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ABSTRACT | ABSTRACT | ||
In his Tagalog-English Dictionary, Leo James English defines “banaag” as a “soft ray; glimmer; gleam; a moderate, diffused light.” The filmmaker used this term to represent the absence of the wife in the lead character’s life. As James Elkins put it in his book What Painting Is (1999), “each medium has its own language of moods, its own way of reporting what the artists did and felt.” From the detail of each brushstroke i.e. speed, direction, force; from the colors used in a painting; from the manner of creating it i.e. scraping, jabbing, scratching, etc.; painting has always been an effective medium for an artist to communicate his or her perception of a memory. (Elkins, 1999) | In his Tagalog-English Dictionary, Leo James English defines “banaag” as a “soft ray; glimmer; gleam; a moderate, diffused light.” The filmmaker used this term to represent the absence of the wife in the lead character’s life. As James Elkins put it in his book What Painting Is (1999), “each medium has its own language of moods, its own way of reporting what the artists did and felt.” From the detail of each brushstroke i.e. speed, direction, force; from the colors used in a painting; from the manner of creating it i.e. scraping, jabbing, scratching, etc.; painting has always been an effective medium for an artist to communicate his or her perception of a memory. (Elkins, 1999) | ||
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Guided by the principles provided by John Bowlby’s attachment theory, the film exemplifies someone’s physical, emotional and even cognitive responses to death; and the tasks one takes in experiencing bereavement. | Guided by the principles provided by John Bowlby’s attachment theory, the film exemplifies someone’s physical, emotional and even cognitive responses to death; and the tasks one takes in experiencing bereavement. | ||
View | Cabral, J.V. (2010). Banaag, Unpublished Undergraduate Thesis, University of the Philippines College of Mass Communication. | ||
Subject Index: Grief in motion pictures, Death--Psychological aspects, Painting, Attachment behavior | |||
View Thesis in [[Flipbooks_on_iskwiki|flipbook]]: [https://iskwiki.upd.edu.phs/Banaag/ Banaag] (UP Webmail Account required) | |||
[[Category:CMC Thesis]][[Category: | [[Category:CMC Thesis]][[Category:Department of Film and Audio Visual Communication Thesis]] | ||
[[Category:Student Papers]][[Category: Theses]][[Category:2010 Thesis]] | |||
Latest revision as of 10:36, 30 August 2022
ABSTRACT
In his Tagalog-English Dictionary, Leo James English defines “banaag” as a “soft ray; glimmer; gleam; a moderate, diffused light.” The filmmaker used this term to represent the absence of the wife in the lead character’s life. As James Elkins put it in his book What Painting Is (1999), “each medium has its own language of moods, its own way of reporting what the artists did and felt.” From the detail of each brushstroke i.e. speed, direction, force; from the colors used in a painting; from the manner of creating it i.e. scraping, jabbing, scratching, etc.; painting has always been an effective medium for an artist to communicate his or her perception of a memory. (Elkins, 1999)
“Banaag” is a 23-minute film that tells the story of a painter, who is grieving the death of his wife. Through the art of painting, he lives in the memory of the loved one he lost.
Guided by the principles provided by John Bowlby’s attachment theory, the film exemplifies someone’s physical, emotional and even cognitive responses to death; and the tasks one takes in experiencing bereavement.
Cabral, J.V. (2010). Banaag, Unpublished Undergraduate Thesis, University of the Philippines College of Mass Communication.
Subject Index: Grief in motion pictures, Death--Psychological aspects, Painting, Attachment behavior
View Thesis in flipbook: Banaag (UP Webmail Account required)