000			02914nam a22002413a 4500
001			UPMIN-00009309309
003			UPMIN
005			20231109174810.0
008			231109b |||||||| |||| 00| 0 eng d
040			_cUPMin
090		0	_aLG993.5 2016 C54 _bI87
100			_aIsrael, Jesse Lois L., _eauthor _924064
245			_aSatirical portrayal of vices and follies by a Mindanaon digital graphic illustrator / _cJesse Lois L. Israel, Teody Boylie R. Perez, adviser
260			_aDavao City: _bCollege of Humanties and Social Sciences, University of the Philippines Mindanao, _cc2016
300			_a119 leaves + _e1 CD-ROM (4 3/4 in.)
502			_aThesis (BA Communication Arts) -- University of the Philippines Mindanao, May 2016
520	3		_aThis 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.
658			_aUndergraduateThesis, _cCOMA 200 MEDA
700			_aPerez, Teody Boylie R., _eadviser _923484
905			_aUP
905			_aFi
942			_2lcc _cTHESIS
999			_c3404 _d3404