The effectiveness of a marketing campaign is not evidenced by how in-your-face and conspicuous it is, but by its ability to elicit an emotional response from its intended audience. Memory and longevity is always rooted on emotional response, and employing an approach that affords this cross-pollination between audience and the intent of the message makes for a more successful advertising strategy.

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In the spirit of fair-mindedness, I am sharing this video for your perusal. Let me state this as a disclaimer that although the video and its contents are portrayed as credited facts, I challenge you; an intelligent, educated, and sound-thinking audience, to validate and verify the information presented herein. I am neither discrediting nor reinforcing this content, merely sharing it for the sake of impartial indignation. The bottomline here is not that the video attempts to expose certain longstanding theories, or that it is obviously unilateral in its target, but that it affects us – to become indignant advocates of truth, to awaken the inquisitive and the questioning, to begin the process that peels away ignorance by incredulity.

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Is it just me or has the independent film industry fallen prey to an emergent malady of mediocrity? This, of course, is an overly generalized observation; there are a few noteworthy examples and some have even garnered accolades from foreign audiences, but let’s face it – the remarkable ones are few and far in between and is no way indicative of the homogeneity of our prevalent cinematic experience. I don’t fancy myself as a professional critic; and compared to Froyo, am no movie buff. I’ve had a few experiences during my undergraduate years as a student critic, and have graced several lectures and workshops on film and film theory enough to display a capacity to formulate an educated opinion.

I may not have the acute wit of a Pauline Kael, nor the practical sagacity of a Robert Ebert, and to speak of the profundity of cinematic semiotics would be hugely detached, but I’m certain that even the most layman and shallow would notice how the phrases “indie film” and “experimental cinema” have been used too loosely and without concern lately that it dilutes and damages the essence of these lexis, and consequently shedding the more legitimate instances of the genre in insipid light.

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Yesterday, 30 June 2011, my subscriber identity module (SIM) card was damaged. Partly from old age, as the SIM has been with me for over 8 years, and partly from carelessness on my part. I requested a replacement from Globe Telecoms (yes, that gleaming beacon of efficient customer service and after-sales support), and they obliged with speedy and swift action (two hours waiting time, and the actual replacement only took about 5 minutes tops).

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The following conversation occurred today between 11:47 AM and 12:38 PM. The book being discussed is Alex Garland's The Coma, released back in 2005. He is the same author of the critically-acclaimed novel-turned-Leonardo DiCaprio-starrer-slash-social commentary, The Beach, and The Tesseract, a gen-x dystopic reality set in Manila that was written when he was a mere 28-year old.

Spamwise Crunchy: the coma was great :)

although there's a feeling of inadequacy after i've read it. a thirst that spells a hollowness in the

ending.

it could've been because i read it too fast, and that it didn't had enough time to really transport

me into its reality.

voyeuristic and panoptic.

like a roller-coaster ride, done already when you've just started the adrenaline salivating.

sorry, did that sound too much like a critique?

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