Warning: contains text-heavy uploads as well as 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 (though July to December 2021 is still listed below), 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 copyright and other essential notices. 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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January 2022

January 19 – A researcher asked me whether a well-known movie writer was once a member of the Filipino Film Critics Circle. I knew for a fact that he wasn’t, but I could not point to any existing comprehensive listing of the group’s past members. I looked up my Urian Anthology collections and included a note in my article on the group’s Wikipedia entry where I could provide a list of members since the 1970s.

January 16 – Not my idea of starting the year right, but then the pandemic already made clear that responsiveness is sometimes all that we can allow of ourselves, and that social media will constantly find ways of intruding no matter how far you flee. Then again, I do have more than a passing interest in the sociology of rumor. Melodramatic excerpts from the latest Q&A exchange: “I didn’t want to believe what I heard. Please tell me it isn’t true.” “I’ll be first to acknowledge that I occasionally commit errors, though not in this case.”

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December 2021

December 8 – Nothing’s expected to last forever, least of all ourselves. The definite thing about Ámauteurish! is that it is coterminous with me, in either literal or figurative senses. That is, it dies if ever I die (no automatic renewals for the subscriptions that sustain it), and if I do reach my impending retirement, it either “retires” or it may end if I’m unable to find a means of storing it anywhere online. This is the reason I’m making available as downloadable files all the material I can compile, slowed down (as is happening right now) only by the ambition and unfamiliarity of some conversion challenges. Just jotting down a few notions before moving onward some more.

December 3 – After a colleague started asking when I posted one of my early replies on the Queries page’s Selected Exchanges, I realized that I needed to indicate the dates when I provided individual answers. No need to be more specific than month and year, but it does seem like a lot more people have been reading the section and sending me queries of their own lately.

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November 2021

November 28 – With my academic mentors all gone, I set down some notes 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.

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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.

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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