Mario O'Hara's masterpiece Tatlong Taong Walang Diyos (Three Years Without God, 1976) will be screened on June 12, 6.15 pm at the 2010 New York Filipino Film Festival in The Producers' Club Theater, 358 W. 44th St. bet. 8th and 9th Ave, New York, NY.
It's projected video, with no subtitles and I haven't the slightest idea what aspect ratio they're using...but there is only one print of this film left on earth and it'll be a cold day in hell before they run that one decaying print through a projector. If you want to see this film on the big screen, this is probably your one and only chance.
And by way of inducement (hopefully), I'll be there to introduce the film, and talk about it afterward. I don't know about doing benshi service--I'm already helping two other people out by translating the dialogue to them--but if you like, let me know and we'll try work something out.
See you there!
3 comments:
A performance qualifies as dramatic by creating a representational illusion. By this broad definition, theatre had existed since the dawn of man, as a result of the human tendency for storytelling. Since its inception, theatre has come to take on many forms, utilizing speech, gesture, music, dance, and spectacle, combining the other performing arts, often as well as the visual arts, into a single artistic form.
This synthesis of arts has been claimed by film as well, with the additional presence of the camera, which frames and implies point of view, determines pacing, creates all kinds of effects that would be difficult to do in theater. At least, that's how film enthusiasts see it.
I'd like to explain, the statement he makes is so provocative and eloquent I'm willing to forego my ban on adds and allow his comment, hence--
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