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 to go to the latest listings.

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 (October to December 2020 is retained below). 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, as well as answers to some questions asked here and in other venues.
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 page, along with the search box, copyright notice, and Creative Commons Attribution. 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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February 2021

February 23 – Another article of mine in a Korean publication, Konkuk University’s International Journal of Diaspora & Cultural Criticism, is titled “Videodisc Piracy as an Instance of Resistance” (issue 11, volume 1, January 2021: pages 98-137, doi:10.15519/dcc.2021. Click here to download a PDF transcription.

February 21 – After “The Aunor Effect,” another mini-essay for the Pinas film bibliography, titled “The Rise in Spin-offs.” Click here to bypass the landing page.

February 15 – I originally intended a plain landing page listing all the references in this blog to the Experimental Cinema of the Philippines (where I worked during almost its entire existence). The text kept insisting on comments and clarifications, so the end result is a strangely worded article that I titled “Experimental Cinema of the Philippines: A Hasty Recollection.” It was meant to be a Special Lists sidebar entry, so there it shall stay.

February 12Focus on Filipino Films has been (minimally) enhanced and is now uploaded in spread (verso-recto) format. It remains listed in the Extras section’s Fil(m)ipiniana category.

February 6 – Latest in the Auteurist Materials section of the Pinas film bibliography’s a 2020 book by Michael Guarneri titled Conversations with Lav Diaz; lead provided by Mauro Feria Tumbocon Jr., founder-director of FACINE. Let’s hope I can keep everyone posted every time I update the biblio.

February 2 – Learned only recently that Dovie Beams passed away in 2017. She deserves much more than the short tribute I posted, but that might have to be taken up by someone with more time and resources than I have at present. This piece will be stored in the Remarks section.

11011Two further splits in the categorized version of the Pinas film biblio: Auteurist Materials & Memoirs are no longer combined, while Histories are now of two types: one that ends before the first presidency of Ferdinand E. Marcos began (in 1965), and another that includes accounts that begin during or culminate in the Marcos years or thereafter. This brings the total number of categories to a dozen, excluding the list of forthcoming titles.

February 1 – Apologies for not providing updates about the lengthening list of additions to the Pinas film biblio. The latest, in the categorized version’s Non-Filipino Publications section, is the volume edited by Rashmi Doraiswamy and Latika Padgaonkar, titled Asian Film Journeys: Selections from Cinemaya, comprising six entries on the state of Pinas cinema as well as on the works of Lino Brocka, Ishmael Bernal, Eddie Romero, and Ramon A. Estella.

January 2021

January 26 – The full title of the largest category in the Pinas film bibliography was “Screenplays, Teleplays, Novelizations, Accounts.” It shared some of the most active recent film-book publishers like ABS-CBN Books (formerly ABS-CBN Publishing) and VRJ Books (a.k.a Viva Books). The continuing productivity of participants in this category, however, necessitated its division into two new groups, one for screenplays & teleplays and another for accounts & literary adaptations (mostly novelizations but also including short stories as well as a stage musical). When I first uploaded the bibliography over a year ago, I thought that the “Reviews & Criticism” category would be the one that might require splitting up – such was my personal-practice bias.

January 20 – Casting about for effective ways to embed research questions and editorial notes to myself within some of my posts, I finally figured out a means of providing first-line indentations for WordPress uploads (a limitation that’s a consequence of HTML usage rather than the blog provider’s shortcoming). As far as I’ve been able to cover, all linked articles are now properly paragraphed. In case you come across something that isn’t, kindly hie over to the Queries section and let me know. And even if you think everything’s been corrected, stay around for some amusement over these Selected Exchanges I’ve been posting.

January 13 – Still far from completing something worth posting, but meanwhile, I did retitle what I used to call the Contacts page in the main menu: it’s now called Queries, with the submission form for questions still in place, but with a possibly continuing series of selected exchanges drawn from textual interactions on various social media platforms. Some friends have remarked that it’s the first item they look up in the blog, and I don’t really judge them, those inveterate gossipmongers. Just like me.

January 6 – Just noticed that, during the start of the pandemic, I took out a section from the Book Texts volume to upgrade its contents and forgot to restore it. No wonder the collection didn’t seem to function the way I expected it to. It’s a clutch of articles on Non-Film Reviews, just freshly uploaded.

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December 2020

December 30 – Was hoping I could still post something substantial before the year closes but we’ll just have to wait till early 2021. Meanwhile, for those knee-deep into bibliographic science, I managed to compile cataloging-in-publication data from the National Library of the Philippines for all my digital-edition books; legwork was courtesy of Juan Miguel B. Manansala, now completing his training for the Philippine National Police. The CIP info will show up on the individual book page, after the … preface, I guess, and before the list of linked contents.

December 18 – A translation of the review by Chuckberry J. Pascual of my 2017 book Manila by Night: A Queer Film Classic, published in the 2020 issue of the University of the Philippines Film Institute’s relaunched Pelikula: A Journal of Philippine Cinema. This will be referenced in the blog sidebar and stored in the Remarks section.

December 16 – A listicle titled “8 Scholars and Critics Expanding Our Understanding of Culture,” uploaded a while back by Sheila O’Neill on the Ezvid Wiki website. (Thanks to Caroline Eliasson for the good tidings.)

December 11 – What used to be the Comprehensive Pinas Film Bibliography is on its way to becoming a downloadable e-book, titled Authoring Auteurs. Click the cover pic above to open the digital-edition page.

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 2020

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.

11011If 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.

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October 2020

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 choices, 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 across 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 verso-recto 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.

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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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