Magandang araw po. Pasensya na po sa huling pagsusumite ng proposals pero sisikapin kong dagdagan pa. Nais ko lang po maipakonsulta agad kung maaaprubahan po o hindi. Salamat po.
https://drive.google.com/file/d/1mwWReFUjCG8I9wXUFxtfF1R-2ZY2A06B/view?usp=sharing
How is topic 1 different from SUYAT's thesis? Prepare a side -by-side/parallel explanation/discussion of the differences between SUYAT and your topic in terms of statement of the problem, objectives, research design, and methodology.
Deadline: Wednesday, 12nn (November 20, 2024).
Deadline: Wednesday, 12nn (November 20, 2024).
Nais ko lang po maipakonsulta agad kung maaaprubahan po o hindi.
Ms Laggui, nag-aanunsyo ako kapag walang klase (dahil may gawain ako para sa OSA) pero kung walang anunsyo, natutuloy ang klase natin sa oras at araw na nakaiskedyul. Bakit naman ako ngayon ang minamadali mo samantalang maraming pagkakataon na puwede ka magpakonsulta sa klase o pagkatapos ng klase?
Narito po ang explanation sa pagkakaiba ng nais kong konsepto sa thesis ni Zhan:
https://drive.google.com/file/d/1czHqqrkA0ma4XAamFd485wk34vcJLgan/view?usp=drivesdk
Salamat po.
Ito po ang nirebisa kong proposal sa paksa ng Tikanlu Festival delicacies. Salamat po.
https://drive.google.com/file/d/1EkcuxDv5T7Jh_Xsc0zz9X7ZdeNtue7cI/view?usp=sharing
https://drive.google.com/file/d/1EkcuxDv5T7Jh_Xsc0zz9X7ZdeNtue7cI/view?usp=sharing
1. What is the TIKANLU Festival and how is it celebrated? LIST ONE OBJECTIVE AT A TIME.
2. What are the delicacies being showcased during this event? Why these
delicacies? LIST ONE OBJECTIVE AT A TIME.
3. How do the locals prepare and distribute these delicacies? THIS IS THE SAME AS OBJ AS 1 AND 2.
4. How does the Tagudinians’ identity manifest in the culinary heritage of these
delicacies and how do they adapt with the contemporary production and market
needs? THIS IS THE SAME AS OBJ AS 1 AND 2.
5. How does the LGU and stakeholders work together to make the festival a
success and ensure its purpose of promoting and preserving their culinary and
cultural heritage? THIS IS SUBSUMED IN OBJ 2.
2. What are the delicacies being showcased during this event? Why these
delicacies? LIST ONE OBJECTIVE AT A TIME.
3. How do the locals prepare and distribute these delicacies? THIS IS THE SAME AS OBJ AS 1 AND 2.
4. How does the Tagudinians’ identity manifest in the culinary heritage of these
delicacies and how do they adapt with the contemporary production and market
needs? THIS IS THE SAME AS OBJ AS 1 AND 2.
5. How does the LGU and stakeholders work together to make the festival a
success and ensure its purpose of promoting and preserving their culinary and
cultural heritage? THIS IS SUBSUMED IN OBJ 2.
YOU ONLY HAVE 2 OBJECTIVES. REVISE. THIS WILL NOT SUFFICE. REVISE ASAP.
Magandang umaga po, Maam Ow! Ito naman po ang proposal ko sa representasyon ng aswang sa mga pelikula bilang tauhan sa urban at kontemporaryong panahon.
Title: Contemporary Reimagination of the legendary Aswang through Films: Ang Manananggal sa Unit 23B (2016), Nay (2017), and Aswang (2019)
Statement of the Problem:
The Aswang, a creature deeply rooted in Filipino folklore, has historically been portrayed as a rural menace, embodying traditional fears and superstitions. However, as Philippine society becomes increasingly urbanized, these portrayals should not be confined to rural settings or narratives to reach contemporary audiences. The potential of the Aswang to symbolize modern anxieties—such as alienation, societal decay, and technological fears—challenges contemporary Filipino filmmakers seeking to innovate within the horror genre. Urban Aswang narratives may emphasize Filipino folklore while expanding its meaning by engaging with pressing social issues in a contemporary context. Doing so will not only preserve its cultural significance but also enrich its narrative potential, allowing it to resonate with various audiences. Thus, this study aims to analyze how the Aswang was artistically reimagined through films in the urban setting: Ang Manananggal sa Unit 23B (2016), Nay (2017), and Aswang (2019).
Objectives:
1. Examine the formal, thematic, and stylistic qualities of the selected films, Ang Manananggal sa Unit 23B (2016), Nay (2017), and Aswang (2019).
2. Analyze the “aswang” characters’ rendition across the selected film’s genre and how they reflect societal issues with their narrative in the urban setting.
3. Compare and contrast key narratives from the three films that characterize the Aswang based on Philippine Folklore.
4. Determine the filmmaker’s inspiration and view on the importance of reinventing the Philippine folkloric narrative through their respective films.
Research Questions:
1. What are the cinematic elements of the selected films: Ang Manananggal sa Unit 23B (2016), Nay (2017), and Aswang (2019)?
2. How were the aswang characters depicted in each film and reflect societal issues occurring in the urban setting?
3. What were the key narratives that portray similar and distinct aswang characteristics from each film?
4. How were the filmmakers inspired to employ the Aswang as a character representation and how is it important for them to innovate Philippine folkloric narrative in different art forms, especially in films?
Title: Contemporary Reimagination of the legendary Aswang through Films: Ang Manananggal sa Unit 23B (2016), Nay (2017), and Aswang (2019)
Statement of the Problem:
The Aswang, a creature deeply rooted in Filipino folklore, has historically been portrayed as a rural menace, embodying traditional fears and superstitions. However, as Philippine society becomes increasingly urbanized, these portrayals should not be confined to rural settings or narratives to reach contemporary audiences. The potential of the Aswang to symbolize modern anxieties—such as alienation, societal decay, and technological fears—challenges contemporary Filipino filmmakers seeking to innovate within the horror genre. Urban Aswang narratives may emphasize Filipino folklore while expanding its meaning by engaging with pressing social issues in a contemporary context. Doing so will not only preserve its cultural significance but also enrich its narrative potential, allowing it to resonate with various audiences. Thus, this study aims to analyze how the Aswang was artistically reimagined through films in the urban setting: Ang Manananggal sa Unit 23B (2016), Nay (2017), and Aswang (2019).
Objectives:
1. Examine the formal, thematic, and stylistic qualities of the selected films, Ang Manananggal sa Unit 23B (2016), Nay (2017), and Aswang (2019).
2. Analyze the “aswang” characters’ rendition across the selected film’s genre and how they reflect societal issues with their narrative in the urban setting.
3. Compare and contrast key narratives from the three films that characterize the Aswang based on Philippine Folklore.
4. Determine the filmmaker’s inspiration and view on the importance of reinventing the Philippine folkloric narrative through their respective films.
Research Questions:
1. What are the cinematic elements of the selected films: Ang Manananggal sa Unit 23B (2016), Nay (2017), and Aswang (2019)?
2. How were the aswang characters depicted in each film and reflect societal issues occurring in the urban setting?
3. What were the key narratives that portray similar and distinct aswang characteristics from each film?
4. How were the filmmakers inspired to employ the Aswang as a character representation and how is it important for them to innovate Philippine folkloric narrative in different art forms, especially in films?
Title:
Aswang in the City: A Reimagination and Diversification of the Philippine Folkloric Creature through Contemporary Films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017)
Statement of the Problem:
The Aswang, a creature deeply rooted in Filipino folklore, has historically been portrayed as a rural menace, embodying traditional fears and superstitions. However, as Philippine society becomes increasingly urbanized, these portrayals should not be confined to rural settings or narratives to reach contemporary audiences. The potential of the Aswang to symbolize modern anxieties—such as alienation, societal decay, and technological fears—challenges contemporary Filipino filmmakers seeking to innovate within the horror genre. Urban Aswang narratives may emphasize Filipino folklore while expanding its storytelling potential by engaging with the urban setting in a contemporary context. Doing so will not only preserve its cultural significance but also enrich its narrative potential, allowing it to resonate with various audiences. Thus, this study aims to discuss how the Aswang was artistically reimagined in the urban and contemporary setting through films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017).
Objectives:
1. Examine the formal, thematic, and stylistic qualities of the selected films, Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017).
2. Analyze the rendition of the “aswang” characters across the selected film’s genre and how they are reimagined and immersed in the urban setting.
3. Determine the filmmaker’s inspiration and take on the importance of reinventing and utilizing the Philippine folkloric narrative in contemporary media through their respective films.
Research Questions:
1. What are the cinematic elements of the selected films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017)?
2. How were the aswang characters in the film reimagined and situated in the urban setting?
3. Why were the filmmakers inspired to employ the creature Aswang in their film concept and how is it important for them to innovate Philippine folkloric narrative in various contemporary art forms, especially in films?
Aswang in the City: A Reimagination and Diversification of the Philippine Folkloric Creature through Contemporary Films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017)
Statement of the Problem:
The Aswang, a creature deeply rooted in Filipino folklore, has historically been portrayed as a rural menace, embodying traditional fears and superstitions. However, as Philippine society becomes increasingly urbanized, these portrayals should not be confined to rural settings or narratives to reach contemporary audiences. The potential of the Aswang to symbolize modern anxieties—such as alienation, societal decay, and technological fears—challenges contemporary Filipino filmmakers seeking to innovate within the horror genre. Urban Aswang narratives may emphasize Filipino folklore while expanding its storytelling potential by engaging with the urban setting in a contemporary context. Doing so will not only preserve its cultural significance but also enrich its narrative potential, allowing it to resonate with various audiences. Thus, this study aims to discuss how the Aswang was artistically reimagined in the urban and contemporary setting through films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017).
Objectives:
1. Examine the formal, thematic, and stylistic qualities of the selected films, Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017).
2. Analyze the rendition of the “aswang” characters across the selected film’s genre and how they are reimagined and immersed in the urban setting.
3. Determine the filmmaker’s inspiration and take on the importance of reinventing and utilizing the Philippine folkloric narrative in contemporary media through their respective films.
Research Questions:
1. What are the cinematic elements of the selected films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017)?
2. How were the aswang characters in the film reimagined and situated in the urban setting?
3. Why were the filmmakers inspired to employ the creature Aswang in their film concept and how is it important for them to innovate Philippine folkloric narrative in various contemporary art forms, especially in films?
Title:
Aswang in the City: A Reimagination and Diversification of the Philippine Folkloric Creature through Contemporary Films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017)
Statement of the Problem:
The Aswang, a creature deeply rooted in Filipino folklore, has historically been portrayed as a rural menace, embodying traditional fears and superstitions. However, as Philippine society becomes increasingly urbanized, these portrayals should not be confined to rural settings or narratives to reach contemporary audiences. The potential of the Aswang to symbolize modern anxieties—such as alienation, societal decay, and moral conflict—challenges contemporary Filipino filmmakers seeking to innovate within the horror genre. Urban Aswang narratives may emphasize Filipino folklore while expanding its storytelling potential by engaging with the urban setting in a contemporary context. Doing so will not only preserve its cultural significance but also enrich its narrative potential, allowing it to resonate with various audiences. Thus, this study aims to discuss how the Aswang was artistically reimagined in the urban and contemporary setting through films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017).
Objectives:
1. Examine the formal, thematic, and stylistic qualities of the selected films, Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017).
2. Analyze the rendition of the “aswang” characters situated in the urban setting across the selected film’s genre.
3. Determine the filmmaker’s inspiration of reinventing the folkloric narrative of aswangs in the contemporary Filipino horror genre through their respective films.
Research Questions:
1. What are the cinematic elements of the selected films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017)?
2. How were the aswang characters in the film reimagined in the urban setting?
3. Why were the filmmakers inspired to employ the creature Aswang in their film concept and innovate its folkloric narrative through their films?
Sources:
- Alcantara Illana, M. A. (2021). THE HEROIC ARCHETYPES AND THE REINVENTION OF ASWANG CHARACTER IN SEGUNDO MATIAS’ MOYMOY LULUMBOY ANG BATANG ASWANG. OKARA: Jurnal Bahasa Dan Sastra, 15(1), 119–142. https://doi.org/10.19105/ojbs.v15i1.3828
- Azuma, K. (2012, September). In search of Aswang: A Ghost Story, Monster and sorcerer in Philippine Society - Kyoto Review of Southeast Asia. Kyoto Review of Southeast Asia. https://kyotoreview.org/issue-12/in-search-of-aswang-a-ghost-story-monster-and-sorcerer-in-philippine-society/
- Cervantes, C. L. (2023, June 6). Urban Legends as modern folklore. THE ASWANG PROJECT. https://www.aswangproject.com/urban-legends-as-modern-folklore/
- Choi, N. (2016). Metro Manila Through the Gentrification Lens: Disparities in urban planning and displacement risks. www.jstor.org, 53(3), 577–592. https://www.jstor.org/stable/26151046?read-now=1&seq=12#page_scan_tab_contents
- Explorations in Philippine folklore : Coben, Herminia Meñez : Free Download, Borrow, and Streaming : Internet Archive. (1996). Internet Archive. https://archive.org/details/explorationsinph0000cobe/page/122/mode/2up
- Gaverza, J. K. (2014). THE MYTHS OF THE PHILIPPINES (2014). Up-diliman. https://www.academia.edu/36248979/THE_MYTHS_OF_THE_PHILIPPINES_2014_
- Geller. (2016, October 21). Aswang - Mythical Creature from Philippine | Mythology.net. Mythology.net. https://mythology.net/monsters/aswang/#:~:text=The%20Aswang%20%28%C3%A6%C2%B7swang%29%20is%20a%20flesh-eating%2C%20shapeshifting%20monster.,others%20to%20have%20reclusive%20habits%20or%20magical%20abilities.
- Michel, B. (2010). Going Global, veiling the poor global city imaginaries in Metro Manila on JSTOR. www.jstor.org, 58(3), 383–406. https://www.jstor.org/stable/42634640?read-now=1&seq=5#page_scan_tab_contents
- Montenegro, B. (2015, September 4). The Aswang Diaspora: Why Philippine lower myths continue to endure. GMA News Online. https://www.gmanetwork.com/news/scitech/technology/535657/the-aswang-diaspora-why-philippine-lower-myths-continue-to-endure/story/
- Nadeau, K. (2011). Aswang and Other Kinds of Witches: A Comparative Analysis. Philippine Quarterly of Culture and Society, 39(3/4), 250–266. https://www.jstor.org/stable/23719118?read-now=1&seq=11#page_scan_tab_contents
- Ocampo, A. R. (2020, October 30). ‘Aswang’ and urbanization | Inquirer Opinion. INQUIRER.net. https://opinion.inquirer.net/134874/aswang-and-urbanization
- Ortiga, K. (2020, November 10). ‘Trese’ creators share their journey from photocopied comic books to Netflix. VICE. https://www.vice.com/en/article/trese-creators-budjette-tan-kajo-baldisimo-interview-comic-book-netflix/
- Pertierra, R. (1983). Viscera-Suckers and Female Sociality: The Philippine Asuang on JSTOR. www.jstor.org, 31(3), 319–337. https://www.jstor.org/stable/42633556?read-now=1&seq=1#page_scan_tab_contents
- Sherman, S., & Koven, M. (2007). Introduction: Popular Film as Vernacular Culture. Folklore/Cinema: Popular Film as Vernacular Culture, 1–8. https://www.jstor.org/stable/j.ctt4cgnbm.3?seq=1
- Tolentino, R. B. (2016, February 22). Shake, Rattle and roll horror franchise and the specter of Nation-Formation in the Philippines. https://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/4933
Videos (for data gathering):
Erik Matti (Presscon)
- Manual To Lyf. (2014, December 20). Kubot The Aswang Chronicles BlogCon [Video]. YouTube. https://www.youtube.com/watch?v=75fq4t3CabA
Prime Cruz (Interview)
- EdFlix. (2016, October 25). Horror meets Hugot in Ang Manananggal sa Unit 23B [Video]. YouTube. https://www.youtube.com/watch?v=ZKEmfoFProI
- Sinepanghalina. (2021, June 24). SPOOKY SUNDAY S3 EP2: “ANG MANANANGGAL SA UNIT 23” WITH DIREK PRIME CRUZ [Video]. YouTube. https://www.youtube.com/watch?v=iRmTMRTZwxI
Kip Oebanda (Guesting and CinemaOne BTS Feature)
- Cinema One. (2019, March 26). INSIDE THE CINEMA - C1 ORIGINALS 2017: Kip Oebanda on making ‘generic films’ [Video]. YouTube. https://www.youtube.com/watch?v=2S8JSdhy-0Q
- mydigitaldreams. (2017, November 28). CINEMAONE BTS: Paki, Nervous Translation & Nay [Video]. YouTube. https://www.youtube.com/watch?v=cm1o83gu8xk
- Cruz, M. R. (2017, November 7). Why Sylvia-Enchong kissing scenes crucial to ‘Nay’ horror flick | Inquirer Entertainment. INQUIRER.net. https://entertainment.inquirer.net/249493/sylvia-enchong-kissing-scenes-crucial-nay-horror-flick
Medyo dinamihan ko na lang rin po yung sources just in case may iba po kayong hindi irerekomenda sa pagsulat ng RKL. Medyo nahirapan lang rin po since hindi pa sigurado ang mga layunin pero patuloy pa rin po akong naghahanap ng teoryang ilalapat sa aking pag-aaral. Para kay Kip Oebanda, medyo alanganin o konti po yung source, pero susubukan ko pong makahanap ng paraan upang makontak siya.
Salamat po.
Aswang in the City: A Reimagination and Diversification of the Philippine Folkloric Creature through Contemporary Films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017)
Statement of the Problem:
The Aswang, a creature deeply rooted in Filipino folklore, has historically been portrayed as a rural menace, embodying traditional fears and superstitions. However, as Philippine society becomes increasingly urbanized, these portrayals should not be confined to rural settings or narratives to reach contemporary audiences. The potential of the Aswang to symbolize modern anxieties—such as alienation, societal decay, and moral conflict—challenges contemporary Filipino filmmakers seeking to innovate within the horror genre. Urban Aswang narratives may emphasize Filipino folklore while expanding its storytelling potential by engaging with the urban setting in a contemporary context. Doing so will not only preserve its cultural significance but also enrich its narrative potential, allowing it to resonate with various audiences. Thus, this study aims to discuss how the Aswang was artistically reimagined in the urban and contemporary setting through films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017).
Objectives:
1. Examine the formal, thematic, and stylistic qualities of the selected films, Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017).
2. Analyze the rendition of the “aswang” characters situated in the urban setting across the selected film’s genre.
3. Determine the filmmaker’s inspiration of reinventing the folkloric narrative of aswangs in the contemporary Filipino horror genre through their respective films.
Research Questions:
1. What are the cinematic elements of the selected films: Kubot: The Aswang Chronicles 2 (2014), Ang Manananggal sa Unit 23B (2016), and Nay (2017)?
2. How were the aswang characters in the film reimagined in the urban setting?
3. Why were the filmmakers inspired to employ the creature Aswang in their film concept and innovate its folkloric narrative through their films?
Sources:
- Alcantara Illana, M. A. (2021). THE HEROIC ARCHETYPES AND THE REINVENTION OF ASWANG CHARACTER IN SEGUNDO MATIAS’ MOYMOY LULUMBOY ANG BATANG ASWANG. OKARA: Jurnal Bahasa Dan Sastra, 15(1), 119–142. https://doi.org/10.19105/ojbs.v15i1.3828
- Azuma, K. (2012, September). In search of Aswang: A Ghost Story, Monster and sorcerer in Philippine Society - Kyoto Review of Southeast Asia. Kyoto Review of Southeast Asia. https://kyotoreview.org/issue-12/in-search-of-aswang-a-ghost-story-monster-and-sorcerer-in-philippine-society/
- Cervantes, C. L. (2023, June 6). Urban Legends as modern folklore. THE ASWANG PROJECT. https://www.aswangproject.com/urban-legends-as-modern-folklore/
- Choi, N. (2016). Metro Manila Through the Gentrification Lens: Disparities in urban planning and displacement risks. www.jstor.org, 53(3), 577–592. https://www.jstor.org/stable/26151046?read-now=1&seq=12#page_scan_tab_contents
- Explorations in Philippine folklore : Coben, Herminia Meñez : Free Download, Borrow, and Streaming : Internet Archive. (1996). Internet Archive. https://archive.org/details/explorationsinph0000cobe/page/122/mode/2up
- Gaverza, J. K. (2014). THE MYTHS OF THE PHILIPPINES (2014). Up-diliman. https://www.academia.edu/36248979/THE_MYTHS_OF_THE_PHILIPPINES_2014_
- Geller. (2016, October 21). Aswang - Mythical Creature from Philippine | Mythology.net. Mythology.net. https://mythology.net/monsters/aswang/#:~:text=The%20Aswang%20%28%C3%A6%C2%B7swang%29%20is%20a%20flesh-eating%2C%20shapeshifting%20monster.,others%20to%20have%20reclusive%20habits%20or%20magical%20abilities.
- Michel, B. (2010). Going Global, veiling the poor global city imaginaries in Metro Manila on JSTOR. www.jstor.org, 58(3), 383–406. https://www.jstor.org/stable/42634640?read-now=1&seq=5#page_scan_tab_contents
- Montenegro, B. (2015, September 4). The Aswang Diaspora: Why Philippine lower myths continue to endure. GMA News Online. https://www.gmanetwork.com/news/scitech/technology/535657/the-aswang-diaspora-why-philippine-lower-myths-continue-to-endure/story/
- Nadeau, K. (2011). Aswang and Other Kinds of Witches: A Comparative Analysis. Philippine Quarterly of Culture and Society, 39(3/4), 250–266. https://www.jstor.org/stable/23719118?read-now=1&seq=11#page_scan_tab_contents
- Ocampo, A. R. (2020, October 30). ‘Aswang’ and urbanization | Inquirer Opinion. INQUIRER.net. https://opinion.inquirer.net/134874/aswang-and-urbanization
- Ortiga, K. (2020, November 10). ‘Trese’ creators share their journey from photocopied comic books to Netflix. VICE. https://www.vice.com/en/article/trese-creators-budjette-tan-kajo-baldisimo-interview-comic-book-netflix/
- Pertierra, R. (1983). Viscera-Suckers and Female Sociality: The Philippine Asuang on JSTOR. www.jstor.org, 31(3), 319–337. https://www.jstor.org/stable/42633556?read-now=1&seq=1#page_scan_tab_contents
- Sherman, S., & Koven, M. (2007). Introduction: Popular Film as Vernacular Culture. Folklore/Cinema: Popular Film as Vernacular Culture, 1–8. https://www.jstor.org/stable/j.ctt4cgnbm.3?seq=1
- Tolentino, R. B. (2016, February 22). Shake, Rattle and roll horror franchise and the specter of Nation-Formation in the Philippines. https://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/4933
Videos (for data gathering):
Erik Matti (Presscon)
- Manual To Lyf. (2014, December 20). Kubot The Aswang Chronicles BlogCon [Video]. YouTube. https://www.youtube.com/watch?v=75fq4t3CabA
Prime Cruz (Interview)
- EdFlix. (2016, October 25). Horror meets Hugot in Ang Manananggal sa Unit 23B [Video]. YouTube. https://www.youtube.com/watch?v=ZKEmfoFProI
- Sinepanghalina. (2021, June 24). SPOOKY SUNDAY S3 EP2: “ANG MANANANGGAL SA UNIT 23” WITH DIREK PRIME CRUZ [Video]. YouTube. https://www.youtube.com/watch?v=iRmTMRTZwxI
Kip Oebanda (Guesting and CinemaOne BTS Feature)
- Cinema One. (2019, March 26). INSIDE THE CINEMA - C1 ORIGINALS 2017: Kip Oebanda on making ‘generic films’ [Video]. YouTube. https://www.youtube.com/watch?v=2S8JSdhy-0Q
- mydigitaldreams. (2017, November 28). CINEMAONE BTS: Paki, Nervous Translation & Nay [Video]. YouTube. https://www.youtube.com/watch?v=cm1o83gu8xk
- Cruz, M. R. (2017, November 7). Why Sylvia-Enchong kissing scenes crucial to ‘Nay’ horror flick | Inquirer Entertainment. INQUIRER.net. https://entertainment.inquirer.net/249493/sylvia-enchong-kissing-scenes-crucial-nay-horror-flick
Medyo dinamihan ko na lang rin po yung sources just in case may iba po kayong hindi irerekomenda sa pagsulat ng RKL. Medyo nahirapan lang rin po since hindi pa sigurado ang mga layunin pero patuloy pa rin po akong naghahanap ng teoryang ilalapat sa aking pag-aaral. Para kay Kip Oebanda, medyo alanganin o konti po yung source, pero susubukan ko pong makahanap ng paraan upang makontak siya.
Salamat po.
Determine the filmmaker’s inspiration of reinventing the folkloric narrative of aswangs in the contemporary Filipino horror genre through their respective films.
Kailangan nito ng interview sa filmmakers.
Kailangan nito ng interview sa filmmakers.
Simulan mo na ang RKL.
Magsama ka ng summary of the films kaya magiging 13 ang total sources mo.
Deadline: December 13,2024
Dito mo i-submit ang RKL.
Magsama ka ng summary of the films kaya magiging 13 ang total sources mo.
Deadline: December 13,2024
Dito mo i-submit ang RKL.
Magandang umaga po, Ma'am Ow!
Narito po ang aking papel sa 199, kabilang po ang mga ibang gawain na lumagpas na po sa deadlines.
https://drive.google.com/file/d/1DQIYn3MgG-JmSPXyvVQJ6cwPWnYBj8q2/view?usp=sharing
Maraming salamat po.
Narito po ang aking papel sa 199, kabilang po ang mga ibang gawain na lumagpas na po sa deadlines.
https://drive.google.com/file/d/1DQIYn3MgG-JmSPXyvVQJ6cwPWnYBj8q2/view?usp=sharing
Maraming salamat po.