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 a comprehensive list of posts uploaded since 2014 up to the preceding year, also in reverse chronological order, please click here. 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 – a landing page that leads to listings of all materials published in journals and all other types of publications;
• 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
• Queries – 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.
December 1 – I was happy enough when I was informed that I was listed in this year’s batch of winners of Trinity University of Asia’s Platinum Stallion Media Awards. The recognition concept was open, pragmatic, populist – something that I’d always advocated for. Then someone mentioned that I must be the only Philippine author given formally cited recognitions as film critic, first in 2016 at the Filipino Arts & Cinema International Festival in San Francisco, Calif., and now finally in Las Islas Pinas. Brava not to me, but to the TUA’s innovative Media and Communication Department. I may be platinum but never really a stallion, but I’ll keep working at being worthy of the title of film critic, just to be deserving of such a lovely and carefully considered prize. [Thanks to JC Velasquez for the pic.]
November 4 – Since I had lost all the electronic files for my out-of-print sole-authored book publications (except for the last, Wages of Cinema), I initially scanned both book and source pages with the intent of running them through Optical Character Recognition software. I gave up on my share of materials, as did my assistants with theirs, so I wound up having the first two books typed all over again. I copyedited the results as best I could then, but after a publisher recently requested a complete file of these texts, I decided to print out everything and go over them one more time.
If you find me walking around with an appalled expression, it derives from my realization that so many typographical errors were lurking in those texts all these years, despite my constant (though admittedly hit-or-miss) rechecking. (Nothing can ever take the place of copyediting a printout, is the lesson I’ve always known but felt too exhausted to observe that time.) I also took the opportunity to update several articles, usually via endnotes. So the current digital editions of The National Pastime (1990), Fields of Vision (1995), and Wages of Cinema (1998) are now as good as I can make them, until another future round of revaluation requires new annotations and revisions.
October 31 – Reconsidering fonts because of adjustments WordPress made to the Elegant Grunge theme that I’m using, effectively replacing my original base font with a less satisfactory one. For now I’m reversing the serif and sans-serif options, opting for headings in Abril Fatface (if it looks useful then it can call itself anything) and base in Cabin. Will appreciate responses or suggestions (please use the form in the Queries page).
October 16 – After years of searching, I managed to stumble on an upload of the Malakas at Maganda mural that greeted theatergoers at the Main Theater of the now-defunct Manila Film Center. It appeared as an incidental illustration of the work of Victor Cabisada Jr. and Peter Alcántara for the Philippine Children’s Medical Center in Quezon City, posted on John Paul “Lakan” Olivares’s Lakbay ng Lakan blog (worth a detour) and reprinted here with permission. It is now included in a final category, Illustrational Problematics, on the corrigenda page of Manila by Night: A Queer Film Classic. Click on pic to enlarge:
October 14 – The previously hastily posted file of the maiden (and only) issue of SineManila has been reprocessed and reuploaded, with each spread accorded its proper recto-verso presentation.
October 10 – I finally managed to complete scanning and uploading all my articles reprinted so far in The FilAm: Newsmagazine Serving Filipino Americans in New York. They can be found in the Articles section’s Magazines & Supplements page.
October 7 – A new sidebar feature is headed “Videos (Mostly) for Free!” and appears on the right-hand side of the blogsite, after the list of recommended “Facebook Pages & Groups.” Kindly update me if you see that I’ve overlooked any essential entries; please exclude websites that feature only trailers and/or announcements.
October 6 – The reprint of my tribute to Peque Gallaga in the June 2020 issue of The FilAm: Newsmagazine Serving Filipino Americans in New York, has been scanned and uploaded as a PDF file in the Notes section of “My Peque Gallaga Interview.”
October 4 – Another, possibly last, iteration of the Comprehensive Pinas Film Bibliography (see October 2 announcement), would be this chronological arrangement of all the entries, perfect for history buffs as well as casually curious pop-culture researchers.
October 2 – The Comprehensive Pinas Film Bibliography contains a new listing: in addition to the alphabetical arrangement according to author(s), I have uploaded a file where the entries were rearranged according to title. Click here to bypass the landing page.
September 20 – A further addition to the Extras’ Fil(m)ipiniana section: the Experimental Cinema of the Philippines’s first and only issue of its inhouse publication titled Jario Scenario. Curiously, all the ECP materials I have been able to upload so far came out in the same year, 1983.
September 19 – PDF scans of the original publication of two of my articles may be found in their versions in Ámauteurish!: “A Second Golden Age” (originally drafted in 1989) and “Ten Best Filipino Films Up to 1990.” In each article’s introduction, click on the pic of the first page of the published version to open the PDF file.
September 14 – Since I deactivated my official Facebook account, I can only post my tribute to a recently deceased friend, Laura Samson, via this piece. It will now constitute the epilogue to Wages of Cinema.
August 17 – I added a description of a problematic for Ishmael Bernal’s governmental links on page 56 of Manila by Night: A Queer Film Classic.
August 6 – My articles in the online The FilAm publication were occasionally getting reprinted in the monthly print version, titled The FilAm: Newsmagazine Serving Filipino Americans in New York. I finally managed to get around to listing them, in the blog’s Non-Journal Articles: Magazines & Supplements page.
August 6 – In the Categorized version of the Comprehensive Pinas Film Bibliography, I added a new subcategory titled Forthcoming Titles. These comprise books that have been announced but are still unavailable, and will not be listed in the other (Alphabetized and Reverse-Chronologized) versions of the biblio.
August 2 – Added an entry to “Memoirs & Bios” with Bibsy Carballo’s Filipino Directors Up Close.
July 30 – A new feature, to be continually updated: as my so-far final supplement to the Comprehensive Pinas Film Bibliography, I’m providing a “Memoirs & Bios” entry, which lists the relevant samples I’ve been able to access and comment on. The first batch of five includes works by Nestor de Guzman and Mario A. Hernando (as editors of Si Nora Aunor sa mga Noranian and Lino Brocka: The Artist and His Times respectively), Baby K. Jimenez (as author of both volumes of Ang True Story ni Guy), Jerry B. Grácio (with Bagay Tayo), and the team of Ishmael Bernal, Jorge Arago, and Angela Stuart-Santiago garnering a rave two-paragraph mention for Pro Bernal Anti Bio.
July 15 – I expanded the corrigenda file for Manila by Night: A Queer Film Classic (Vancouver: Arsenal Pulp Press, 2017), to include a list of problematics, referring, per the introduction, “to issues that occasionally are unresolved, or that otherwise would be too cumbersome to attend to within the physical and/or editorial limits of the publication. Most of these issues already inhered in the material during the process of its creation, although in one instance, the problem arose some time after publication. They range from the aforementioned complication in attribution, to a queer controversy involving a different film, to the usual quirks in historical interpretation.”
July 9 – “Mother Pinas, Onscreen,” originally published last June 13 as “Remembering Anita Linda: She Devoted Her Life So Completely to Her Craft that It Defined Her” in ABS-CBN News Channel, is my tribute to the late movie queen.
July 3 – Finally managed to complete scanning all my entries (and then some) in the second edition (2017) of the Cultural Center of the Philippines Encyclopedia of Philippine Art. I combined these with my entries in the first edition (1994), in one landing page, to which the entry in the Books menu’s Chapters in Anthologies section is linked.
June 28 – The Articles menu is also now a landing page that lists both journal groups and non-journal types of publications.
June 22 – The Comprehensive Pinas Film Bibliography is now a landing page instead of the categorized listing. It includes a new version of the biblio, where the entries are arranged in reverse-chronological order.
June 17 – A rare but useful reference: a PDF of Readings in Philippine Cinema, from 1983. Warning: file is large and may take a while to load.
June 13 – My first article after nearly a decade for ABS-CBN News Channel (ANCX, formerly ABS-CBNnews.com) is a tribute to a recently departed film goddess, titled “Remembering Anita Linda: She Devoted Her Life So Completely to Her Craft that It Defined Her.”
June 6 – I uploaded a corrigenda file for Manila by Night: A Queer Film Classic (Vancouver: Arsenal Pulp Press, 2017). This will be announced in the introduction to the book, also posted in Ámauteurish!
June 4 – The Comprehensive Pinas Film Bibliography has been updated to include the following items in the categorized version:
• in the Screenplays, Teleplays, Novelizations, Accounts section, essential accounts – by Eleanor Coppola, Peter Cowie, and Steven Travers – of the making of Francis Ford Coppola’s Apocalypse Now (1979);
• in the Conference Proceedings & Film/Festival Brochures section, a Bengali-language book, Nirmal Dhar’s Bhin Desher Cinema [Cinema from Foreign Countries]; and
• in the Auteurist Materials & Memoirs section, Phaidon Press’s decade-old entry in its Take 100 series, The Future of Film: 100 New Directors by Cameron Bailey et al.
May 12 – “My Peque Gallaga Interview,” published May 9, 2020, in Ámauteurish!, has been reprinted (in abridged form) as “Peque’s Rage: A Retelling,” in the May 12, 2020, issue of The FilAm. I have also posted a transcript of a mobile phone interview of Peque Gallaga by Monchito Nocon, for a commemorative volume that never came out. This will reside in the Extraneous section of the Extras page.
May 5 – The Special Issue on Film Criticism in the Philippines that I co-edited with Joyce L. Arriola, for the May 2020 issue of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, is now out. Please click on the pic of the cover page below to open the PDF file:
May 3 – Book Texts now contains “Fleshmongering” from way back 1990, in effect my contemporary response to careless critics-scholars who inexplicably insist on misnaming (not to mention misreading) historical realities in local cinema, with this article encapsulating the type of disgusting presumption I’m referring to. Past sex-film trends, however, connected with a wide sector of the audience, many of whom are still around, so I’m always confident in articulating the outrage of many, who may understandably prefer to remain silent. The only possible explanation for such irresponsible laziness is the contempt that experts from supposedly “higher” cultural forms and “prestigious” political advocacies and institutions feel qualified to impose on popular cultural phenomena. Popcult fuckwittism, is the soft-core coinage I would proffer.
April 28 – This may just be the moment when my out-of-print books are starting to command collector’s-item prices (see February 13 entry below). Here’s a second-hand copy of The National Pastime, which originally sold at less than 100 Philippine pesos in 1990, its year of publication:
Once more, the revised & updated – and reillustrated – 2014 digital edition awaits your consideration.
April 24 – All the long articles uploaded (as opposed to linked) to this blog now have jump links at the beginning, to enable readers to go to specific sections that they want to inspect. No more need to scroll down until you get to the portion you want to reach.
April 7 – At 5 a.m. today I provided a long-distance lecture for the class on Philippine history, literature, and performance of Professor Lisandro Claudio at the University of California, Berkeley. By way of preparation, the students were assigned to watch Ishmael Bernal’s Himala (Experimental Cinema of the Philippines, 1982) and read Nick Joaquin’s “Golden Girl” article from Nora Aunor and Other Profiles (Manila: National Book Store, 1977). I prepared an outline plus a PowerPoint presentation, and since the lecture raised mostly basic issues, I’ve opted to embed here the PPT slides instead, for what they’re worth (pls click on frame below to start the presentation):
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 24 – I resisted from the start but I had to capitulate 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 categorized 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, which had originally sold for 150 Philippine pesos per copy:
Get a hold of the revised & updated 2014 digital edition – for free, instantaneously – by clicking here.
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 Comprehensive Pinas Film Biblio, also exclusive to this blog.
 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.