Warning: contains occasional analytic discourse, adult content, polysyllabic words, and dry humor. Click here to go to the latest listings. For easier reading on a mobile device, click here.

Ámauteurish! is the open-access repository of the collected work of and/or by Joel David, set up and maintained as a single-source personal archival website. It includes out-of-print publications and links to still-available articles, with occasional relevant public-domain material. For a comprehensive list of posts uploaded since 2014 up to the preceding year, also in reverse chronological order, please click here. In case the top-page menu is inaccessible, here are the sections and their features:

Abouts – 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 periodicals;
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 of the browser version, 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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November 2021

November 28 – With my academic mentors all gone, I set down some notes (not for publication beyond this upload) in order to remind myself of the lessons they imparted. Also, with Pinas election campaign fever on the rise, I’m getting prodded once more to declare my political preference for everyone’s appraisal.

November 17 – A follow-through of my October 30 article for The FilAm (listed below), titled “Every Tier a Victory; Or Why Film Awards Don’t Have to Be So Divisive,” to be posted in the Remarks section’s opening Mega-Meta boxed feature.

November 8 – My cheerfully depraved friends (they know who they are) kept insisting that I post the source of the transcription of the Dovie Beams sex tapes. I kept averting my chaste organs of sight but finally managed to upload the entire hideosity. You’ll have to endure my intro to the book chapter to find it though, although just this once I’ll be providing the link to the PDF file.

October 2021

October 30 – My latest article for The FilAm, on a forthcoming film event, is titled “Nearly 3 Decades-Old FACINE Is the Longest-Running Fil-Am Film Festival.” The publication’s server was down for about a week but was restored just recently.

October 22 – “Don’t make the mistake of showing up at the University of the Philippines or you’ll be getting a taste of your own medicine” said one letter writer. I’ll have to congratulate myself for providing an answer while pretending to take the threat seriously.

October 20 – From the present decade going forward, I’ll be providing screen caps for my film reviews on Ámauteurish! whenever I can, because why not? Check out these layouts for my commentaries on Nerisa and on Lockdown.

October 14 – “I tend toward the most conservative writing rule available, just because this takes care of one basic area and allows me to indulge in the violation of preferences and sensibilities in other areas.” I couldn’t believe I’d actually be writing those words one day, but once I set them down, they started to make some sense. My latest response in answer to a detailed question.

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September 2021

September 28 – “Nether Nation” is my review of Joel C. Lamangan’s Lockdown, originally published in The FilAm. This will be listed in the blog’s Remarks section.

September 27 – A review I wrote on a vital/viral entry came out today in The FilAm, titled “Macho Dancing Goes Virtual in Joel Lamangan’s Lockdown.” More cause for complaint from self-appointed moral guardians who think I should steer clear of “immoral” topics, but wait till the fuller version of the article comes out on this blog. (The FilAm stipulates a maximum word count, which I never managed to meet in all my first drafts.) Related issues in the September 10 & 11 entries below.

September 13 – An article I drafted earlier this year but still have to finalize: it’s on the most seriously neglected Filipino filmmaker, Gregorio “Yoyong” Fernandez (1904-73), and titled “A Missing Installation in the Philippine Pantheon.” Big words, I know, so consider the gauntlet thrown down.

September 11 – I was in New York City 20 years ago to the day, but I only found out what was happening that morning when my mother interrupted my dissertation writing with a long-distance call from Manila. The first tower crashed on live television just as I turned on the set. I knew everyone’s life would change from that point onward, including mine, even as we now still have to cope with more human-induced disasters, this time as consequences of extensive environmental degradation. Though I always thought the Twin Towers spoiled the beauty of the lower Manhattan skyline, I never imagined they’d be wiped out in such a horrifically inhumane manner.

11011This recollection was far from my mind when I added some Q&As to my blog’s long-stagnant Queries section a couple hours ago, one dealing with my supposed disrespect for a highly regarded Second Golden Age movie, and another regarding my use of dirty language. They seemed borderline-zany when I looked them over again, though not when I was drafting them. Judge for yourself, if you have some time to waste.

September 10 – How is the picture below, from a recent release, related to Ishmael Bernal’s 1980 film Manila by Night? The answer’s in my latest entry in the textual problematics I listed for my 2017 book Manila by Night: A Queer Film Classic (available at major global outlets).

Screen cap from Joel C. Lamangan’s 2021 film Lockdown.

September 8 – Since Kritika Kultura made another recent adjustment to its home page and still has to link its Digital Object Identifiers, I have adjusted my articles’ DOIs to open the pages directly. (I have articles listed under two blog subsections – peer reviewed studies and non-peer-reviewed items.)

11011I have also opted to exclude myself from the editorial boards of journals of the Philippine national university’s College of Mass Communication, and belatedly rejected their so-called Glory Award.

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August 2021

August 25 – “Siren Call” is my review of Lawrence Fajardo’s streaming entry Nerisa, first published August 23 in The FilAm. This piece will be stored in the blog’s Remarks section.

August 23 – Year’s half-over but I only managed this one review, of the latest film by Lawrence Fajardo. It (the review, not the film) is titled “In Nerisa, Viva Brings Back Regal’s Low-Budget Blockbuster Formula” and came out today in The FilAm. Been at work on blog-related material, though, so I hope to be able to come up with something soon.

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July 2021

July 16 – “An Error in the Urian’s Internet Record” is an account of my short adventure in investigating an unacceptable inaccuracy of the official critics group’s declaration of the best local films of the 1970s. I was a member of the organization when the list was finalized and announced, which explains my investment in the issue. (This short report will be stored in the blog’s Remarks section.)

11011Also, the revision of the PDF version of Writing Pinas Film Commentary has been finalized, so the text may be downloaded once more. You can visit the book’s landing page and click at the Contents link, or open it directly here.

July 8Writing Pinas Film Commentary now has its own set of online pages, comprising a landing page and links to sections (actually shortish chapters). This makes it the first Ámauteurish! book available as both PDF and web item. The PDF download link appears on the book page’s listing of contents. I hope to make this kind of feature available to all my other book items on this blog. Patience is key.

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June 2021

June 3 – Another e-book, downloadable for a change: Writing Pinas Film Commentary, also an Ámauteurish! exclusive. Only in PDF format for now. Get it while it’s hot.

June 2 – An article I once posted, “Some Words on Film Awards,” became part of Millennial Traversals and is therefore no longer on this blog, though still open-access if you can search for it. It contained a chart that listed (by category) all the film awards handed out in 1991. The same problem encountered by MediaWatch, the magazine that published it in 1992, also applied to the book format in which it now appears: it could not be printed on one page without being truncated. I reuploaded the chart itself, which can now be found in the Fil(m)ipiniana listing of the Extras section. To see the chart directly, click here.

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May 2021

May 29 – The rediscovery of a 1958 LVN production titled Barkada [Gang], directed by Lou Salvador Sr. and uploaded on Mike de Leon’s Citizen Jake Vimeo page, led to some further commentary that I posted on my textual problematics page for Manila by Night: A Queer Film Classic (Arsenal Pulp Press, 2017). The smorgasbord-movie trend was concocted by Sampaguita Pictures, which had been specializing in multicharacter productions as early as the mid-1950s. A late-’50s takeoff, the Lo’-Waist Gang bad-boy films created by practitioners associated with Premiere Productions, possibly convinced Sampaguita to find a way to profit from an innovation it initiated – hence the smorgasbord concept as well as the Stars ’66 batch of talents, two strategies that proved influential (because profitable) throughout the Second Golden Age and thereafter.

11011Barkada may be regarded as part of the aforementioned LWG trend, which points up the severe lack in sourcing evidentiary texts for local film history. As far as I know, the only proto-smorgasbord films available are two Sampaguita titles by the same director, Tony Cayado’s Mga Ligaw na Bulaklak [Wild Flowers] (1957) and Kaming mga Talyada [We Who Are Sexy] (1962), plus Armando Garces’s Sino ang Maysala? [Who Is to Blame?] (1957) – none of them in celluloid. Nothing else from a long list of smorgasbord movies and their predecessors is available (but kindly apprise me if I overlooked anything), with the painful irony that a rival studio once appropriated another outfit’s trend and now winds up with the only available filmic proof that LWG movies once existed.

11011Final unrelated though intriguing insight: the initial smorgasbord film practice of recruiting several directors, each of whom would direct an episode in an omnibus project, was observed in two competing entries from 1965 that were anything-but-multicharacter: the incumbent president’s campaign film Tagumpay ng Mahirap [Triumph of the Poor] (featuring talents associated with Premiere) as well as the pseudo-heroic Sampaguita production Iginuhit ng Tadhana [Drawn by Destiny]: The Ferdinand E. Marcos Story, annoyingly available for what it’s worth. (Also FWIW, Sampaguita was where then-hopeful movie aspirant Imelda Romualdez screen-tested, before she was Marcosed away.) The smorgasbord and Stars ’66 trends were launched the year after FM won, when an interesting new era for Pinas cinema (and Pinas history) took off.

May 1 – The Balagtas Awards were handed out yesterday in a ceremony broadcast as a Facebook live video. I uploaded my recording on Ámauteurish! for those who’re curious about what I said but don’t have the time to go through the few hours of the event – as well as the text I read, for those (like me) who can’t stand watching my own image onscreen.

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April 2021

April 21 – You’re seeing it here first: a clearer pic of Ishmael Bernal with his mother Elena, in front of the coffee shop that “Ishma” opened and managed – and I don’t mean Kasalo. It’s from the must-read Pro Bernal Anti Bio volume (I posted this mini-review last year) drafted by Bernal, continued by Jorge Arago, and completed by Angela Stuart-Santiago. I discuss the pic in my Illustrational Problematics post that extends my corrigenda page (see my April 19 entry below) for my 2017 book Manila by Night: A Queer Film Classic – a must-read of another sort, available at major global outlets, pardon the opportunistic plug. Click on the pic for an even larger image:

April 19 – The corrigenda & problematics page for my book Manila by Night: A Queer Film Classic (2017) was becoming too extensive. The corrigenda page now provides links for separate lists of textual problematics (issues that came up during or after the publication but could not be pursued without exceeding the project’s maximum word count) and illustrational problematics (the visual counterpart of textual problematics).

April 15 – “NUT’s Kernel,” originally published in The FilAm as “NUT to Film Critics: ‘Don’t Take Things Too Seriously,’” is my tribute to Nestor U. Torre.

11011Also, an addition to an earlier tribute, to Anita Linda, from Bibeth Orteza. It’s listed as endnote 4, but if you haven’t read yet the entire article, or want to reread it, start from the top. Because it’s Anita Linda.

April 14 – Out today in The FilAm, a tribute to the late Nestor U. Torre, founder of the Manunuri ng Pelikulang Pilipino [Filipino Film Critics Circle] and director of the underappreciated (and tragically lost) Ang Isinilang Ko Ba’y Kasalanan? [Is It Wrong to Give Birth?], titled “NUT to Film Critics: ‘Don’t Take Things Too Seriously.’”

April 1 – Not only because I remain reluctant to return to my former intensive participation in social media: for the first time since Ámauteurish! launched in 2014, I am posting here something that has nothing to do with the blog, though it concerns an author-professor who had possibly the strongest impact on me as a queer feminist scholar. Julia Lesage, “just turning 82 and in good health and compos mentis,” writes what purports to be her latest (not last) editorial for Jump Cut, the journal that she and the dearly missed Chuck Kleinhans founded in 1974, and turns it into an assessment of her personal trajectory as well as a renewed call to academics everywhere to reconsider the consequences of using privilege to maintain critical independence. Typically unassuming, it’s titled “The Last Word: Since the Last Issue.”

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March 2021

March 19 – Latest additions to the comprehensive Pinas film bibliography: City of Screens: Imagining Audiences in Manila’s Alternative Film Culture (Jasmine Nadua Trice, in Cultural Studies & Political Economy); Melodrama and Asian Cinema (ed. Wimal Dissanayake, in Non-Filipino Anthologies); and Philippine Diary: A Gay Guide to the Philippines (Joseph Itiel, in Manuals & Reports).

March 17 – News about the Balagtas Award for Film Criticism, in The FilAm, a New York online newsmagazine. Originally announced on social media (with the accompanying illustration) by the Writers Union of the Philippines.

March 15 – My self-retraining in Microsoft Access in order to better maintain the comprehensive Pinas film bibliography couldn’t proceed fast enough. I wound up accumulating several book titles, some from as far back as 1983. So I decided to upload everything I had up to this point. My other predicament is that the pandemic has left me stranded outside Pinas for over a year now, though fortunately in the country best-prepared to handle national crises of any kind. That meant that I couldn’t conduct final confirmation for several recent titles which their publishers or editors neglect to clarify or even respond to queries. I promise to rant more fully after I draft another bibliographic mini-essay, focused on auteurist texts and memoirs (after striving to make a distinction between the two). Without further ado, the recent additions according to their categorizations in the original iteration of the biblio (with translations and annotations available in the links):

  • Non-Filipino Anthologies: Encyclopedia of Early Cinema (ed. Richard Abel); The Routledge Companion to Asian American Media (ed. Lori Kido Lopez & Vincent Pham); Pinay Power (Peminist Critical Theory): Theorizing the Filipina/American Experience (ed. Melinda L. de Jesús).
  • Manuals & Reports: How to Become a Star.. Now!!! The Seven Universal Laws and Principles of Attraction to Be a Star (Tato Malay).
  • Screenplays & Teleplays: History with Lourd: Tsismis Noon, Kasaysayan Ngayon (Lourd Ernest H. de Veyra); In My Own Little Corner: Stories and Screenplays (Jeanne Lim).
  • Literary Adaptations & Accounts: Between Maybes (Makiwander).
  • Reviews & Criticism: A Richness of Embarrassments and Other Easy Essays (Butch Dalisay).
  • Histories: Insight & Foresight (Renato Constantino); Documentary: A History of the Non-Fiction Film (Erik Barnouw); The Best of Ang Pinaka (no author); I Am Bubble Gang: The Bubble Gang 20th Anniversary Commemorative Comedy Chronicles (no author).
  • Studies, Festschrifts, Special Journal Issues: Bien! Bien! Alagad ng Sining, Anak ng Bayan (ed. Teresita Gimenez-Maceda, Amado Anthony G. Mendoza III, & Galileo S. Zafra); Cultural Hybridities of the Philippines (ed. Raul Pertierra); Filipino Nurse Migration under JPEPA (ed. Michiyo Yoneno-Reyes & Yuko O. Hirano); Vernacular and Regional Cinemas in the Philippines (ed. Paul Douglas Grant).
  • Auteurist Materials: Ciro H. Santiago: Unbekannter Meister des B-Films (David Renske); Empire’s Mistress, Starring Isabel Rosario Cooper (Vernadette Vicuña Gonzalez); Glimpses: Essays, Letters, Memoirs (A Selection from the Writing Class from February to August 2009) (ed. Letty T. Salas & Felipe L. Reyes); Bongga sa Kusina: Recipes from Sarap Diva (Regine Velasquez); The Bubble Bible by Bitoy; (Michael V.); StyLIZed: Liz Uy’s 10 Style Essentials (Liz Uy); and two by Love Marie Escudero (a.k.a. Heart Evangelista) – Styled with Heart and This Is Me, Love Marie.
  • Memoirs: Alden Richards: In My Own Words (Alden Richards); Everyday Kath: Kathryn Bernardo’s 365 Ways to Be Your Own Teen Queen (Kathryn Bernardo); Kulang na Silya at Iba Pang Kuwentong Buhay: Essays on Life and Writing (Ricky Lee).
  • Cultural Studies & Political Economy: Halakhak: National Humor in Philippine Popular Cultural Forms (Maria Rhodora G. Ancheta); Identities in Motion: Asian American Film and Video (Peter X. Feng); Monitored Peril: Asian Americans and the Politics of TV Representation (Darrell Y. Hamamoto); plus three books by Celine Parreñas Shimizu – The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene, The Proximity of Other Skins: Ethical Intimacy in Global Cinema, and Straitjacket Sexualities: Unbinding Asian American Manhoods in the Movies.
  • Proceedings & Film/Festival Brochures: Year One (Experimental Cinema of the Philippines).

11011For credit where it’s due, in the order that assistance arrived: Michelle Gallaga for the Glimpses anthology where her essays on her parents Madie and Peque Gallaga appeared; Nestor de Guzman for the University of the Philippines Press titles plus historian Renato Constantino’s startling footnote in his self-quoted passage on Nora Aunor during the 1970s; Ram Banal for Ricky Lee’s first (but not last, let’s hope) book of memoirs; Mauro Feria Tumbocon Jr., for the several cultural studies entries, including the admirable output of Celine Parreñas Shimizu, who deserves to be studied by Pinas film scholars PDQ; and Lio Mangubat, editor-in-chief of Summit Books, the exception who proves the rule that all the other entertainment book publishers couldn’t care less about what legacy their volumes might leave on history.

11011Finally, let me state for the record that certain (arbitrary) thresholds have been reached: I was able to record an annual total of 25 books as of 2019, while the grand total of 475 over the past century-plus makes the possibility of 500 attainable in two years at most, at the rate we’re going (for the years during and since the Marcos presidency, click on the pic below). We might actually be way closer, once I manage to verify the long list of titles I have on hand – if I could only return to Pinas, or if I get disposable income to buy books I won’t have any need for, or if entertainment publishers and editors shape up and start posting whatever preliminaries they might have.

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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.

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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.

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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