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 a comprehensive list of posts uploaded since 2014 up to the preceding year, also in reverse chronological order, please click here (July 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 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]

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January 2021

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.

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.

If 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 options, 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 on 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 recto-verso 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.

September 2020

September 20 – A further addition to the Extras’ Fil(m)ipiniana section: the Experimental Cinema of the Philippines’s first and only issue of its inhouse publication titled Jario Scenario. Curiously, all the ECP materials I have been able to upload so far came out in the same year, 1983.

September 19 – PDF scans of the original publication of two of my articles may be found in their versions in Ámauteurish!: “A Second Golden Age” (originally drafted in 1989) and “Ten Best Filipino Films Up to 1990.” In each article’s introduction, click on the pic of the first page of the published version to open the PDF file.

September 14 – Since I deactivated my official Facebook account, I can only post my tribute to a recently deceased friend, Laura Samson, via this piece. It will now constitute the epilogue to Wages of Cinema.

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August 2020

August 17 – I added a description of a problematic for Ishmael Bernal’s governmental links on page 56 of Manila by Night: A Queer Film Classic.

August 6 – My articles in the online The FilAm publication were occasionally getting reprinted in the monthly print version, titled The FilAm: Newsmagazine Serving Filipino Americans in New York. I finally managed to get around to listing them, in the blog’s Non-Journal Articles: Magazines & Supplements page.

August 6 – In the Categorized version of the Comprehensive Pinas Film Bibliography, I added a new subcategory titled Forthcoming Titles. These comprise books that have been announced but are still unavailable, and will not be listed in the other (Alphabetized and Reverse-Chronologized) versions of the biblio.

August 2 – Added an entry to “Memoirs & Bios” with Bibsy Carballo’s Filipino Directors Up Close.

July 2020

July 30 – A new feature, to be continually updated: as my so-far final supplement to the Comprehensive Pinas Film Bibliography, I’m providing a “Memoirs & Bios” entry, which lists the relevant samples I’ve been able to access and comment on. The first batch of five includes works by Nestor de Guzman and Mario A. Hernando (as editors of Si Nora Aunor sa mga Noranian and Lino Brocka: The Artist and His Times respectively), Baby K. Jimenez (as author of both volumes of Ang True Story ni Guy), Jerry B. Grácio (with Bagay Tayo), and the team of Ishmael Bernal, Jorge Arago, and Angela Stuart-Santiago garnering a rave two-paragraph mention for Pro Bernal Anti Bio.

July 15 – I expanded the corrigenda file for Manila by Night: A Queer Film Classic (Vancouver: Arsenal Pulp Press, 2017), to include a list of problematics, referring, per the introduction, “to issues that occasionally are unresolved, or that otherwise would be too cumbersome to attend to within the physical and/or editorial limits of the publication. Most of these issues already inhered in the material during the process of its creation, although in one instance, the problem arose some time after publication. They range from the aforementioned complication in attribution, to a queer controversy involving a different film, to the usual quirks in historical interpretation.”

July 9 – “Mother Pinas, Onscreen,” originally published last June 13 as “Remembering Anita Linda: She Devoted Her Life So Completely to Her Craft that It Defined Her” in ABS-CBN News Channel, is my tribute to the late movie queen.

July 3 – Finally managed to complete scanning all my entries (and then some) in the second edition (2017) of the Cultural Center of the Philippines Encyclopedia of Philippine Art. I combined these with my entries in the first edition (1994), in one landing page, to which the entry in the Books menu’s Chapters in Anthologies section is linked.

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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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