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axhiramae-blog · 6 years ago

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FLORES,TM 1 (GOYO)

MANILA, Philippines – Goyo: Ang Batang Heneral, the second installment to Jerrold Tarog’s war trilogy, premiered Wednesday, September 5. By humanizing who many consider as one of the bravest heroes of the revolution – from his questionable loyalty to Emilio Aguinaldo to his womanizing ways –Jerold hopes Goyo will encourage Filipinos to take a moment of self-reflection and introspection. “The idea naman with Heneral Luna and Goyo is presenting a person na meron siyang mga flaws, marami siyang flaws, pero at the same time, meron din siyang mga bagay na ginagawa na you can agree with,” Jerrold explained during the press conference for Goyo last August 23. (The idea with General Luna and Goyo is to present a person with flaws but at the same time, did things you can agree with.) “Puwedeng tingnan ng kabataan ‘yung idea na natuto si Goyo na mag-sacrifice kasi, I don’t want to give away too many things sa tema, pero ‘yung idea na sacrifice. That is one important thing – 'yung idea ng pagkilala mo sa sarili mo is not really a kind of egotism kundi it really is more of learning to let go of your own ego para sa isang greater good.” (The youth can look at it this way: Goyo learned to sacrifice – and I don't want to give away too many themes – but the idea of sacrifice is there. That is one important thing to know: that the idea of knowing yourself isn't really a kind of egotism but it's really about letting go of your own ego for the greater good.) While known for his bravery, Jerrold said that the young general, in several instances, appeared terrified when reminded of his mortality. GOYO. Paulo Avelino is Gregorio del Pilar in 'Goyo: Ang Batang Heneral.' Screenshot from YouTube/TBA GOYO. Paulo Avelino is Gregorio del Pilar in 'Goyo: Ang Batang Heneral.' Screenshot from YouTube/TBA “Nakita ng mga friends ni Goyo na takot na takot si Goyo dahil narealize niya na mamamatay siya. May mga ganung bagay na parang hindi mo usually nakikita sa isang pelikula na tungkol sa isang bayani. ‘Yun yung in-emphasize ko sa pelikula. ‘Yung idea na natakot siya dahil narealize niya na napaka-fragile pala ng buhay nya.” (Goyo's friends saw how he was afraid because he realized he was going to die. These are things you don't usually see in a film that's about a hero. That's what the movie is emphasizing. The idea here is that he's afraid because he realized that life is fragile.) The director also admitted that some of the scenes were “enhanced” to give the movie a “dramatic” flair. Jerold said this wasn't really about romanticizing a character but taking a more “poetic” approach to entertain the audience. “It’s part of my job. Sa pelikula kailangan mo talagang i-enhance ‘yung mga ibang bagay para maging dramatic kasi kung talagang paglalatag lang siya ng facts, medyo nakakatamad siya na pelikula. So parang I make these stories knowing na ‘yung audience, at least karamihan sa kanila, aware naman sila na medyo may parts dito na enhanced dahil pelikula siya.” (In making a movie, you need to enhance things to be be dramatic because if you just present the facts, viewers won't find the film engaging. So I make these stories knowing the audience, or at least some of them, are aware that there are parts that were enhanced.) For Paulo Avelino, who plays the titular character Goyo, the movie will resonate with majority of viewers. AGUINALDO. Mon Confiado returns as President Emilio Aguinaldo. Screenshot from YouTube/TBA AGUINALDO. Mon Confiado returns as President Emilio Aguinaldo. Screenshot from YouTube/TBA “Maraming makaka-relate dito (Many will be able to relate). Not just with the young people, but all generations,” he said. “It’s not just because of our history but it’s also because of knowing and remembering who you are. Parang tag line lang namin, ‘Tandaan mo kung sino ka.’ Parang pagpapapaalala sa’yo kung sino ka.” (It's like our line from the movie 'remember who you are.' It's a reminder of who you are.) After watching Goyo, Jerrold hopes it would encourage viewers to take a moment of self-reflection. If Heneral Luna left them feeling rebellious, the director said that the follow-up film opted for a more subtle tone. “Kung si Luna apoy, si Goyo para siyang tubig. Ganun ang daloy ng kwento. Mas tahimik ‘yung pelikula,” he explained. (If Luna was fire, Goyo is water. That's how the story goes. It's more of a quiet film.) “In a way, parang invitation siya sa audience para pag-isipan mabuti kung ano ‘yung mga nangyayari sa screen. Hindi lang siya ‘yung parang paglabas mo ng sinehan, ‘I stand with Luna! Galit na galit ako!’ This is more of ‘Saan ba tayo nagkamali?and ‘Ano ‘yung nangyari sa revolution natin? Bakit tayo naging katatawanan?’” (In a way, it's an invitation to the audience to think about what's happening on-screen. It's not like you walk out of the cinema and think, 'I stand with Luna. I'm angry. This is more of: 'Where did we go wrong?' and 'What happened to our revolution? Why did we turn into a laughing stock?

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axhiramae-blog · 6 years ago

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HOW TO WRITE A GOOD ABSTRACT

-An abstract is a self-contained, short, and powerful statement that describes a larger work.

1. KEEP IT IN ORDER

- there are specific questions your abstract must provide answer for, but the answer must kept in order as well.

2. PROVIDE HELPFUL INFORMATION

- word your abstract so that the reader knows exactly what your talking about

3. WRITE IT FROM YOUR SCRATCH

- your anstract is a summary, it should be written completely separate from your paper.

4. USE KEY PHRASES AND WORDS

- use 5-10 important words or phrases key to your research in your abstract.

5. USE REAL INFORMATION

- you want to draw people in with your abstract it is the hook to that will encourage them to continue reading your paper.

Submitted by: Ashira Mae Flores and Lady Jane Bautista

Tm 1

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axhiramae-blog · 6 years ago

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There are two main battles in Jerrold Tarog’s Goyo: Ang Batang Heneral. The second, of course, is the one we all know: the Battle of Tirad Pass, which history remembers as General Gregorio del Pilar’s defining moment and last stand. But the first, in which the film dwells for roughly two-thirds of its run time, is an internal battle, fought by del Pilar with himself as he relates to the people around him. Throughout its creative depiction of both these battles, Goyo: Ang Batang Heneral manages to tackle many of the Philippines’ enduring societal ills using meticulous character development and methodical storytelling with painstaking attention to detail, punctuated by delightful flashes of humor and some of the most breathtaking frames of any Filipino movie in recent memory. The film’s first acts are dedicated to establishing and developing its titular character, his motivations, and his internal struggles. These parts of the film are set in the five months of unsuspecting peace that preceded Tirad, so there’s a lot of room to explore Goyo’s egoism, his questionable style of leadership, his love interests, and his doubts. Paulo Avelino, equipped with the excellent script by Tarog and writer Rody Vera, makes this work perfectly, because he fits the bill so well. As Goyo, Avelino is everything his director cracked him up to be: an actor who “could convey internal struggles more than the arrogance and overconfidence that Gregorio del Pilar was accused of,” and who could show “doubt and fear hiding behind a mask of self-satisfaction.” And his performance is especially crucial, because to arrive at its message, the movie repeatedly asks you to question Goyo; to reflect with him and take part in his fears and doubts. The film eventually arrives at Tirad Pass, which at this point, is both del Pilar’s heroic last stand and a culmination of the character that the film has been building up. But unlike the loud and violent action sequences of Heneral Luna, this entire act feels more like a calculated, surgical set-piece battle—more tactics than big explosions. In fact, more than the battle itself, the picturesque landscape becomes the spectacle of the film’s climactic moments, in which you really get to see the much-talked-about scale of the production. On top of that, this chunk of the movie is made even more entertaining by surprising moments of pitch-perfect comic relief. But even here—interspersed before, between, and after the gunfire—the film manages a few quiet scenes for both Goyo and the audience to think. It continues to raise questions about the main character, what he’s learned, and what motivates him. Mainly, it asks if Goyo is not blindly following his president, Emilio Aguinaldo, on the basis of loyalty alone. Simultaneously, it asks if Goyo’s failures and eventual demise were not due to his ego, which was continuously inflated and aggrandized by his friends and followers. In these ways, the film is an eloquent indictment of the Filipino culture of idolatry, just as its director intended. Through to the end, Goyo is everything it promised it would be: A somber sequel, a more reflective film than Heneral Luna, a coming-of-age story set against war and political intrigue, and a character study of a flawed and ultimately fallible hero. It achieves what it set out to achieve, with the same brilliant command of cinema displayed by its predecessor. But more importantly, it’s also call to critical thinking—a call to question our heroes, ourselves, and how we choose to love and serve our country. Whether or not it can match the impact of Heneral Luna depends on its audience’s ability to heed those calls and ask those questions. There are two main battles in Jerrold Tarog's Goyo: Ang Batang Heneral. The second, of course, is the one we all know: the Battle of Tirad Pass, which history remembers as General Gregorio del Pilar’s defining moment and last stand. But the first, in which the film dwells for roughly two-thirds of its run time, is an internal battle, fought by del Pilar with himself as he relates to the people around him. Throughout its creative depiction of both these battles, Goyo: Ang Batang Heneral manages to tackle many of the Philippines’ enduring societal ills using meticulous character development and methodical storytelling with painstaking attention to detail, punctuated by delightful flashes of humor and some of the most breathtaking frames of any Filipino movie in recent memory. The film’s first acts are dedicated to establishing and developing its titular character, his motivations, and his internal struggles. These parts of the film are set in the five months of unsuspecting peace that preceded Tirad, so there’s a lot of room to explore Goyo's egoism, his questionable style of leadership, his love interests, and his doubts. Paulo Avelino, equipped with the excellent script by Tarog and writer Rody Vera, makes this work perfectly, because he fits the bill so well. As Goyo, Avelino is everything his director cracked him up to be: an actor who “could convey internal struggles more than the arrogance and overconfidence that Gregorio del Pilar was accused of,” and who could show “doubt and fear hiding behind a mask of self-satisfaction.” And his performance is especially crucial, because to arrive at its message, the movie repeatedly asks you to question Goyo; to reflect with him and take part in his fears and doubts. The film eventually arrives at Tirad Pass, which at this point, is both del Pilar’s heroic last stand and a culmination of the character that the film has been building up. But unlike the loud and violent action sequences of Heneral Luna, this entire act feels more like a calculated, surgical set-piece battle—more tactics than big explosions. In fact, more than the battle itself, the picturesque landscape becomes the spectacle of the film’s climactic moments, in which you really get to see the much-talked-about scale of the production. On top of that, this chunk of the movie is made even more entertaining by surprising moments of pitch-perfect comic relief. But even here—interspersed before, between, and after the gunfire—the film manages a few quiet scenes for both Goyo and the audience to think. It continues to raise questions about the main character, what he’s learned, and what motivates him. Mainly, it asks if Goyo is not blindly following his president, Emilio Aguinaldo, on the basis of loyalty alone. Simultaneously, it asks if Goyo's failures and eventual demise were not due to his ego, which was continuously inflated and aggrandized by his friends and followers. In these ways, the film is an eloquent indictment of the Filipino culture of idolatry, just as its director intended. Through to the end, Goyo is everything it promised it would be: A somber sequel, a more reflective film than Heneral Luna, a coming-of-age story set against war and political intrigue, and a character study of a flawed and ultimately fallible hero. It achieves what it set out to achieve, with the same brilliant command of cinema displayed by its predecessor. But more importantly, it’s also call to critical thinking—a call to question our heroes, ourselves, and how we choose to love and serve our country. Whether or not it can match the impact of Heneral Luna depends on its audience’s ability to heed those calls and ask those questions. image

HOW TO WRITE A GOOD ABSTRACT

-An abstract is a self-contained, short, and powerful statement that describes a larger work.

1. KEEP IT IN ORDER

- there are specific questions your abstract must provide answer for, but the answer must kept in order as well.

2. PROVIDE HELPFUL INFORMATION

- word your abstract so that the reader knows exactly what your talking about

3. WRITE IT FROM YOUR SCRATCH

- your anstract is a summary, it should be written completely separate from your paper.

4. USE KEY PHRASES AND WORDS

- use 5-10 important words or phrases key to your research in your abstract.

5. USE REAL INFORMATION

- you want to draw people in with your abstract it is the hook to that will encourage them to continue reading your paper.

Submitted by: Ashira Mae Flores and Lady Jane Bautista

Tm 1

3 notes · View notes

axhiramae-blog · 6 years ago

Text

HOW TO WRITE A GOOD ABSTRACT

-An abstract is a self-contained, short, and powerful statement that describes a larger work.

1. KEEP IT IN ORDER

- there are specific questions your abstract must provide answer for, but the answer must kept in order as well.

2. PROVIDE HELPFUL INFORMATION

- word your abstract so that the reader knows exactly what your talking about

3. WRITE IT FROM YOUR SCRATCH

- your anstract is a summary, it should be written completely separate from your paper.

4. USE KEY PHRASES AND WORDS

- use 5-10 important words or phrases key to your research in your abstract.

5. USE REAL INFORMATION

- you want to draw people in with your abstract it is the hook to that will encourage them to continue reading your paper.

Submitted by: Ashira Mae Flores and Lady Jane Bautista

Tm 1

3 notes · View notes

axhiramae-blog · 6 years ago

Text

There are two main battles in Jerrold Tarog's Goyo: Ang Batang Heneral. The second, of course, is the one we all know: the Battle of Tirad Pass, which history remembers as General Gregorio del Pilar’s defining moment and last stand. But the first, in which the film dwells for roughly two-thirds of its run time, is an internal battle, fought by del Pilar with himself as he relates to the people around him. Throughout its creative depiction of both these battles, Goyo: Ang Batang Heneral manages to tackle many of the Philippines’ enduring societal ills using meticulous character development and methodical storytelling with painstaking attention to detail, punctuated by delightful flashes of humor and some of the most breathtaking frames of any Filipino movie in recent memory. The film’s first acts are dedicated to establishing and developing its titular character, his motivations, and his internal struggles. These parts of the film are set in the five months of unsuspecting peace that preceded Tirad, so there’s a lot of room to explore Goyo's egoism, his questionable style of leadership, his love interests, and his doubts. Paulo Avelino, equipped with the excellent script by Tarog and writer Rody Vera, makes this work perfectly, because he fits the bill so well. As Goyo, Avelino is everything his director cracked him up to be: an actor who “could convey internal struggles more than the arrogance and overconfidence that Gregorio del Pilar was accused of,” and who could show “doubt and fear hiding behind a mask of self-satisfaction.” And his performance is especially crucial, because to arrive at its message, the movie repeatedly asks you to question Goyo; to reflect with him and take part in his fears and doubts. The film eventually arrives at Tirad Pass, which at this point, is both del Pilar’s heroic last stand and a culmination of the character that the film has been building up. But unlike the loud and violent action sequences of Heneral Luna, this entire act feels more like a calculated, surgical set-piece battle—more tactics than big explosions. In fact, more than the battle itself, the picturesque landscape becomes the spectacle of the film’s climactic moments, in which you really get to see the much-talked-about scale of the production. On top of that, this chunk of the movie is made even more entertaining by surprising moments of pitch-perfect comic relief. But even here—interspersed before, between, and after the gunfire—the film manages a few quiet scenes for both Goyo and the audience to think. It continues to raise questions about the main character, what he’s learned, and what motivates him. Mainly, it asks if Goyo is not blindly following his president, Emilio Aguinaldo, on the basis of loyalty alone. Simultaneously, it asks if Goyo's failures and eventual demise were not due to his ego, which was continuously inflated and aggrandized by his friends and followers. In these ways, the film is an eloquent indictment of the Filipino culture of idolatry, just as its director intended. Through to the end, Goyo is everything it promised it would be: A somber sequel, a more reflective film than Heneral Luna, a coming-of-age story set against war and political intrigue, and a character study of a flawed and ultimately fallible hero. It achieves what it set out to achieve, with the same brilliant command of cinema displayed by its predecessor. But more importantly, it’s also call to critical thinking—a call to question our heroes, ourselves, and how we choose to love and serve our country. Whether or not it can match the impact of Heneral Luna depends on its audience’s ability to heed those calls and ask those questions.

0 notes

axhiramae-blog · 6 years ago

Text

But the first, in which the film dwells for roughly two-thirds of its run time, is an internal battle, fought by del Pilar with himself as he relates to the people around him. Throughout its creative depiction of both these battles, Goyo: Ang Batang Heneral manages to tackle many of the Philippines' enduring societal ills using meticulous character development and methodical storytelling with painstaking attention to detail, punctuated by delightful flashes of humor and some of the most breathtaking frames of any Filipino movie in recent memory.

The film's first acts are dedicated to establishing and developing its titular character, his motivations, and his internal struggles. These parts of the film are set in the five months of unsuspecting peace that preceded Tirad, so there's a lot of room to explore Goyo's egoism, his questionable style of leadership, his love interests, and his doubts. Paulo Avelino, equipped with the excellent script by Tarog and writer Rody Vera, makes this work perfectly, because he fits the bill so well. As Goyo, Avelino is everything his director cracked him up to be: an actor who "could convey internal struggles more than the arrogance and overconfidence that Gregorio del Pilar was accused of," and who could show "doubt and fear hiding behind a mask of self-satisfaction." And his performance is especially crucial, because to arrive at its message, the movie repeatedly asks you to question Goyo; to reflect with him and take part in his fears and doubts.

The film eventually arrives at Tirad Pass, which at this point, is both del Pilar's heroic last stand and a culmination of the character that the film has been building up. But unlike the loud and violent action sequences of Heneral Luna, this entire act feels more like a calculated, surgical set-piece battle—more tactics than big explosions. In fact, more than the battle itself, the picturesque landscape becomes the spectacle of the film's climactic moments, in which you really get to see the much-talked-about scale of the production. On top of that, this chunk of the movie is made even more entertaining by surprising moments of pitch-perfect comic relief.

But even here—interspersed before, between, and after the gunfire—the film manages a few quiet scenes for both Goyo and the audience to think. It continues to raise questions about the main character, what he's learned, and what motivates him. Mainly, it asks if Goyo is not blindly following his president, Emilio Aguinaldo, on the basis of loyalty alone. Simultaneously, it asks if Goyo's failures and eventual demise were not due to his ego, which was continuously inflated and aggrandized by his friends and followers. In these ways, the film is an eloquent indictment of the Filipino culture of idolatry, just as its director intended.

Through to the end, Goyo is everything it promised it would be: A somber sequel, a more reflective film than Heneral Luna, a coming-of-age story set against war and political intrigue, and a character study of a flawed and ultimately fallible hero. It achieves what it set out to achieve, with the same brilliant command of cinema displayed by its predecessor. But more importantly, it's also call to critical thinking—a call to question our heroes, ourselves, and how we choose to love and serve our country. Whether or not it can match the impact of Heneral Luna depends on its audience's ability to heed those calls and ask those questions.

0 notes