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 (August to December are retained below); 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]

Mobile device users: The website is best seen in its internet browser version. To make that possible, please click here.

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January 2020

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

December 2019

December 23 – An article by De La Salle University Professor Ronald Baytan, descriptively titled “On Bernal’s Homage to Manila: A Review of Joel David’s Manila by Night: A Queer Film Classic,” is out in the current issue (on the theme of Fandom and Cinephilia in Southeast Asia) of Plaridel: A Philippine Journal of Communication, Media, and Society: vol. 16, no. 2, December 2019, pp. 189-96.

December 22 – I finally managed to scan (in full color) the pages where my contributions appeared in the second edition of the Cultural Center of the Philippines Encyclopedia of Philippine Art. Although listed under Chapters in Anthologies in the Books section, a link will open a page where sets of PDF files are listed. Included as well are such extras as the Film (Volume 6) preliminaries, the pages where my entries as author and as source appear, and the earlier PDFs of my entries in the encyclopedia’s first edition.

December 4 – As a service to researchers (including myself), I have compiled and uploaded a bibliography on Philippine cinema, arranged according to a number of arbitrary categories. The same list is also available in an alphabetized arrangement.

November 2019

November 15Kritika Kultura is calling for papers for a special issue on Genders and Sexualities in Asian Cinema, with February 2021 as target publication date. Deadlines and other specs are in the linked file, a list of possible topics is included, and the editor will be yours truly.

November 9 – The publication date of the special issue on Film Criticism in the Philippines that I’m co-editing with Joyce L. Arriola for UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society has been postponed, from November 2019 to May 2020. The issue will comprise a mix of scholarly articles as well as position statements (with corresponding sample critiques) from Filipino film scholars and critics.

October 2019

October 31 – “Showbiz Babylon” is my Halloween-appropriate commentary on the Barretto family scandal, earlier published as “The Barrettos and the Privilege of Behaving Badly” in The FilAm. This will be stored in the Remarks section.

October 3Ámauteurish! annual Certificates of Registration with the US Copyright Office are now complete for the years 2014 to 2018 (n.b.: only relevant portions are uploaded).

October 1 – “Third Cinema, Queer Technique, and Manila’s Multiple Characters” is a review by Josen Masangkay Diaz of my book Manila by Night: A Queer Film Classic, published by Arsenal Pulp Press in 2017. It’s in the Fall 2019 (no. 59) issue of Jump Cut: A Review of Contemporary Media and runs for three web pages; please click on the links at the lower-left side of each page to move to the succeeding page.

September 2019

September 29 – Publication details now available for “Di/Visibility: Marks of Bisexuality in Philippine Cinema,” in the Journal of Bisexuality: Volume 19, Issue 3 (September 2019): pages 440-454. DOI:10.1080/15299716.2019.1656474.

September 20 – International Standard Book Numbers are now complete for all Ámauteurish Publishing books – one for each of two parts of this year’s Millennial Traversals book edition and one each for the 2014 digital edition of The National Pastime (originally printed in 1990), Fields of Vision (1995), and Wages of Cinema (1998). See the first (sole-authored) set of entries in the Books section.

September 17 – “Di/Visibility: Marks of Bisexuality in Philippine Cinema” is a survey article of mine, just out in the Journal of Bisexuality (paywalled, sorry). It’s listed under JoB’s Latest Articles, which comprise works that were “accepted for publication in this journal but not yet published in a volume/issue.” Its most definite citation detail at this time is DOI:10.1080/15299716.2019.1656474. I’ll be updating its entry in the Articles section once volume and issue details have been finalized.

September 1 – Another development in the millennial traversals of Millennial Traversals, as it were. Originally an Ámauteurish! e-book in two parts, now available as two open-access journal issues of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, the intervening print editions will be reprinted as a back-to-back single edition, the first dead-tree product of Ámauteurish Publishing. Confusing, I know, so just await further announcements if the idea of owning a physical copy of the material strikes your fancy. Just about to commence printing, as soon as I’m able to secure International Standard Book Numbers for them.

August 2019

August 2 – In the event titled “From Screen and Stage to Page: Adapting Drama and Screenplays into Book Form,” held at Raffles Makati during this year’s edition of the Philippine Readers and Writers Festival, I half-jokingly warned the audience not to misspell the Ámauteurish! blog name. That’s because leaving out the first “u” will open this portal:

Then again, who can blame folks for typing less letters? Fortunately, as I said, “all web browsers allow their users to open multiple windows, so go ahead if you’re curious, open the page, but also make sure to look into….”

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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