Satirical portrayal of vices and follies by a Mindanaon digital graphic illustrator / Jesse Lois L. Israel, Teody Boylie R. Perez, adviser
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TextPublication details: Davao City: College of Humanties and Social Sciences, University of the Philippines Mindanao, c2016Description: 119 leaves + 1 CD-ROM (4 3/4 in.)Subject(s): Dissertation note: Thesis (BA Communication Arts) -- University of the Philippines Mindanao, May 2016 Abstract: This research-led production thesis is about the portrayal of vices and follies through social satire by a Mindanaoan digital graphic illustrator. The study produced ten illustrations about ten different vices and follies through the perspective of an individual born and raised in Mindanao.this study explored the potential of social satire in the context of Mindanao. Social satire, as the formative research of the study showed, is a genre of visual art that has not been popularly practiced in the context. Hence, the study was done to explore the possible executions and insights on the production of the genre in the given context. Furthermore, social satire is a constructive form of art for it provides perspective and brings into discourse often overlooked or consciously put aside issues and topics. The illustrations were founded in the social reality and perspective of the researcher. This means that the illustrations root from the personal experiences, observations and analysis of the researcher. Furthermore, these illustrations were also produced through the personal aesthetic and artistic expression of the researcher. Meaning to say, these illustrations are personal reflections of the researcher?s culture and social commentary through creative expression. The production used Sonja Foss?s Theory of Visual Rhetoric as the theoretical foundation of the production. With the theory in mind, the production held a rhetorical perspective in its duration. The theory guided the analysis of previous work as well as the production in its purpose of narrating a story and social commentary through visual images. The illustrations were then printed and displayed in public spaces for the viewership of the assumed audience. The collection was entitled Kantalita sa Katilingban: an unmasking. It was displayed on two separate occasion. The first one was in the University of the Philippines Mindanao on May 18-20, 2016 and then after at Abreeza Ayala Mall Davao on May 21-23, 2016.
| Item type | Current library | Collection | Call number | Status | Date due | Barcode |
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Thesis
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University Library Archives and Records | Non-Circulating | LG993.5 2016 C54 87 (Browse shelf(Opens below)) | Preservation Copy | 3UPML00036915 | |
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Thesis
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University Library Archives and Records | Non-Circulating | LG993.5 2016 C54 I87 (Browse shelf(Opens below)) | Preservation Copy |
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Thesis (BA Communication Arts) -- University of the Philippines Mindanao, May 2016
This research-led production thesis is about the portrayal of vices and follies through social satire by a Mindanaoan digital graphic illustrator. The study produced ten illustrations about ten different vices and follies through the perspective of an individual born and raised in Mindanao.this study explored the potential of social satire in the context of Mindanao. Social satire, as the formative research of the study showed, is a genre of visual art that has not been popularly practiced in the context. Hence, the study was done to explore the possible executions and insights on the production of the genre in the given context. Furthermore, social satire is a constructive form of art for it provides perspective and brings into discourse often overlooked or consciously put aside issues and topics. The illustrations were founded in the social reality and perspective of the researcher. This means that the illustrations root from the personal experiences, observations and analysis of the researcher. Furthermore, these illustrations were also produced through the personal aesthetic and artistic expression of the researcher. Meaning to say, these illustrations are personal reflections of the researcher?s culture and social commentary through creative expression. The production used Sonja Foss?s Theory of Visual Rhetoric as the theoretical foundation of the production. With the theory in mind, the production held a rhetorical perspective in its duration. The theory guided the analysis of previous work as well as the production in its purpose of narrating a story and social commentary through visual images. The illustrations were then printed and displayed in public spaces for the viewership of the assumed audience. The collection was entitled Kantalita sa Katilingban: an unmasking. It was displayed on two separate occasion. The first one was in the University of the Philippines Mindanao on May 18-20, 2016 and then after at Abreeza Ayala Mall Davao on May 21-23, 2016.
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