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: 2018 (July to December still available below); 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]

Mobile device users: To open the website’s browser version, please click here.

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December 2018

December 25 – “Tears Go By” is my review of Mes de Guzman’s Ang Pamilyang Hindi Lumuluha, originally posted on the All Things Sharon fan website.

December 19 – In the interest of providing as much information as I can divulge, I posted a Chronologically Arranged Listing of Publications for people to marvel at how productive (or not) I had been through the years. In this regard, to recognize the perhaps inevitable function of Ámauteurish! as an occasional source publication, I have added the blog as an entry in the Articles list titled Online Publications. I also prepared a provisional self-study titled Empiricals.

December 15 – Just in time for Christmas shopping: my book Manila by Night: A Queer Film Classic can now be ordered overseas directly from its Canadian publisher, Arsenal Pulp Press. The price at this moment is about US$3 less than Amazon’s. Least expensive, for bulk orders of at least 25 copies, would still be Bulk Bookstore’s, though unfortunately they only ship within North America.

December 3 – The latest revised schedule for publication of SINÉ: The YES! List of 100+ Films That Celebrate Philippine Cinema is early 2019. Coverage will be the entirety of existent Philippine cinema from the earliest available film to the end of 2018. Toward this end, I deleted the “Short Takes” links in the Reviews and the Auteurs & Authors sections.

November 2018

November 17 – A report on the final defense (where I was panel member) of the pioneering dissertation by Louie Jon A. Sanchez, titled “Ang Drama ng Ating Buhay: Isang Kasaysayang Pangkultura ng Teleserye sa Filipinas Hanggang 2016” [The Drama of Our Lives: A Cultural History of Teleseries in the Philippines Until 2016], held at De La Salle University.

November 16 – As plenary speaker at the 3rd Panpacific International Research Conference held in Royce Hotel at Clark Freeport Zone in Mabalacat, Pampanga, I delivered a lecture titled “Condemned Property: Video Piracy as Nationalist Resistance in the Philippines.” The event was sponsored by Panpacific University. Please click here for a posting of the PowerPoint slides.

October 2018

October 23 – In the intensive social-media interest over Nora Aunor’s exclusion once more from the proclamation of the latest batch of National Artists of the Philippines, I scanned and uploaded Quijano de Manila’s “Golden Girl,” from his out-of-print book Nora Aunor & Other Profiles.

October 18 – Not my first film review of a Sharon Cuneta film, but the first I made of her indie-film project, Mes de Guzman’s Ang Pamilyang Hindi Lumuluha, titled “Tears Go By” and published (another first) in her exemplary All Things Sharon fan website.

October 5 – Finally managed to watermark the videos posted on the blog, most of which appear in the Extras section.

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September 2018

September 8 – The Articles section now leads to a list of my journal publications. All my other articles (for newspapers, magazines, online outlets, etc.) now appear in a section called Non-Journal Articles.

August 2018

August 31 – A page linked in the Books section dedicated to Manila by Night: A Queer Film Classic, so that the foreign-published monograph contains its own blog feature, like the rest of my sole-authored books.

August 24 – “Signal Rock and a Hard Place” is the revised version of my review of Chito Roño’s film, originally published in the Philippine Entertainment Portal on August 17, 2018. This piece will remain in the Remarks section of this blog.

August 17 – “Signal Rock and a Hard Place” is my review of Chito Roño’s Signal Rock, out today in the Philippine Entertainment Portal.

August 16 – “The Millennial Traversals of Millennial Traversals” is the lecture I read during the launch of the University of Santo Tomas’s UNITAS website. This post will be respectively stored in the Events portion of the Extras section.

August 7 – “Queerness as Defiance in Manila by Night” is the lecture I delivered during the launch of Angela Stuart-Santiago’s project Pro Bernal, Anti Bio (on Manila by Night: A Queer Film Classic), at the Cultural Center of the Philippines. This post will be stored in the Special Folio on Manila by Night (under Texts).

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July 2018

July 30 – “Innocence Regained” is the revised and updated version of my review of Khavn’s Balangiga: Howling Wilderness, originally published in The FilAm on July 16, 2018, as “Amid the Nightmare of War, a Coming-of-Age” (see below). This piece will be stored in the Remarks section.

July 25Magsine Tayo!, the website that used to make available an excellent and subtitled transfer of Manila by Night, has been shut down. I will be writing more on this later.

July 16 – “Amid the Nightmare of War, a Coming-of-Age” is my review of Khavn’s Balangiga: Howling Wilderness, out today in The FilAm.

July 14 – My 2015 open-access volume, Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery, is now in book form, published as special issues by the University of Santo Tomas’s UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society:

Part I: Traversals within Cinema is Volume 88, No. 1 (May 2015); while
Part II: Expanded Perspectives is Volume 89, No. 1 (May 2016).

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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