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IMPORTANT ANNOUNCEMENT

Ámauteurish! will be hosted by Pelikulove, a feminist educational website. It will remain open-access as always, although at some future point, visitors will first have to register on the host website in order to access content. You can register in advance (it’s also for free) so you can save yourself the trouble when the time comes. The arrangement will enable Ámauteurish! to provide more and better content without the added costs of blog upkeep and maintenance.

Click here if you’ve read the following introductory section.

Ámauteurish! is the open-access repository of the collected work of Joel David, set up and maintained as a single-source personal archival website. It includes out-of-print publications and links to still-available material. For list of announcements in preceding years, also in reverse chronological order, please click here for: 2019; 2018; 2017; 2016; 2015; and 2014. The articles from Millennial Traversals that appear in Book Texts have been restored, but only for the latter feature. If you’re using a smartphone or accessing this on an app, you can jump to the other major sections by choosing them from the Menu option above. In case the top-page menu is inaccessible, here are the sections and their features:

About – provides extensive descriptions of the rationale as well as of the author;
Books – contains my out-of-print books and links to published books, as well as edited volumes, chapters in anthologies, and papers in proceedings;
Articles – contains materials published in journals (Non-Journal Articles and National Midweek Articles have their own separate pages);
Reviews – contains my commentaries on films as well as occasional books and plays, arranged according to title of production (Auteurs & Authors reorders this same list according to each work’s creator);
Remarks – contains my articles and statements published since 2016, opening with “Mega-Meta: A FilmCrit Folio”;
Extras – would be mostly my non-written output, plus selected ephemera and juvenilia, opening with a “Special Folio on Manila by Night (1980)”; and
Contact – provides a means by which I can be reached.
• Not included in the menu but a compilation of several sections above would be this Chronologically Arranged Listing of Publications, with its own accompanying Empiricals page.

First-time readers: This current section serves as the home (or front) page of the blog. Buttons for sharing on Facebook or Twitter, or by email, will appear at the bottom of each posting. The search box, copyright notice, and Creative Commons Attribution will also appear at the footer of every page on the website version of Ámauteurish! In general, when an entry’s permanent listing in this blog is unspecified, it will be found in its appropriate subcategory in the Extras section.

Researchers: Endnote numbers provide same-page two-way jumps – from any endnote number in the body text to the endnote itself, and from the latter’s numerical indicator back to the endnote’s position in the body text. As a demonstration, kindly click on the endnote number at the end of this paragraph.[1]

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March 2020

March 28 – My article “Showbiz Babylon,” on the late-2019 Barretto family scandal, came out in the December issue of The FilAm newsmagazine. For a scanned copy, please click here. This link will appear in the acknowledgment of previous publication, at the bottom of the article.

March 5 – The years-in-the-making canon project on Philippine films will be revising its title, which is still to be determined. It has been undergoing layout and proofreading for the past few years and has been scheduled for release in the second half of 2020.

February 2020

February 24 – After resisting from the start, I capitulated after I included a foreign book with an article on Philippine cinema in the Pinas film bibliography I uploaded late last year. The book, as it turned out, was simultaneously published as a scholarly journal’s double issue. So the bibliography’s Studies & Festschrifts section has now been updated and retitled Studies, Festschrifts, & Special Journal Issues. I also managed to include the output of the publishing arms of the most active contemporary producers, Viva Films’ VRJ Books as well as ABS-CBN Publishing, both of which emerged only within the last half-decade; these appear almost entirely in the bibliography’s Screenplays, Teleplays, Novelizations, Accounts section. The charts and figures in the bibliographical essay have been adjusted accordingly.

February 14 – A bit of ancient history, as I went over some old and nearly worn-out news clippings and found the report of my winning in the first batch of the national university’s system-wide Outstanding Student Awards right after I finished my second undergraduate degree, in film. I listed this in the Extraneous section of the Extras page, but here’s the evidence so you don’t have to take the extra step of going elsewhere before finding it (click on pic to enlarge):


February 13 – As a pre-Valentine’s Day treat, here’s a sample of what you don’t get by using Ámauteurish! – having to pay nearly a thousand US dollars (before shipping & handling, plus taxes) for a used copy of the 1995 version of my book:


Get a hold of the revised & updated 2014 digital edition – for free, instantaneously – by clicking here.

January 2020

January 28 – In response to requests to elaborate further on an aspect of “Authoring Auteurs: A Bibliographical Essay” I posted earlier, here’s a mini-essay titled “The Aunor Effect in Philippine Film Book Publications.” This piece will reside in the Remarks section of this blog.

January 18 – First post of the year is an Amauteurish! exclusive: an article titled “Authoring Auteurs: A Bibliographical Essay,” to supplement the categorized as well as alphabetized versions of the Comprehensive Pinas Film Biblio, also exclusive to this blog.

Sample Endnote

[1] Endnotes will be located at the end of an article’s body text, before any list of works cited. To return to the position of the endnote indicator in the body text, please click on the number immediately preceding this note.

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