52:51Z

Trquiling:

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

''Quiling, Tito Jr. R. (2015). Unpublished master's thesis. College of Mass Communication, University of the Philippines, Diliman''

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

[[[Categories:]] [[Category:Theses]] | [[Category:CMC Thesis]] | [[Category:Department of Film]] | [[Category:Graduate Studies]] | [[Category:Graduate Studies Department]] | [[Category:2015 Thesis]] | [[Category:Thesis--Cinema]] | [[Category:Thesis--Architecture]]

Celluloid homes

2015-07-03T14:51:21Z

Trquiling:

Celluloid homes

2015-07-03T14:49:30Z

Trquiling: Trquiling moved page Celluloid homes to Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films: Incomplete title previously

#REDIRECT [[Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-07-03T14:49:30Z

Trquiling: Trquiling moved page Celluloid homes to Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films: Incomplete title previously

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

''Quiling, Tito Jr. R. (2015). Unpublished master's thesis. College of Mass Communication, University of the Philippines, Diliman''

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

[[Theses]] [[CMC Thesis]] [[Department of Film]] [[Graduate Studies]] [[Graduate Studies Department]] [[2015 Thesis]] [[Thesis--Cinema]] [[Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-07-03T09:49:36Z

Trquiling: Theses CMC Thesis Department of Film Graduate Studies Graduate Studies Department 2015 Thesis Thesis--Cinema Thesis--Architecture

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

''Quiling, Tito Jr. R. (2015). Unpublished master's thesis. College of Mass Communication, University of the Philippines, Diliman''

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

[[Theses]] [[CMC Thesis]] [[Department of Film]] [[Graduate Studies]] [[Graduate Studies Department]] [[2015 Thesis]] [[Thesis--Cinema]] [[Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-07-03T09:45:35Z

Trquiling: Theses CMC Thesis Department of Film Graduate Studies Graduate Studies Department 2015 Thesis Thesis--Cinema Thesis--Architecture

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

''Quiling, Tito Jr. Ramos. (2015). Unpublished master's thesis. College of Mass Communication, University of the Philippines, Diliman''

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

[[Theses]] [[CMC Thesis]] [[Department of Film]] [[Graduate Studies]] [[Graduate Studies Department]] [[2015 Thesis]] [[Thesis--Cinema]] [[Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-07-03T08:17:19Z

Trquiling:

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

''Quiling, Tito Jr. Ramos. (2015). Unpublished master's thesis. College of Mass Communication, University of the Philippines, Diliman''

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

[[Theses]][[CMC Thesis]][[Department of Film]][[Graduate Studies Department]][[2015 Thesis]][[Thesis--Cinema]][[Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-07-03T08:11:43Z

Trquiling: Theses CMC Thesis Department of Film Graduate Studies Graduate Studies Department 2015 Thesis Thesis--Cinema Thesis--Architecture

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

''Quiling, Tito Jr. Ramos. (2015). Unpublished master's thesis. College of Mass Communication, University of the Philippines, Diliman''

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloid_Homes:_Reading_Urban_Domestic_Spaces_in_Four_Filipino_Films View Thesis]

[[Category:Theses]][[Category:CMC Thesis]][[Category:Department of Film]][[Category:Graduate Studies Department]][[Category:2015 Thesis]][[Category:Thesis--Cinema]][[Category:Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-07-03T08:10:57Z

Trquiling: Theses CMC Thesis Department of Film Graduate Studies Graduate Studies Department 2015 Thesis Thesis--Cinema Thesis--Architecture

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

''Quiling, Tito Jr. Ramos. *2015). Unpublished master's thesis. College of Mass Communication, University of the Philippines, Diliman''
''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloid_Homes:_Reading_Urban_Domestic_Spaces_in_Four_Filipino_Films View Thesis]

[[Category:Theses]][[Category:CMC Thesis]][[Category:Department of Film]][[Category:Graduate Studies Department]][[Category:2015 Thesis]][[Category:Thesis--Cinema]][[Category:Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-07-03T08:06:32Z

Trquiling: Theses CMC Thesis Department of Film Graduate Studies Department 2015 Thesis Thesis--Cinema Thesis--Architecture

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

Quiling, Tito Jr. Ramos

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloid_Homes:_Reading_Urban_Domestic_Spaces_in_Four_Filipino_Films View Thesis]

[[Category:Theses]][[Category:CMC Thesis]][[Category:Department of Film]][[Category:Graduate Studies Department]][[Category:2015 Thesis]][[Category:Thesis--Cinema]][[Category:Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-07-03T08:04:36Z

Trquiling: Theses CMC Thesis Department of Film Graduate Studies Department 2015 Thesis Thesis--Cinema Thesis--Architecture

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

Quiling, Tito Jr. Ramos

MA Media Studies (Film)

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

[[Category:Theses]][[Category:CMC Thesis]][[Category:Department of Film]][[Category:Graduate Studies Department]][[Category:2015 Thesis]][[Category:Thesis--Cinema]][[Category:Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-07-03T08:03:13Z

Trquiling: Theses CMC Thesis Department of Film Graduate Studies Department 2015 Thesis Thesis--Cinema Thesis--Architecture

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''
Quiling, Tito Jr. Ramos
MA Media Studies (Film)

''Abstract''

The house is debatably the most familiar and evocative form of space, and using domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

[[Category:Theses]][[Category:CMC Thesis]][[Category:Department of Film]][[Category:Graduate Studies Department]][[Category:2015 Thesis]][[Category:Thesis--Cinema]][[Category:Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-06-06T09:59:02Z

Trquiling:

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

Abstract

The house is debatably the most familiar and evocative form of space. Using
domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific
domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in '''A Portrait of the Artist as Filipino''' (1965) by Lamberto Avellana, the shanty in ''“Hellow, Soldier,”'' which is the second episode in Lino Brocka’s '''Tatlo, Dalawa, Isa''' (1975), the one-and-a-half story house in '''Kisapmata''' (1981) by Mike De Leon, and the accesoria in '''Scorpio Nights''' (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

[[Theses]] [[CMC Thesis]] [[Department of Film]] [[Graduate Studies Department]] [[2015 Thesis]] [[Thesis--Cinema]] [[Thesis--Architecture]]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-06-06T08:37:40Z

Trquiling: Theses CMC Thesis Department of Film Thesis Graduate Studies Department 2015 Thesis Thesis--Cinema Thesis--Architecture

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-06-06T08:17:59Z

Trquiling: Theses CMC Thesis Department of Film 2015 Thesis Graduate Studies Department Thesis--Cinema Thesis--Architecture

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

Abstract

The house is debatably the most familiar and evocative form of space. Using
domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific
domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in A Portrait of the Artist as Filipino (1965) by Lamberto Avellana, the shanty in “Hellow, Soldier,” which is the second episode in Lino Brocka’s Tatlo, Dalawa, Isa (1975), the one-and-a-half story house in Kisapmata (1981) by Mike De Leon, and the accesoria in Scorpio Nights (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space; Marcos; Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]

Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films

2015-06-06T08:16:07Z

Trquiling: Theses CMC Thesis Department of Film 2015 Thesis Graduate Studies Department Thesis--Cinema Thesis--Architecture

'''Celluloid Homes: Reading Urban Domestic Spaces in Four Filipino Films'''

Abstract

The house is debatably the most familiar and evocative form of space. Using
domestic spaces as a link between cinema and architecture, this study examines four Philippine houses, periodicized in their social orientation, and reads the structures via phenomenology in architecture and of film. The discussions anchor on the architectural principles of Gaston Bachelard and Juhani Pallasmaa, while the filmic interpretation leans on the premises of Vivian Sobchack and Laura Marks. This research augments the exchange of meanings between man and space by analyzing the influence of specific
domestic spaces. The selected films have visible architectural spaces, noting their various locations in the urban landscape, including certain fixtures and characteristics of domestic spaces that become significant in the experience of home.

The four (4) films were produced and released from 1965-1985, in line with the Marcos Era. The domestic spaces in the study include the following: the bahay na bato in A Portrait of the Artist as Filipino (1965) by Lamberto Avellana, the shanty in “Hellow, Soldier,” which is the second episode in Lino Brocka’s Tatlo, Dalawa, Isa (1975), the one-and-a-half story house in Kisapmata (1981) by Mike De Leon, and the accesoria in Scorpio Nights (1985) by Peque Gallaga.

''Keywords: cinema; architecture; phenomenology; domestic space, Marcos, Filipino''

[http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2011-79495-Celluloi View Thesis]