cite march 2012

c!te|MARCH 2012

c!te is the official publication of Team Communication.

Team Communication is the professional organization of Communication Arts and Organi-zational Communication students in De La Salle University and is a member of the Metro Manila Alliance of Communication Students and the Council of Student Organizations of De La Salle University.

c!te|MARCH 2012

CREATIVE DIRECTOR / LAYOUT ARTISTLYKA D. CABATAY

EDITOR IN CHIEFISABELLE TOLEDO

PHOTOGRAPHYINA CAMILLE JACOBE

PAULINE MAE DALUZ

TIMOTHY LAUREL UICHICO

TONICHI TATARO

WRITERSBEA CAPILI

LISA FORTUN

JONNAH DAYUTA

PAOLA KATHRINA MARPURI

ZSARLENE CHUA

c!te is the official publication of Team Communication.

TABLE OF CONTENTS

LISTOGRAPHY BY PAOLA KATHRINA MARPURI ................................................1

WHAT IF? BY JONNAH A. DAYUTA.........................................................2

HOW FAR ARE YOU WILLING TO GO TO MEND A BROKEN HEART? ............................................................3

THE TRUE MYSTERY OF THE WHIRLWIND, REKINDLEDBY BEA CAPILI.....................................................................4

OLD REELS BY ZSARLENE CHUA.............................................................5

CITE INTERVIEW: DOY DEL MUNDO BY LISA FORTUN..................................................................7

PHOTOGRAPHY.............................................................10

[email protected]

TeamComm DLSU

www.teamcomm.tk

1 / CITE 2012 ISSUE 1

LISTOGRAPHYBY PAOLA KATHRINA MAPURI

Lists are one of the most basic things you do and encounter in your everyday life. It can be a list of projects and assignments, a list of deadlines to meet, a list of the ingredients for a particular recipe, a list of your favorite mov-ies, a list of the good restaurants to try in town and the list of lists goes on. Back in 2006, the internet welcomed a new website called Lis-tography.com. It is a web application that allows users to create, publish and share different lists. In 2007, the first Listography book created by Lisa Nola was published by Chronicle Books. The book contains different lists about differ-ent topics which allow the readers to record stuff about their lives. There is Love Listogra-phy, Music Listography, Listography for kids, Friends Listography and Future Listgraphy. It’s basically Your Life in Lists, as their caption goes. The book contains series of lists from the most basic like a list of the countries you’d like to go someday to the superficial ones like the list of super powers you wish you have. In the very own words of Lisa and Adam Nola, the founders and creators of Listography, the rea-son why they created it is because it is “a valu-able interaction between past you and present you, a record of what you want to remember -- your own database of lists.” Through Listog-raphy, you are able to create different lists be it about your things to do or about the most unforgettable memories you had, and keep a record of it as well. In a way, it keeps track of important and random things in your life and lets you create your autobiography. A simple

list also has the power to take you back in time. In all the events and experiences you go through, it’s almost impossible to keep track of the details of your everyday life. Reading the different lists you created in the past, you are somehow reminded of some things you just might forgot about or things that are already long gone. It can ei-ther be a quote from a book that made an impact in your life or a special dream you had one night that seemed all too real. The lists you created allows you to keep a part of yourself that you can always go back to. Also, with the use of the web application, you’re able to get a glimpse of other peo-ple’s lives as well. Sometimes, it’s good to find out things about other people, whether from a stranger or a friend. Through the lists they create, you might just get to discover your new favorite song or learn about their experiences that you would go through someday. One of the goals of the creators of the website is that Listography would be an encouragement to people, to remind them of their goals and their simple to-do’s. Writing them down is the first step to making them happen. A simple jotting down of a list for a particular purpose, you are already one step closer to accomplishing that purpose. Listography can teach you a lot of things, about yourself and about other people, but most of all it teaches you to never underes-timate the power of a simple list.

LISTOGRAPHYBY PAOLA KATHRINA MAPURI

Only, it’s not the person you expect it to be.

What if he’s the guy who sat in front of you in PE class? What if he’s the guy who got up from his seat on the bus so that you could sit down? What if he was that guy you were singing along with during a concert? What if he’s the guy who cut in front of you at the grocer’s?What if he’s the guy who helped you pick up the pencils you dropped when someone tripped you over? What if he was your dance partner? What if he was your neighbor? What if he was that one guy who passed by you at a mall and you looked at each other for one solid second? What if he was your best friend?What if she was the girl who was crying on the bus, all by herself? What if she was the girl who made casual conversation with you in the middle of the blis-tering midday sunlight? What if she was the girl who was fiddling with some container that wouldn’t open? What if she was the girl who took photos of everyone and everything? What if she was that sad quiet girl who always sat by herself during lunch? What if she was the girl who blogged her feelings away? What if she was the girl you thought you could never have? What if she was the girl you believed to be out of your league? What if she was your neighbor?What if she was the girl you saw at Church and you looked at each other for one solid second? What if she was your best friend? The point in this is that everything starts with a single, ordinary moment. Not fire-works or something flesh sets up. It’s something so small, so minuscule, and so everyday - that you never notice it happening. You don’t just randomly meet some stranger and say “hey, I’m going to fall in love with you.” No. It doesn’t happen like that. It’s all hap-penstance. It’s not how you meet. It’s not who you meet. It’s not how it happens. It’s not where it happens. It’s about what happens after that. It’s the journey. You just need to be ready for the ride but be wary. It’s going to be a bumpy ride.

What if you’ve already met the one you’re supposed to be with?

CITE 2012 ISSUE 1 /2

BY JONNAH A. DAYUTA

HOW FAR ARE YOU WILLING TO GOTO MEND A BROKEN HEART?}{

No one could deny the fact that it is almost impossible to recover after getting your heart broken. To date, no medication has yet been invented that can be used to make people forget and skip all the sufferings and regret they feel. But what if you find out that there is a technology existing that could completely obliterate all of your mem-ories of that certain loved one like it was all just a dream? Do you think that the best solution would be to just forget all of it?

Eternal Sunshine of the Spotless Mind (2004) is a sci-fi film directed by a music video veteran, Michel Gondry, who also directed Being John Malkovich (1999) and Human Nature (2001). It is a radical example of a Maze Cinema that is why the flow of the story is not in chronological order, but rather, it bounces from different time frames back and forth which makes it all the more effective. It is definitely a must-see film because of the utterly brilliant storyline, stunning pic-turesque cinematography, and the star-studded group of actors that made the film more substantial because of their talentAll of the credit in the creatively brilliant story goes to the screenwriter Charlie Kauf-man. Each line in the film holds a lot of depth, meaning, and relevance to the story. The way the love story of Joel (Jim Carrey) and Clementine (Kate Winslet) was shown and the order that were set by him truly made a great impact with the film. The memorable lines delivered even by the supporting characters such as Mary (Kirsten Dunst) added more thrust..

FEATURES BY BEA CAPILI


As for the picture in itself, it captures a whole lot of beauty and art frame by frame. No matter which part you freeze it, the angle of the camera and the lighting shows the incredible photography skills of the cinematographer, Ellen Kuras. The story basically revolves around the greatest test of love and how two lovers con-quered it. The thing that made it work despite the confusing flow of the story would be its deep emotional core that has made it relatable to everyone. It has garnered numerous awards and nominations from the most prestigious award-giving bodies such as Oscars and Academy Awards. This film is also composed of well-known and loved actors such as Jim Carrey, Kate Winslet, Kirsten Dunst, Tom Wilkington, and Elijah Wood. There are reasons to our misfortunes, reasons that we cannot fathom in the moment of despair, but somewhere along the way, you will realize that it has a purpose. The way Kaufman has answered the greatest question on love is through the penetration of the human mind, but as we go along meddling with it, our heart and its emotions will always find a way towards destiny - tables will turn and reality will be obliterated after watching this astonishing masterpiece.

THE TRUE MYSTERY OF THE WHIRLWIND, REKINDLED

There are two ways through life: the way of na-ture, and the way of Grace. You have to choose which one you’ll follow.

Just like any other kind of art, film is a form of expression. It is similar to a language that fol-lows a specific set of grammars that only a few are aware of. That is why it is truly a foreign experience for moviegoers to experience a highly sophisticated art unfold in a movie theater -- and the award-winning filmmaker Terrence Malick has done it again with The Tree of Life. This is not like the typical blockbuster mov-ies that require the viewers to just sit down, relax, and enjoy what is being shown in front of them. In fact, it was not stuffed with action or suspense to entice the viewers, but rather, it will bring them into the depths of space and time. But despite its breathtaking cinematography (Emmanuel Lubez-ki), (Continued to page 9)

}{

CITE 2012 ISSUE 1 /4

This romantic-comedy film by Blake Ed-

wards and starring Audrey Hepburn follows

the same recipe as any other romantic-comedy

film: she is outspoken and impulsive and a

thorough extrovert, then she meets him, a

rational, serious and charming man, and then

he goes along with her and experiences the

ride of his life as her life is more dynamic and

more fun than his. Along the way, as the

said man rescues her from her own mishaps,

they realize that they have feelings for each

other and realizes their differences and is-

sues, so they fall apart, at the end of the

movie, they meet again and both of them

accepts their faults and they live happily

ever after. That is Breakfast at Tiffany’s

in a nutshell, but the thing that probably

sets it apart from the other clichéd films is

that Hepburn is utterly charming (and not

to mention gorgeous) and she can really

play the part of the ambitious city girl,

though sometimes it is unclear whether

she is playing dumb or is seriously a

dumb character with numerous flights of

fancy. Her portrayal of Holly Golightly

is perhaps one of her most iconic roles

that made this particular film a staple

romantic-comedy.

BREAKFAST AT TIFFANY’S

OLD REELSBY ZSARLENE CHUA


This romantic-comedy film by Blake Ed-

wards and starring Audrey Hepburn follows

the same recipe as any other romantic-comedy

film: she is outspoken and impulsive and a

thorough extrovert, then she meets him, a

rational, serious and charming man, and then

he goes along with her and experiences the

ride of his life as her life is more dynamic and

more fun than his. Along the way, as the

said man rescues her from her own mishaps,

they realize that they have feelings for each

other and realizes their differences and is-

sues, so they fall apart, at the end of the

movie, they meet again and both of them

accepts their faults and they live happily

ever after. That is Breakfast at Tiffany’s

in a nutshell, but the thing that probably

sets it apart from the other clichéd films is

that Hepburn is utterly charming (and not

to mention gorgeous) and she can really

play the part of the ambitious city girl,

though sometimes it is unclear whether

she is playing dumb or is seriously a

dumb character with numerous flights of

fancy. Her portrayal of Holly Golightly

is perhaps one of her most iconic roles

that made this particular film a staple

romantic-comedy.

BREAKFAST AT TIFFANY’S

OLD REELS

Singin’ in the Rain by Stanley O’Donnen and Gene Kelly, is

perhaps the best musical film ever made, with the marvelous combination of both

dance and music as well as the original plot that chronicles the transition from si-

lent to sound of the film industry, is both entertaining and socially, and perhaps,

historically-relevant. The romance sub-plot of the film could be considered as a

minute addition as the film could have gone without it, though it is understood

that without the underlying theme of romance, no film can be considered a film.

All in all, this is a magical and entertaining buffet that would fill your senses

and would also make one appreciate the beauty of making films and how it got

here, and would also make one yearn for the kinds of films that is well-written

and well-played in the same manner the Golden Classics are made.

SINGING IN THE RAIN

CITE 2012 ISSUE 1 / 6


“Doy” Del MundoCite Magazine talks with one of DLSU’s respected faculty members, screen writer and director Clodualdwo “Doy” Del Mundo as he shares more about his experiences in the local film industry.

BY LISA FORTUN

they asked me to develop the Communica-tion Arts program. It was under the Lan-guages and Literature department, so I in-troduced the Communication Arts program in September 1975, since it was offered as a major under the Languages and Literature department. Then, [I think] it was in 1982 or 1981 that it became a separate department. And then I was the chair of that depart-ment. Because of that, bigger an gaming majors, a lot of majors wanted to take up communication arts, and the administration decided to set it up as a separate depart-ment.

The brains behind movies such as “Maynila” and the Cinemalaya-winning piece “Pepot Artista” is more than what meets the eye. Known as one of the coun-try’s well-known screenwriters and directors, Clodualdo Del Mundo, Jr. (or “Sir Doy”, as his students would call him) has also made a name in De La Salle University as on of its most prestigious Emeriti, having established the Communications Department of the University. How has he done all this? We give you an opportunity to hear his thoughts in this page and get to know the man who gave so much to the filming industry.

Team Comm:What got you into filmmaking?

Clodualdo Del Mundo, Jr: [I’ve gotten into] theater; but then I was exposed to classic films, European films and American classic films. Then I got interested in film […] it can last longer than stage presentation. Stage presentation just happens during the perfor-mance itself, and then that’s it, it ends there. So I got interested in the films because of the audience that it can reach, a wider audi-ence, that can last longer. TC: Aside from being a filmmaker in your own right, we also know that you started the Communications department of DLSU. How did it begin?

CDM: I entered La Salle in 1975, then they

“Doy” Del MundoBY LISA FORTUN


only three directors: one was Lino Brocka, I did one for Lino in “Maynila”; and then I worked with Mike de Leon, with “Eighteen”, “Kakabakaba”, and then the third director is Gil Portes, so I did ‘Merika, “Mulanay: Sa Pusod ng Paraiso” and other films, then on my own, I did documentaries, but I really wanted to direct feature films, so in 2005, the first Cinemalaya Independent Film Fes-tival was organized, and I applied for a grant… In Cinemalaya, they give P500,000 to ten filmamkers, so I applied for it and then I was given the grant, this was during the first Cinemalaya, so I was able to make Pepot Artista.

TC: Have you always had themes for your films? What do you usually use as a basis for your documentaries?

CDM: The documentaries, usually, they would deal with important issues, like what I did one with land reform, and there was one with domestic helpers in Singapore, and there’s one about corruption, and then the latest was all about urban poverty, so they deal with important issues in our soci-ety.

The feature films, well, they are var-ied, actually. But the screenplays that I wrote came from different sources, so they didn’t really start with me, except maybe for one, yung Aliwan Paradise. Aliwan Paradise has something to do with enter-tainment as a major issue in our society. The latest film that I did, “Ang Paglipad ng Anghel”, has something to do with what is good, the idea of goodness.

TC: Have you enjoyed the experience?

TC: How is life as a film maker and being part of the academe?

CDM: Yeah, I’ve been doing films, writing screenplays, while I was working in La Salle that time, teaching in La Salle. Yung, my film making and my teaching worked hand in hand because I had a regular income here in La Salle, so I was able to choose the film projects that I would do. I did not have to just do anything that the industry would want, so I was able to choose the projects, and at the same time, I was able to continue with my teaching because of the extra income I was getting during the writ-ings. Basically, I was writing screenplays, during those years in the second half of the ‘70s [and] 1980s. So parang my filmmaking and my teaching co-existed and there was a symbiosis between the two. If I did not have regular income, let’s say from teaching, then I would have compro-mised a work in the industry and done more commercial work.

TC: Were there any problems that you have encountered along the way?

CDM: I don’t know, I can not think of any things in those terms. I started here in ’75 then after ten years, in 1985, I left to study, to take up my PHD. So… but that was not a problem, really. I just had to leave for study and then I came back in 1994. La Salle has been very supportive of my career as teacher and as filmmaker.

TC: Can you tell us about the films that you’ve released?

CDM: As a screenwriter, I worked with TC: Have you enjoyed the experience?

TC: Have you enjoyed the experience? DOY DEL MUNDO, continued...CDM: Yes, of course. It’s a creative process so it’s nice while you work on something you develop it, and you see the result on the screen. Without the screenplay, then there’s no film. The members of the production staff won’t have anything to do, from the direc-tors, the cinematographer, the production de-signer, the actors; they would have nothing to work on, so the screenplay is important to me in that sense. So it’s nice that you create something and other people work on it, to realize it. TC: How would you recommend your job as a filmmaker to aspiring filmmakers?

CDM: The best thing to do is to watch a lot of films, learn from the good and the bad ones, and do your own film. Now there is no excuse to be able to do your film because the equipment is available, it’s accessible, and shooting and editing equipment is ac-cessible. You can borrow or buy your own camera and your computer na rin to do your editing, they’ll be able to your own work. So walang excuse.

TC: So, Is filmmaking is something worth trying?

CDM: If they want to. [They can] if they want to use films as their medium of expression. X

I think that it is quite shallow in a sense be-cause it is obvious that Malick had focused more on making the viewers awe from the majestic sights and he has lacked on the story-telling aspect of the film. The film stars Brad Pitt, Sean Penn, and Jessica Chastain. It has also been the debut for new young actors such as Hunter Mc-Cracken, Laramie Eppler, and Tye Sheridan. Basically, the film revolves around different types of emotions such as love, grief, and hatred. At the same time, they have diffused the idea of creation and the humble begin-nings of life forms to bring home the idea that we all have the same historical back-ground (at least that is how I understood its purpose). And even though it is mentioned very little in the film the names of the char-acters, I believe that it does not matter be-cause they all symbolize every single one of us and our role in our own families. The stereotypical representations of each charac-ter symbolizes the similarity of every family regardless of ethnicity, culture, or class. They all go through the process of growth through rigorous trials. The film would have been more beauti-ful if he had concentrated more on the beau-ty of the story as it has unfolded rather than the staggering shots of nature. Obviously, it was clear that the viewers were dumb-founded after watching the film because it became complicated and the story seems to be confusing for many. Though no one can deny that each frame and moment in the film is aesthetically beautiful (for sure, no mat-ter what scene you freeze the film, it would still translate perfection), it was still hard to understand most parts of it. But despite my little disappointment with the film, I still be-lieve that Malick deserves winning the

Golden Palm at the Cannes Film Festival. His efforts in creating this film for more than 20 years had truly paid off. It is defi-nitely a masterpiece that everyone should experience watching. Hopefully, he cre-ates more films that would not just inspire us, but also, awaken our minds. God speaks through the whirlwind, listen.X

THE TRUE MYSTERY OF THE WHIRLWIND, CONTINUED


PHOTOGRAPHY

PHOTOGRAPHY

INA CAMILLE JACOBE

TONICHI TATARO

PAULINE MAE DALUZ

TIMOTHY LAUREL UICHICO

PAULINE MAE DALUZID 110

/AB LITERATURE



INA CAMILLE JACOBEID 110

/AB ORGANIZATIONAL COMMUNICATION



TONICHI TATAROID 110




TIMOTHY LAUREL UICHICOID 110




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