BUSA, Alfonso Jr. B.

Arts 1 (MN)
BSA 3 | 2018-05766 Activity Guide for Unit 3

Week 5: Issues in the Production of Art

What does Walter Benjamin say about the “estrangement” of the film actor? In what ways is the film
actor estranged and from what and who? Compare this to remote learning. What issues and goals are
similar or different? Explain in not more than 300 words.

Benjamin referred to the words of Italian dramatist Luigi Pirandello: “The film actor feels as if
in exile – exiled not only from the stage but also from himself.” This estrangement is the contrast
between film and its traditional counterpart – the stage play. The stage is replaced by cameras that need
not regard the performance as an integral whole since film can be composed of numerous separate
performances. Consequently, the film actor is seldom necessitated to identify himself with the character
of his role. For unlike the stage actor whose portrayal must be delivered altogether in a cohesive live
performance, the film actor’s character can be created by manipulating clips from separate shootings
that need not even be chronological. In essence, that intimacy or connection which the film actor ought
to have with his performance – a quality that the stage actor possesses – is substantially obscured by
the manner in which the film is produced.
Relating this to remote learning, the film actor and the student share the same goal of conducting
themselves before an expecting beholder; the former toward a viewer, and the latter to a teacher.
However, quite ironically, the issues arising in both cases also result from the very means through which
their goals are achieved. Benjamin mentioned how the film actor lacks the opportunity to adjust to his
audience as he does not perform in person. Likewise, the student is not afforded the convenience of
unconstrained engagement with his class. Apart from the inherent limitations of digital platforms, the
student may also be subject to added obstructions, such as poor connectivity, or the unavailability of a
communication device. Analogous to how the relationship between actor and performance is challenged
in film, a novel gap materializes between student and learning – something which would otherwise be
nonexistent under ordinary circumstances.

Ask about and choose a person or group who is currently or has recently engaged in the production of
an artistic or creative work. It could be a family member, a neighbor, a friend, or someone you just
heard or know of. You do not need to actually interview this person. Rather, you just have to know what
the artistic or creative work is. Your response for this item will take the form of a list of questions to
critically study the production of the work. What do you think are the important questions you should
be asking? List down 5-10 questions from the most to the least important. Make sure the questions you
formulate are specific, taking into consideration the possible contexts of the particular person and work.

Context: The artistic work in question is the traditional Kalinga-tattooing of the oldest tattoo artist in
the Philippines – Whang-od Oggay, more popularly known as “Apo Whang-od.”
o Why is tattooing highly valued in your culture?
o Who taught you how to how to do tattoos this way?
o Was it purely your choice to learn the craft, or was there any form of peer pressure?
o Did you encounter any difficulties in the process of honing your skills?
o Is it hard to acquire the materials you need?
o Do you also create your own designs, or do you only use the ones that were taught to you?
o If for instance one of the materials you normally use is not available, do you use substitutes?
o How did learning the craft affect your relationship with the people in your community?
o Was everyone from your family or relatives supportive of your decision to learn tattooing?
o Are you troubled by the idea that this craft might vanish soon?