Corrigenda for Manila by Night: A Queer Film Classic

The editing process for Manila by Night: A Queer Film Classic was the most difficult and complicated I ever underwent – and these included the peer reviews I had to solicit and help finalize for the special journal issues that I edited. The text underwent one extensive revision whose directions I had not anticipated, plus at least one minor overhaul for style and tone. The final editing stage was also difficult in itself: it involved reading through the manuscript with all the changes tracked in Microsoft Word. I still print out my drafts and edit the hard copy at every opportunity, so I thought this would be the digital equivalent of that practice, but gurl was I wrong. This accounts for a few oversights in the final version, while one major wrinkle involved the clarification of a picture source. Where the corrections involved the addition of words or punctuation marks, they’re indicated here by highlighted entries.

Page 23, second paragraph:

“I was working at the Experimental Cinema of the Philippines…”.

Page 38, Figure 4 caption:

“…(bottom, Sampaguita Pictures’ still of Iginuhit ng Tadhana: The Ferdinand E. Marcos Story [Conrado Conde, Jose de Villa, and Mar S. Torres, 1965]).”

Page 39, second paragraph:

Replace “policies” in “…involved the selective withdrawal of censorship prerogatives…”.

Page 42, last paragraph, second sentence:

Replace “were” in “After Bernal died in 1996, the bulk of the material he had compiled […] was lost in a fire….”

Page 50, Figure 9:

The pic came from a framed entry in Cinema Paraiso (Film Paradise), an exhibit of Filipino movie memorabilia with film screenings and lectures, held February to April 2003 at the National Commission for Culture and Arts gallery in Intramuros, Manila. According to historian and archivist Teddy Co, one of the organizers, “It’s actually from my collection of bomba magazines, ca. 1969-70. I cannot find the issue anymore so I cannot name the magazine and what month it was in. The other exhibit curators were Josephine Atienza and Cesar Hernando…. The pic was in a section called A History of Kissing in Filipino Movies, starting from the first smooch between Dimples Cooper and Luis Tuazon to a digitally rendered kiss from Lastikman (dir. Tony Y. Reyes, 2003)” (Facebook Messenger exchange, June 5, 2020). The explanation may be too long for a caption and should probably be written as a footnote.

Page 72, end of first paragraph:

This sentence must be added: “Meanwhile, out filmmaker Jun Lana has been steadily accumulating a growing record number of Filipino queer projects, performing for the mainstream what Crisaldo Pablo used to do for independent production.”

Page 82, Figure 15, last sentence:

Replace “Lee Kumchong” in “Photos: Kumchong Lee (top)…”.

Page 104, second paragraph, second sentence:

“…, in which her character was named Manay Sharon. (Duplex is considered significant among queer scholars of Philippine TV for featuring the first out gay character, performed by the late theater and film director Soxie Topacio.)

Page 114, first paragraph:

“(…played on park speakers), provides ironic contrast…”.

Page 140, first paragraph, first sentence:

“…a comparison with the genuinely subversive exposés of Manila by Night, with the more recent project paling in comparison.”

Page 142, first paragraph, last sentence:

“…planned sequels to Macho Dancer (1988), titled Midnight Dancers (1994, a multicharacter narrative), Burlesk King (1999), and Twilight Dancers (2006).”

Page 144, first paragraph, third sentence:

The comma after the film title Caught in the Act has to be deleted.

Page 151, second paragraph, third sentence:

“…soft and hard-core gay movies were produced…”.

Page 184, Footnote 23:

Replace “127” in “See Figure 25, p. 125.”

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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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