Journal Articles by Jose Gutierrez III
Plaridel: A Philippine Journal of Communication, Media, and Society, 2017
This essay characterizes the cinema of Lino Brocka as principally realist by (1) underscoring his... more This essay characterizes the cinema of Lino Brocka as principally realist by (1) underscoring his consistent use of realistic material; (2) highlighting pronouncements by various film scholars on the realist aspects of the Brocka film; (3) identifying realist film tropes distilled from the preceding step; and finally, (4) putting forward the Brocka film's engagement with the life-world as a way to understand the auteur's brand of cinematic realism.
Plaridel: A Philippine Journal of Communication, Media, and Society, 2016
This essay will first present a description of the realist film based on notions of cinematic rea... more This essay will first present a description of the realist film based on notions of cinematic realism by Georg Lukács and Siegfried Kracauer. It will then affirm the cinema of Lino Brocka as being realist. Lastly, it will discuss Maynila sa mga Kuko ng Liwanag [Manila in the Claws of Light] (Brocka, 1975) in terms of cinematic realism shaped by ideas proposed by Lukács and Kracauer, and Brocka's own statements as artist and activist. Drawing on the ideas of Kracauer and Lukács, a realist film can be characterized as seeking redemption from the damaged modern condition by cinematically foregrounding the humanity of the ordinary man, who is organically grounded in physical reality.
Plaridel: A Philippine Journal of Communication, Media, and Society, Feb 2015
As a popular genre, comedy—television, cinema, performance/stand-up, comic books—draws largely fr... more As a popular genre, comedy—television, cinema, performance/stand-up, comic books—draws largely from difference, may it be through race, culture, nationality, gender, religion, etc. The resulting clash of representations is a bankable source of material, and at the same time, a significant site of politics of discourse.
Gutierrez, Jose III. 2015. "Representations and Discourses in Internet Comedy." Plaridel: A Philippine Journal of Communication, Media, and Society 12 (1): 233-40.
Plaridel: A Philippine Journal of Communication, Media, and Society, Feb 2015
The film exhibits two dimensions of realism, namely, the use of conventions of cinematic realism ... more The film exhibits two dimensions of realism, namely, the use of conventions of cinematic realism and reference to Filipino experience. Its approach to cinematic realism is via its adherence to the aesthetics of the classical Hollywood narrative coupled with its use of cinematic continuity and verisimilitude. It animates two threads from Filipino experience: growing up in a single-parent household because the other parent is an overseas migrant worker; and the dynamics between contemporary Filipino youth vis-à-vis technology. Finally, the film reveals an overarching tendency towards fleshing out Filipino cultural identity amidst an increasingly transnational world.
Gutierrez, Jose III. 2015. "Animation and Realism: A Review of RPG Metanoia (2010)." Plaridel: A Philippine Journal of Communication, Media, and Society 12 (1): 241-51.
Plaridel: A Philippine Journal of Communication, Media, and Society, Aug 2014
Released in 1931, M, Fritz Lang’s first talkie, is considered as his “first important film” (Krac... more Released in 1931, M, Fritz Lang’s first talkie, is considered as his “first important film” (Kracauer, 1974, p. 219). Set in a German city, this drama- thriller about the police’s pursuit of a child-murderer, complicated by other criminals joining in the manhunt, is also considered as Lang’s “most universally admired film” (Gunning, 2000, p. 163) [...]
Gutierrez, Jose III. 2014. "New Objectivity: A Review of Fritz Lang’s M (1931)." Plaridel: A Philippine Journal of Communication, Media, and Society 11 (2): 222-7.
Plaridel: A Philippine Journal of Communication, Media, and Society, Aug 2012
Tilman Baumgärtel’s Southeast Asian Independent Cinema (2012) is an invaluable contribution to sc... more Tilman Baumgärtel’s Southeast Asian Independent Cinema (2012) is an invaluable contribution to scholarship on the independent (“indie”) filmmaking revolution in the Southeast Asian region. Its exploratory project – integrative film scholarship in the region – fleshes out critical issues and discourses in independent cinema, such as its definition and diversity of forms, global context, practitioners (particularly their artistic manifestos and insights on their own filmmaking), crossroads with economy (e.g., mainstream cinema) and culture (e.g., religion), and prospects.
Gutierrez, Jose III. 2012. "Filipino Indie by Way of Southeast Asian Independent Cinema." Plaridel: A Philippine Journal of Communication, Media, and Society 9 (2): 97-104.
Plaridel: A Philippine Journal of Communication, Media, and Society, Aug 2011
The digital revolution has paved the way for contemporary Filipino independent filmmaking. As act... more The digital revolution has paved the way for contemporary Filipino independent filmmaking. As active participant-learners, the youth are very much a part of this “revolution.” This article presents a snapshot of the Filipino independent filmmaking landscape in the 2000s and asserts the need for sustainability that enables indie filmmakers to continue making films and evolving as artists.
Gutierrez, Jose III. 2011. "For the Youth: Pursuing Sustainability in Filipino Indie Filmmaking." Plaridel: A Philippine Journal of Communication, Media, and Society 8 (2): 53-70.
Plaridel: A Philippine Journal of Communication, Media, and Society, Aug 2009
The images of the mothers in the films of Lino Brocka – a veritable auteur who used film as his m... more The images of the mothers in the films of Lino Brocka – a veritable auteur who used film as his medium in expressing his insights through his works from 1970 to 1991 – gravitate towards two clusters of images: 1) the mothers who struggle within the confines of their role; and 2) the mothers who question their role and affirm themselves as persons.
Brocka’s films from 1970 to 1982 generally belong to the first cluster where the following images are identified: 1) the “ideal” mother; 2) mother as victim; and 3) the controlling matriarch. Brocka’s films from 1984 to 1991 generally belong to the second cluster where the following images are fleshed out: 1) mother as transgressor of patriarchy; and 2) mother as aggressor of patriarchy.
Gutierrez, Jose III. 2009. "Images of the Mother in Lino Brocka Films: 1970-1991." Plaridel: A Journal of Philippine Communication, Media, and Society 6 (2): 107-26.
Encyclopedia Article by Jose Gutierrez III
The Encyclopedia of Global Human Migration, edited by Immanuel Ness. Blackwell Publishing Ltd. , 2013
https://onlinelibrary.wiley.com/doi/10.1002/9781444351071.wbeghm412
Books by Jose Gutierrez III
Images of the Mother in Lino Brocka Films: 1970-1991
by Jose Casem Gutierrez III
First electro... more Images of the Mother in Lino Brocka Films: 1970-1991
by Jose Casem Gutierrez III
First electronic edition published by Vee Press © 2013
ISBN (electronic edition) 978-971-97-0463-8
eBook Available: http://www.vibebookstore.com/images-of-the-mother-in-lino-brocka-films-1970-1991.html
ABSTRACT (p. 13)
The images of the mothers in the films of Lino Brocka — a veritable auteur who used film as his medium in expressing his insights through his works from 1970 to 1991 — gravitate towards two clusters of images: 1) the mothers who struggle within the confines of their role, and 2) the mothers who question their role and affirm themselves as persons.
Parallel to the evolution of these images is Brocka's development in political consciousness as an artist. Indeed, when Brocka understood and acted upon the oppressive situation in the Philippines under martial law, he integrated the issue of human rights in his films as his concept of women and their rights became more progressive. This crucial point in Brocka's politicization as an artist also marks the shift in character between the said two clusters of images.
Brocka's films from 1970 to 1982 generally belong to the first cluster of images. Here, Brocka's familiarity and affinity with the types of mothers as portrayed by the earlier studio films, popular literature, and "komiks" are manifested. Within this cluster, the following images are identified and fleshed out: 1) the "ideal" mother; 2) mother as victim; and 3) the controlling matriarch. Among these, the "ideal" mother is the most oppressed. By accepting and internalizing the patriarchal construct of the mother as the "ilaw ng tahanan," the woman enters into a role that imposes strict characteristics for her not just to display but internalize. Thus the "ideal" mother, to maintain the bliss of home and family life, leads her children in bringing pleasure to the father, looks and feels good all the time, and suffers silently. The mother as victim comes next to the "ideal" mother with regard to oppression. While for the "ideal" mother, the source of oppression is internal, for the victimized mother, it is external in the form of the violence and cunning of men and the patriarchal demands of the society that they dominate. The controlling matriarch also struggles within the confines of her role as mother. Superficially, the matriarch has power over people, objects, and objectified people, but this is never stable. The matriarch merely took over the properties left by the father; thus, she strains to maintain the volatile stability of her "realm" by controlling her children either through overt meddling or emotional manipulation.
As Brocka made a name for himself, he was empowered by producers who believed in his talent as an autear who achieves a sense of balance between mass appeal and artistry in his films. He felt that he no longer had to be confined to the "tried-and-tested" and "safe" ways of portraying the mother. He progressively expressed his creative control amidst the commercial context of the industry.
As the auteur became more politicized as an artist, he was able to flesh out more progressive characterizations, narratives, and resultant images of the mothers which belong to the second cluster, namely: 1) mother as transgressor, and 2) mother as aggressor of patriarchy. Brocka's films from 1984 to 1991 generally belong to this second cluster of images. Here, these mothers question their role and affirm themselves as persons. The liberated mother challenges patriarchy by openly expressing her sexual desire and refusing to judge herself from the patriarchal point of view that categorizes women as either "pure" or "loose" and mothers as either "good" or "bad." The transgressive mother also declines to take it upon herself to protect her daughter's innocence at the expense of the truth. She also refuses martyrdom and struggles for power with men both in the domestic and the larger social spheres. As the aggressor of patriarchy, the mother directly confronts not just her husband or father but the dominant patriarchal system itself. The mother, as a person, demands justice that is due to her. She also proceeds to search for social justice in the collective in which she, her husband, and children are part of She does not limit her energy to the family; for her, the family and the collective are not distinct spheres. Indeed, the personal is also the political.
Papers by Jose Gutierrez III
Plaridel
The digital revolution has paved the way for contemporary Filipino independent filmmaking. As act... more The digital revolution has paved the way for contemporary Filipino independent filmmaking. As active participant-learners, the youth are very much a part of this “revolution.” This article presents a snapshot of the Filipino independent filmmaking landscape in the 2000s and asserts the need for sustainability that enables indie filmmakers to continue making films and evolving as artists.
This dissertation is an investigation on the realist film theory of Siegfried Kracauer. It was pr... more This dissertation is an investigation on the realist film theory of Siegfried Kracauer. It was principally conducted through film practice as exemplified by the ten short films that compose the omnibus film project, Life-world Series (dir. Joni Gutierrez, 2017, 118 minutes). To supplement the study's examination of Kracauerian cinematic realism (KCR), film criticism of selected works of Lino Brocka was also accomplished. The methodology involved three components: (1) research-based production of Life-world Series, (2) textual analyses of the said film collection and selected Brocka films, and (3) meta-analysis of the scholarly criticism on the Brocka film.
This dissertation is the first to use film-making practice which was a part of the research project and devised to investigate KCR, which avows that the cinematic experience of physical reality as an object of contemplation fosters an intuitive understanding of the Lebenswelt (life-world) and, in turn, brings about the redemptive potential of film vis-à-vis the modern condition. The emergent design of Life-world Series opened the study to a wide range of possibilities that it could not have encountered if it limited itself to applying a particular theory as a framework in doing film criticism of pre-existing works. This project - through both its film practice and criticism components - is an interweaving of key notions from Husserlian phenomenology and the seven KCR tropes identified in the study, namely: (1) the quotidian, (2) the transient, (3) the refuse, (4) the fortuitous, (5) the indeterminate, (6) the flow of life, and (7) the spiritual life itself.
The phenomenological engagement of this investigation has provided opportunities for expanding the inventory of KCR tropes, to conceivably include characteristics of the Lebenswelt which form part of the project's overall findings, that is, the life-world as: (1) expansive, (2) multi-layered, (3) flowing, (4) in the process of becoming, (5) resonantly intersubjective, (6) a thing of beauty, (7) relating to essences, (8) cyclical, (9) transcendent, (10) meaning-laden, (11) fragmented, and (12) malleable. The dissertation explicates how its phenomenological approach in inspecting KCR led to the construction of a prospective model of cinematic realism - the integrated quadrant model of Kracauerian cinematic realism (IQMKCR) - and finally, determines the implications and prospects of using film practice as an instrument in interrogating KCR.
Uploads
Journal Articles by Jose Gutierrez III
Gutierrez, Jose III. 2015. "Representations and Discourses in Internet Comedy." Plaridel: A Philippine Journal of Communication, Media, and Society 12 (1): 233-40.
Gutierrez, Jose III. 2015. "Animation and Realism: A Review of RPG Metanoia (2010)." Plaridel: A Philippine Journal of Communication, Media, and Society 12 (1): 241-51.
Gutierrez, Jose III. 2014. "New Objectivity: A Review of Fritz Lang’s M (1931)." Plaridel: A Philippine Journal of Communication, Media, and Society 11 (2): 222-7.
Gutierrez, Jose III. 2012. "Filipino Indie by Way of Southeast Asian Independent Cinema." Plaridel: A Philippine Journal of Communication, Media, and Society 9 (2): 97-104.
Gutierrez, Jose III. 2011. "For the Youth: Pursuing Sustainability in Filipino Indie Filmmaking." Plaridel: A Philippine Journal of Communication, Media, and Society 8 (2): 53-70.
Brocka’s films from 1970 to 1982 generally belong to the first cluster where the following images are identified: 1) the “ideal” mother; 2) mother as victim; and 3) the controlling matriarch. Brocka’s films from 1984 to 1991 generally belong to the second cluster where the following images are fleshed out: 1) mother as transgressor of patriarchy; and 2) mother as aggressor of patriarchy.
Gutierrez, Jose III. 2009. "Images of the Mother in Lino Brocka Films: 1970-1991." Plaridel: A Journal of Philippine Communication, Media, and Society 6 (2): 107-26.
Encyclopedia Article by Jose Gutierrez III
Books by Jose Gutierrez III
by Jose Casem Gutierrez III
First electronic edition published by Vee Press © 2013
ISBN (electronic edition) 978-971-97-0463-8
eBook Available: http://www.vibebookstore.com/images-of-the-mother-in-lino-brocka-films-1970-1991.html
ABSTRACT (p. 13)
The images of the mothers in the films of Lino Brocka — a veritable auteur who used film as his medium in expressing his insights through his works from 1970 to 1991 — gravitate towards two clusters of images: 1) the mothers who struggle within the confines of their role, and 2) the mothers who question their role and affirm themselves as persons.
Parallel to the evolution of these images is Brocka's development in political consciousness as an artist. Indeed, when Brocka understood and acted upon the oppressive situation in the Philippines under martial law, he integrated the issue of human rights in his films as his concept of women and their rights became more progressive. This crucial point in Brocka's politicization as an artist also marks the shift in character between the said two clusters of images.
Brocka's films from 1970 to 1982 generally belong to the first cluster of images. Here, Brocka's familiarity and affinity with the types of mothers as portrayed by the earlier studio films, popular literature, and "komiks" are manifested. Within this cluster, the following images are identified and fleshed out: 1) the "ideal" mother; 2) mother as victim; and 3) the controlling matriarch. Among these, the "ideal" mother is the most oppressed. By accepting and internalizing the patriarchal construct of the mother as the "ilaw ng tahanan," the woman enters into a role that imposes strict characteristics for her not just to display but internalize. Thus the "ideal" mother, to maintain the bliss of home and family life, leads her children in bringing pleasure to the father, looks and feels good all the time, and suffers silently. The mother as victim comes next to the "ideal" mother with regard to oppression. While for the "ideal" mother, the source of oppression is internal, for the victimized mother, it is external in the form of the violence and cunning of men and the patriarchal demands of the society that they dominate. The controlling matriarch also struggles within the confines of her role as mother. Superficially, the matriarch has power over people, objects, and objectified people, but this is never stable. The matriarch merely took over the properties left by the father; thus, she strains to maintain the volatile stability of her "realm" by controlling her children either through overt meddling or emotional manipulation.
As Brocka made a name for himself, he was empowered by producers who believed in his talent as an autear who achieves a sense of balance between mass appeal and artistry in his films. He felt that he no longer had to be confined to the "tried-and-tested" and "safe" ways of portraying the mother. He progressively expressed his creative control amidst the commercial context of the industry.
As the auteur became more politicized as an artist, he was able to flesh out more progressive characterizations, narratives, and resultant images of the mothers which belong to the second cluster, namely: 1) mother as transgressor, and 2) mother as aggressor of patriarchy. Brocka's films from 1984 to 1991 generally belong to this second cluster of images. Here, these mothers question their role and affirm themselves as persons. The liberated mother challenges patriarchy by openly expressing her sexual desire and refusing to judge herself from the patriarchal point of view that categorizes women as either "pure" or "loose" and mothers as either "good" or "bad." The transgressive mother also declines to take it upon herself to protect her daughter's innocence at the expense of the truth. She also refuses martyrdom and struggles for power with men both in the domestic and the larger social spheres. As the aggressor of patriarchy, the mother directly confronts not just her husband or father but the dominant patriarchal system itself. The mother, as a person, demands justice that is due to her. She also proceeds to search for social justice in the collective in which she, her husband, and children are part of She does not limit her energy to the family; for her, the family and the collective are not distinct spheres. Indeed, the personal is also the political.
Papers by Jose Gutierrez III
This dissertation is the first to use film-making practice which was a part of the research project and devised to investigate KCR, which avows that the cinematic experience of physical reality as an object of contemplation fosters an intuitive understanding of the Lebenswelt (life-world) and, in turn, brings about the redemptive potential of film vis-à-vis the modern condition. The emergent design of Life-world Series opened the study to a wide range of possibilities that it could not have encountered if it limited itself to applying a particular theory as a framework in doing film criticism of pre-existing works. This project - through both its film practice and criticism components - is an interweaving of key notions from Husserlian phenomenology and the seven KCR tropes identified in the study, namely: (1) the quotidian, (2) the transient, (3) the refuse, (4) the fortuitous, (5) the indeterminate, (6) the flow of life, and (7) the spiritual life itself.
The phenomenological engagement of this investigation has provided opportunities for expanding the inventory of KCR tropes, to conceivably include characteristics of the Lebenswelt which form part of the project's overall findings, that is, the life-world as: (1) expansive, (2) multi-layered, (3) flowing, (4) in the process of becoming, (5) resonantly intersubjective, (6) a thing of beauty, (7) relating to essences, (8) cyclical, (9) transcendent, (10) meaning-laden, (11) fragmented, and (12) malleable. The dissertation explicates how its phenomenological approach in inspecting KCR led to the construction of a prospective model of cinematic realism - the integrated quadrant model of Kracauerian cinematic realism (IQMKCR) - and finally, determines the implications and prospects of using film practice as an instrument in interrogating KCR.
Gutierrez, Jose III. 2015. "Representations and Discourses in Internet Comedy." Plaridel: A Philippine Journal of Communication, Media, and Society 12 (1): 233-40.
Gutierrez, Jose III. 2015. "Animation and Realism: A Review of RPG Metanoia (2010)." Plaridel: A Philippine Journal of Communication, Media, and Society 12 (1): 241-51.
Gutierrez, Jose III. 2014. "New Objectivity: A Review of Fritz Lang’s M (1931)." Plaridel: A Philippine Journal of Communication, Media, and Society 11 (2): 222-7.
Gutierrez, Jose III. 2012. "Filipino Indie by Way of Southeast Asian Independent Cinema." Plaridel: A Philippine Journal of Communication, Media, and Society 9 (2): 97-104.
Gutierrez, Jose III. 2011. "For the Youth: Pursuing Sustainability in Filipino Indie Filmmaking." Plaridel: A Philippine Journal of Communication, Media, and Society 8 (2): 53-70.
Brocka’s films from 1970 to 1982 generally belong to the first cluster where the following images are identified: 1) the “ideal” mother; 2) mother as victim; and 3) the controlling matriarch. Brocka’s films from 1984 to 1991 generally belong to the second cluster where the following images are fleshed out: 1) mother as transgressor of patriarchy; and 2) mother as aggressor of patriarchy.
Gutierrez, Jose III. 2009. "Images of the Mother in Lino Brocka Films: 1970-1991." Plaridel: A Journal of Philippine Communication, Media, and Society 6 (2): 107-26.
by Jose Casem Gutierrez III
First electronic edition published by Vee Press © 2013
ISBN (electronic edition) 978-971-97-0463-8
eBook Available: http://www.vibebookstore.com/images-of-the-mother-in-lino-brocka-films-1970-1991.html
ABSTRACT (p. 13)
The images of the mothers in the films of Lino Brocka — a veritable auteur who used film as his medium in expressing his insights through his works from 1970 to 1991 — gravitate towards two clusters of images: 1) the mothers who struggle within the confines of their role, and 2) the mothers who question their role and affirm themselves as persons.
Parallel to the evolution of these images is Brocka's development in political consciousness as an artist. Indeed, when Brocka understood and acted upon the oppressive situation in the Philippines under martial law, he integrated the issue of human rights in his films as his concept of women and their rights became more progressive. This crucial point in Brocka's politicization as an artist also marks the shift in character between the said two clusters of images.
Brocka's films from 1970 to 1982 generally belong to the first cluster of images. Here, Brocka's familiarity and affinity with the types of mothers as portrayed by the earlier studio films, popular literature, and "komiks" are manifested. Within this cluster, the following images are identified and fleshed out: 1) the "ideal" mother; 2) mother as victim; and 3) the controlling matriarch. Among these, the "ideal" mother is the most oppressed. By accepting and internalizing the patriarchal construct of the mother as the "ilaw ng tahanan," the woman enters into a role that imposes strict characteristics for her not just to display but internalize. Thus the "ideal" mother, to maintain the bliss of home and family life, leads her children in bringing pleasure to the father, looks and feels good all the time, and suffers silently. The mother as victim comes next to the "ideal" mother with regard to oppression. While for the "ideal" mother, the source of oppression is internal, for the victimized mother, it is external in the form of the violence and cunning of men and the patriarchal demands of the society that they dominate. The controlling matriarch also struggles within the confines of her role as mother. Superficially, the matriarch has power over people, objects, and objectified people, but this is never stable. The matriarch merely took over the properties left by the father; thus, she strains to maintain the volatile stability of her "realm" by controlling her children either through overt meddling or emotional manipulation.
As Brocka made a name for himself, he was empowered by producers who believed in his talent as an autear who achieves a sense of balance between mass appeal and artistry in his films. He felt that he no longer had to be confined to the "tried-and-tested" and "safe" ways of portraying the mother. He progressively expressed his creative control amidst the commercial context of the industry.
As the auteur became more politicized as an artist, he was able to flesh out more progressive characterizations, narratives, and resultant images of the mothers which belong to the second cluster, namely: 1) mother as transgressor, and 2) mother as aggressor of patriarchy. Brocka's films from 1984 to 1991 generally belong to this second cluster of images. Here, these mothers question their role and affirm themselves as persons. The liberated mother challenges patriarchy by openly expressing her sexual desire and refusing to judge herself from the patriarchal point of view that categorizes women as either "pure" or "loose" and mothers as either "good" or "bad." The transgressive mother also declines to take it upon herself to protect her daughter's innocence at the expense of the truth. She also refuses martyrdom and struggles for power with men both in the domestic and the larger social spheres. As the aggressor of patriarchy, the mother directly confronts not just her husband or father but the dominant patriarchal system itself. The mother, as a person, demands justice that is due to her. She also proceeds to search for social justice in the collective in which she, her husband, and children are part of She does not limit her energy to the family; for her, the family and the collective are not distinct spheres. Indeed, the personal is also the political.
This dissertation is the first to use film-making practice which was a part of the research project and devised to investigate KCR, which avows that the cinematic experience of physical reality as an object of contemplation fosters an intuitive understanding of the Lebenswelt (life-world) and, in turn, brings about the redemptive potential of film vis-à-vis the modern condition. The emergent design of Life-world Series opened the study to a wide range of possibilities that it could not have encountered if it limited itself to applying a particular theory as a framework in doing film criticism of pre-existing works. This project - through both its film practice and criticism components - is an interweaving of key notions from Husserlian phenomenology and the seven KCR tropes identified in the study, namely: (1) the quotidian, (2) the transient, (3) the refuse, (4) the fortuitous, (5) the indeterminate, (6) the flow of life, and (7) the spiritual life itself.
The phenomenological engagement of this investigation has provided opportunities for expanding the inventory of KCR tropes, to conceivably include characteristics of the Lebenswelt which form part of the project's overall findings, that is, the life-world as: (1) expansive, (2) multi-layered, (3) flowing, (4) in the process of becoming, (5) resonantly intersubjective, (6) a thing of beauty, (7) relating to essences, (8) cyclical, (9) transcendent, (10) meaning-laden, (11) fragmented, and (12) malleable. The dissertation explicates how its phenomenological approach in inspecting KCR led to the construction of a prospective model of cinematic realism - the integrated quadrant model of Kracauerian cinematic realism (IQMKCR) - and finally, determines the implications and prospects of using film practice as an instrument in interrogating KCR.