Wednesday, October 08, 2014

Final Examinations for Hum 3



Final Examinations for Hum 3 Class

October 9, 2014
6PM, Rooms D401-D403, Fourth Floor, Dotterweich Hall
Jacinto Campus

Bring two ballpoint pens and two sheets of Yellow Paper.


Thursday, September 11, 2014

On Midterm Examinations and Assignments this September 2014


ASSIGNMENTS FROM SEPTEMBER 11-18, 2014

Some articles worth reading before you make your film review on the Swimming Pool (Spoiler Alert! Note: please read this only after you have watched the film)



(1) Secrets of Swimming Pool: An Interview with Francois Ozon
(2) Sample Film Review of the Swimming Pool
(3) A time for Happiness: An Interview with Charlotte Rampling

Other articles that were assigned:
(4) The Art of Editing
(5) The Timelines of Film Sound
(6) Sound in Film
(7) Moving Pictures that Talk (In Four Parts)
(8) The Art of Sound Effects


MIDTERM EXAMINATIONS
For the midterm examinations: please read all articles assigned since the start of the semester. You will need those in order to answer practical questions during the midterm examinations.


  • Thursday Class Midterm Examination: September 18, 2014, 6PM, F513
  • Saturday Class Midterm Examinations: September 13, 2014, 1:30PM, F513


Bring at least five sheets of yellow paper and two ballpoint pens.

Friday, August 08, 2014

The Gaze: Questions to Ponder
Bong S. Eliab

The following will be asked during the oral recitation in the next class/ sessions. Please read the article “Notes on the Gaze” by Daniel Chandler.

  1. Why does viewing a recorded image have a voyeuristic dimension?
  2. What is the difference between a gaze and a look?
  3. Why does a gaze of indirect address represent an offer?
  4. Why does a gaze of direct address represent a demand?
  5. Why do glamour photographers enhance their photographs by dilating the pupil of their models?
  6. Why is it common for male models to look off or up?
  7. Why do actors in conventional narrative film gaze very rarely directly at the camera?
  8. Why is peripheral gaze more common to Asians?
  9. Why is an expert presented in a profile or in an interview rather than in a direct gaze?
  10. What is the intention of seeing the back of a depicted person?
  11. Why does a frontal portrait have been associated with the working class?
  12. In Michael Watson’s study what group of people chose to stand closest together? What group stood farthest apart from each other?
  13. Why is BCU seldom used for important figures? – BCUs may emphasize interviewee’s tension, guilt, may suggest lying?
  14. Why does the camera turn the depicted person into an object, thus distancing viewer and viewed?
  15. What is photographic seeing? Why is it a “controlling gaze”?
  16. Why is it the voyeuristic mode of gazing more intense for the cinema spectator than television viewer?
  17. What constitutes the suspension of disbelief? – Identification of the viewer with the camera: my eyes are the camera.
  18. Why does the film spectator re-enact “mirror image” of Jacques Lacan? Why does a camera become a tool of self-reflection and surveillance?

Kindly read also this article by Laura Mulvey, I will also ask some questions about it: