Fields of Vision

Fields of Vision
Fields of Vision: Critical Applications in Recent Philippine Cinema came out in 1995, when I had just finished my master’s and started doctoral work at New York University. I’d dropped by Ateneo de Manila University Press right after The National Pastime came out, to see if they might want to sell copies in their book shop, and instead got something better: an assurance that they would publish my next volume. I compiled the pieces I took out from the original manuscript submission to The National Pastime, then I realized that there were too many reviews of foreign films and that the new volume required something else to distinguish itself from its predecessor. So I axed the non-Pinoy film reviews and requested a deadline extension, and for the next couple of years I undertook a series of non-standard approaches in my capacity as National Midweekresident film critic” – multi-film commentaries, a canonical survey, an awards exercise, a scenes listing, meta-analyses, and so on; I was hoping to do at least one semiotic reading of any scene or scenes in any then-current release, but I couldn’t find anything I could focus on. I left for the US for my Fulbright-funded graduate studies as soon as I submitted the new manuscript. I requested (and got) a detrital cover design, something in the spirit of the B’s, with my then-roommate Roger Hallas providing a cover photo of an “indeterminate” scene (actually the Jardin du Luxembourg) and an author’s pic taken at the Museum of Modern Art. Coordinating by snail-mail from the other side of the planet, however, had its drawbacks: the section intros I wrote got compiled as the book intro, since the introductory essay I drafted never arrived; these are restored in the appropriate sections below, as is the aforementioned intro. The book was the first (and sole) nominee, and subsequent winner, in the film criticism category of the Manila Critics Circle’s National Book Awards. It was cited in some of the “final” pre-digital film-studies texts, including The Oxford Guide to Film Studies (ed. John Hill and Pamela Church Gibson, New York: Oxford University Press, 1988) and Robert Stam’s Film Theory: An Introduction (Malden, Mass.: Blackwell, 2000). [Cover design: Fidel Rillo; cover & author’s pics: Roger Hallas; press director: Esther M. Pacheco; dedicatees: Prescy & Maria Prescy, Demetrio, & Jose’s Aristides, Gamaliel, Leonides, & Aaron. For larger image, please click on picture above.]

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

Introduction (as originally drafted) & Section Intros

Part 1: Panorama

The “New” Cinema in Retrospect

Part 2: Viewpoints

A. Creations

Three Careers
Umiyak Pati Langit (1991)
Bago Matapos ang Lahat (1991)
Ganito Ba ang Umibig (1991)
Directors-Editors
Kaaway ng Batas (1990)
Angel Molave (1990)
Maryo J. and Mr. de los Reyes
My Other Woman (1990)
Underage Too (1991)
Persistence of Vision
Bakit Kay Tagal ng Sandali? (1990)
Cool Film
Hot Summer (1989)
Long Flight
Birds of Prey (1988)
Indigenous Ingenuity
Andrea, Paano Ba ang Maging Isang Ina? (1990)
No End in Sight
Kung Tapos na ang Kailanman (1990)
Head Held High
Gumapang Ka sa Lusak (1990)

B. Speculations

Family Affairs

Pido Dida (Sabay Tayo) (1990)
Sequacious and Second-Rate
Pido Dida 2 (Kasal Na) (1991)
Anak ni Baby Ama (1990)
Woman-Worthy
Kasalanan Ba’ng Sambahin Ka? (1990)
Hahamakin Lahat (1990)
Demachofication
Kristobal (1990)
Men and Myths
Bala at Rosaryo (1990)
Ma(so?)chismo
Barumbado (1990)
Kasalanan ang Buhayin Ka (1990)
I.O.U.
Kahit Singko Hindi Ko Babayaran ang Buhay Mo (1990)
Mudslung
Ibabaon Kita sa Lupa (1990)
Ayaw Matulog ng Gabi (1990)
Movable Fists
Walang Awa Kung Pumatay (1990)
Iisa-Isahin Ko Kayo (1990)
Apoy sa Lupang Hinirang (1990)
Class Clamorers
Too Young (1990)
Shake, Rattle & Roll II (1990)
Biktima (1990)
Ama, Bakit Mo Ako Pinabayaan? (1990)
Sedulously Cebuano
Eh…Kasi…Bisaya! (1990)

C. Positions

ASEAN Affair
Carnival Cinema
Cinevision 2000 (1989)
Classroom, as Theater
Film Critics Speak
Shooting Crap
Fleshmongering
Firmament Occupation
Blues Hit Parade

Part 3: Perspectives

Worth the While
Ten Best Filipino Films Up to 1990
One-Shot Awards Ceremony

Afterpiece: The Last of Lino

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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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