Wages of Cinema

Wages of Cinema
Wages of Cinema: Film in Philippine Perspective was published by the University of the Philippines Press in 1998. If ever a publication could have made use of the then-unavailable open-review process, this would have been it. I’d wanted a long-form writing project that departed significantly from the earlier books, and built up from mostly reviews in the first publication and mostly critiques in the second. On the other hand, UP Press director Laura Samson, whom I’d known since my days as aspiring campus journalist, was helping me conceptualize a volume that would raise recent concerns in film theorizing. Whenever I decided to subsequently expand any of the materials here, I wound up confirming what I’d known from the beginning: that several of these pieces could stand improvement, and a few of them would never be considered as publishable as when they appeared in the context of their respective designations here. Nevertheless the book, showing up as it did toward the first hundredth year of the Philippine revolution, scored a few “centennial” prizes and distinctions. I’d originally also prepared an annotated bibliography, drafted for a directed-readings course under my dissertation adviser, the late Robert Sklar. Since it would have occupied the equivalent of three of the regular articles, I decided to retain only the bibliographic entries and look for an occasion to restore the fuller file. Unfortunately this was one of the rare moments I was adjusting computer hardware usage – from DOS to late-adapting Windows, with the notorious Iomega ZIP drive as a means of storage – and it was too late when I realized that I had deleted the original copies in my regularly emptied home and office hard drives. It wasn’t the first – or even last – time that I had lost an important file, but it was one of a few instances of carelessness that I keep regretting to this day. Since, come to think of it, the book’s final “Selected Bibliography” section overlapped with the individual articles’ lists of works cited, I decided there was no further point in maintaining it here. [Cover design: Arne Sarmiento; book design: Mona Lisa S. Escara; editorial & production supervision: Laura L. Samson; dedicatees: Bliss Lim, Lauren Steimer, Roger Hallas, Theo Pie. For larger image, please click on picture above.]

Contents of the Digital Edition
© 2014 by Joel David; All Rights Reserved

Preface

Subjectivities

A Question of Appositeness: Structuralism to Poststructuralism
The Multiple‑Character Film Format
Nashville (1975)
Genre Pastiche in the Horror Film
Near Dark (1984)
Auteur Criticism: A Non‑Recuperative Reappraisal
A Cultural Policy Experience in Philippine Cinema

Specificities

Viable Lessons from another Third‑World Model
Race as Discourse in Southeast Asia Film Ethnographies
Cannibal Tours (1987)
Ideas on Philippine Film: A Critical Survey
Practice Makes Perfect: Alternative Philippine Cinema
A History of the History of a History‑to‑Be

Sexualities

Gender as Masquerade in the Vietnam‑War Film
Indochine (1992)
Film in the Light of the “History” of Sexuality
Pornography & Erotica: Boundaries in Dissolution
In the Realm of the Senses (1975)
Super 8½ (1995)
Womanliness as (Masculine) Masquerade in Psychoanalytic Film‑Texts
Dressed to Kill (1980)
Raising Cain (1992)
Postcolonial Conundrum: Third‑World Film in Perverse Perspective
Manila by Night (1980)

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About Joel David

Teacher, scholar, & gadfly of film, media, & culture. [Photo of Kiehl courtesy of Danny Y. & Vanny P.] View all posts by Joel David

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