Important: To see these entries alphabetized by author, click here; to see them grouped by category, click here; the entries in reverse-chronological order can be found here. To return to the landing page, click here. Any notes that follow each entry’s year of publication are annotations made by the author, which fall under copyright. Out-of-print books and chapters that I wrote or edited may be found in this blog’s Books section. For list of titles beyond the initial (Numerals & A) group: B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, Y.
Numerals & A
100 Tula Para Kay Stella [100 Poems for Stella]. By Jason Paul Laxamana. Pasig City: VRJ Books, 2017. Novelization of 100 Tula Para Kay Stella, dir. Jason Paul Laxamana (Viva Films, 2017).
100 Women of the Philippines: Celebrating Filipino Womanhood in the New Millennium. By Joy Buensalido and Abe Florendo. Makati City: Buensalido & Associates, 1999. Including Ophelia Alcantara-Dimalanta, Zeneida Amador, Nora Aunor, Marilou Diaz-Abaya, Laurice Guillen, Lea Salonga, Vilma Santos, Sharon Cuneta, Regine Velasquez, Monique Wilson, et al.
101 Filipino Icons. Ed. Virgilio S. Almario. Quezon City: Adarna House, 2007.
44 cineastas Filipinos / 44 Filipino Filmmakers / 44 mga Sineastang Pilipino. By Oscar Fernández Orengo. [Manila]: Instituto Cervantes de Manila, 2011.
Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan [Purview: Glancing and Critiquing a Changing Culture and Society]. By Bienvenido Lumbera. Quezon City: Linangan ng Kamalayang Makabansa, 1987.
Above the Crowd. By Lorna Kalaw-Tirol. Pasig City: Anvil Publishing, 2000. More showbiz-focused than Public Faces, Private Lives.
Acquiring Eyes: Philippine Visuality, Nationalist Struggle, and the World-Media System. By Jonathan Beller. Quezon City: Ateneo de Manila University Press, 2006. “Directing the Real: Orapronobis [Fight for Us, dir. Lino Brocka (Bernadette Associates International, 1989)] against Philippine Totalitarianism (2000)”; “Third Cinema in a Global Frame: Curacha[: Ang Babaeng Walang Pahinga / A Woman without Rest, dir. Chito Roño (Regal Films, 1998)], Yahoo! and Manila by Night [dir. Ishmael Bernal (Regal Films, 1980)].”
Alden Richards: In My Own Words. By Alden Richards. Pasig City: Summit Publishing, 2016. On the actor who attained TV prominence with the AlDub kalyeserye (street series) via a fictional romance with Maine Mendoza.
All-Star Cast. By Emmie G. Velarde. Quezon City: Cine Gang, 1981.
All the Stars in the Sky: An Autobiography. By J. Eddie Infante. Manila: Front Page Newsmakers, 1978. On the actor and director Eddie Infante, whose heyday was during the First Golden Age of the 1950s.
Alone/Together. By Antoinette Jadaone. Quezon City: ABS-CBN Publishing, 2019. Screenplay of Alone/Together, dir. Antoinette Jadaone (Black Sheep & Project 8 Corner San Joaquin Projects, 2019).
Amalia Fuentes and Other Etchings. By Nick Joaquin [as Quijano de Manila]. [Manila]: National Book Store, 1977.
American Cinema of the 1990s. Ed. Chris Holmlund. New Brunswick: Rutgers University Press, 2008. José B. Capino, “Cinema and the Usable Past.”
American Tropics: Articulating Filipino America. By Allan Punzalan Isaac. Critical American Studies Series. Minneapolis: University of Minnesota Press, 2006. Includes discussions of Philippines-set mid-century Hollywood productions as well as of Andrew Cunanan, subject of several films & TV specials as the spree killer whose last victim was Gianni Versace.
The Americanization of Manila: 1898-1921. By Cristina Evangelista Torres. Quezon City: University of the Philippines Press, 2010. Includes accounts of Dean C. Worcester’s activities.
Amigo [Friend]: Screenplay. By John Sayles. Culver City, CA: Anarchist’s Convention Films, 2009. Screenplay of Amigo, dir. John Sayles (Anarchist’s Convention Films, 2010); paywalled access available online via John Sayles Blog.
The Anthropology of New Media in the Philippines. By Raul Pertierra. IPC Culture and Development Series No. 7. Quezon City: Institute of Philippine Culture, Ateneo de Manila University, 2010.
The Apocalypse Now Book. By Peter Cowie. 2000. Boston, Mass.: Da Capo Press, 2001. “The making of Francis Ford Coppola’s epic [American Zoetrope, 1979], based on unprecedented access to his private archives,… with 80 photographs, and exclusive detailed descriptions of material restored by Coppola for Apocalypse Now Redux (2001)” [cover description].
The Apocalypse of Marlon Brando: Death and Retribution in the Philippine Jungle. By Michael Coenen. St. Paul, MN: Ex Nihilo Media, 2019. Fiction “inspired by real events” (back cover), specifically the making of Francis [Ford] Coppola’s Apocalypse Now (1979).
Appropriation of Colonial Broadcasting: A History of Early Radio in the Philippines, 1922-1946. By Elizabeth L. Enriquez. Quezon City: University of the Philippines Press, 2008. Includes a CD-ROM of available audio samples.
Armida. By Armida Siguion-Reyna and Nelson A. Navarro. Quezon City: ABS-CBN Publishing, 2015. Comprising “The Unfinished Memoirs” by Armida Siguion-Reyna; and “Armida Siguion-Reyna: The Singer and the Song” by Nelson A. Navarro.
Artist Becomes Delegate of God (Artistang Naging Alagad ng Diyos): Completely Authorized and Illustrated Biography of Msgr. Aniceto Robledo. By Aniceto Robledo. Quezon City: Fidimica Enterprises, 1972. Religious testimonial of film actor Aniceto Robledo, known for Ang Lumang Simbahan [The Old Church], dir. Jose Nepomuceno (Malayan Movies, 1928).
Artista sa Pelikula ’85 / Actors’ Yearbook ’85. By the Screenwriters Guild of the Philippines. [Manila]: Fil-Asia Graphics, 1986.
The Asian Film Industry. By John A. Lent. Texas Film Studies Series. Austin: University of Texas Press, 1990. “Philippines” (case study).
Asian Film Journeys: Selections from Cinemaya. Ed. Rashmi Doraiswamy and Latika Padgaonkar. New Delhi: Wisdom Tree & [Network for the Promotion of Asian Cinema], 2010. Teddy Co, “New Philippine Cinema: Season of Hope”; Luis H. Francia, “Unchanging Times”; Aruna Vasudev & Philip Cheah, “Interview: Lino Brocka, On His Own Terms”; Clodualdo del Mundo Jr., “Eddie Romero [dir.]: Reviewing This Is the Way It Was … How Is It Today?” (Hemisphere Pictures, 1976); Noel Vera, “Call Him Ishmael [Bernal]”; Teddy Co, “Ramon A. Estella: Troubadour Filmmaker.”
Downing, John, ed. Film & Politics in the Third World. New York: Autonomedia, 1986. Luis Francia, “Philippine Cinema: The Struggle against Repression.”
AsiaPacifiQueer: Rethinking Genders and Sexualities. Ed. Fran Martin, Peter A. Jackson, Mark McLelland, and Audrey Yue. Urbana: University of Illinois Press, 2008. Ronald Baytan, “Bading na Bading [Really Queer]: Evolving Identities in Philippine Cinema.”
[Association of Southeast Asian Nations] Country Reports on Film. Manila: Office of Media Affairs [of the] National Media Production Center, 1983. “A project of the Working Group on Film of the ASEAN Committee on Culture and Information” (self-description); includes “The Film Industry in the Philippines.”
Audience Reaction to IMV Films. By the United States Information Agency Office of Research. Series E-7-76. [Washington, DC]: USIA Office of Research, 1976. Audience tests in the Philippines, Colombia, and Lebanon.
Authoring Auteurs: The Comprehensive Pinas Film Bibliography. By Joel David. Original digital edition. Quezon City: Ámauteurish Publishing, 2020. Available exclusively at the Ámauteurish! website.
Autohystoria: Visioni postcoloniali del nuovo cinema filippino [Postcolonial Visions of the New Filipino Cinema]. By Renato Loriga. Studi postcoloniali di cinema e media series no. 4. Canterano, RM: Aracne editrice, 2016. A study of Autohystoria, dir. Raya Martin (Cinematografica, 2007).
Bagay Tayo [We’re Compatible]. By Jerry B. Gracio. Pasay City: Visprint, 2018. On the scriptwriter’s professional experience and intense personal relationship with Raymond Reña, nicknamed “Pitbull”; accompanied by a simultaneously published book of poetry titled Hindi Bagay [Incompatible].
Balik Tanaw [Recollection]: The Filipino Movie Stars of Yesteryears. By Romeo M. Romualdo Protacio. [San Diego]: Asian Journal San Diego, [2010]. “Volume I” and “By Dr. Romy Protacio” appear on front cover.
Barcelona: A Love Untold. By Iris Lacap. Quezon City: ABS-CBN Publishing, 2019. Novelization of Barcelona: A Love Untold, dir. Olivia M. Lamasan (ABS-CBN Film Productions & Star Cinema, 2016).
Batch ’81: The Making of a Mike de Leon Film. By Jerome Gomez. Singapore: Asian Film Archive, 2017. Regarding Batch ’81, dir. Mike de Leon (MVP Pictures, 1982).
Being & Becoming: The Cinemas of Asia. Ed. Aruna Vasudev, Latika Padgaonkar, and Rashmi Doraiswamy. New Delhi: MacMillan, 2002. Clodualdo del Mundo Jr., “Philippines: Liver & Alive (1990s-2001)”; Luis H. Francia, “Side-stepping History: Beginnings to 1980s.”
The Best of Ang Pinaka [The Most]. Pasig City: Summit Publishing, 2016. Cover is spiked with text including “Kilig na [Thrilling] Showbiz Loveteams”; “Convincing Evidence Aliens Are Real”; “Exotic Pinoy Food”; “Controversial Selfies”; “#GGSS [Gandang-Ganda (or Guwapong-Guwapo) sa Sarili, meaning Feeling Beautiful (or Handsome) about Oneself]”; “Amazing Wonders ng Pilipinas [of the Philippines]”; “Featuring Some of the Funniest, Wittiest, and Most Memorable Episodes from [Global Media Arts Network]’s Award-Winning Info-tainment Show!”; “Plus! A Whole New List of Topics na Magpapatawa, Mananakot, at Magpapakilig sa Lahat [that Will Amuse, Scare, and Titillate Everyone]!”
Between Maybes. By Makinwander [Maki De Luna]. Quezon City: ABS-CBN Books, 2019. “A novel based on the motion picture” (cover description) of Jason Paul Laxamana, titled Between Maybes (Black Sheep, 2019).
Beyond the Mainstream: The Films of Nick Deocampo. By Nick Deocampo, ed. Lolita R. Lacuesta. Pasig City: Anvil Publishing, 1997. Production notes and essays on short filmmaking, plus the screenplays of the following short films by the author: “Oliver” (Deocampo, 1983); “Children of the Regime” (Deocampo, 1985); “Revolutions Happen Like Refrains in a Song” (Deocampo, 1987); “Ynang-Bayan [Mother-Country]: To Be a Woman Is to Live in a Time of War” (Deocampo, 1991); “Memories of Old Manila” ([Movie Workers Welfare Fund] Film Institute, 1993); “Isaak” (Metro Manila Film Festival Executive Committee, 1994); and “Sex Warriors and the Samurai” (Deocampo, 1995).
Beyond the Mark. By Mark Bautista. Pasig City: VRJ Books, 2018. Singer, actor, & model’s coming-out narrative.
Bhin Desher Cinema [Cinema from Foreign Countries]. By Nirmal Dhar. Howrah, India: Sahajpaath Publishers, 2019. In Bengali, for the Cinema Federation’s International Film Festival; 101 movies from countries outside India, including Posas [Shackled], dir. Lawrence Fajardo (Quantum Films & Cinemalaya Foundation, 2012).
Bien! Bien! Alagad ng Sining, Anak ng Bayan [Art’s Adherent, the Nation’s Offspring]. Ed. Teresita Gimenez-Maceda, Amado Anthony G. Mendoza III, and Galileo S. Zafra. Festschrift for Bienvenido L. Lumbera. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 2020. Roland B. Tolentino, “Desire, Neoliberalism, Hollywood, and Asian Cinemas”; Romulo P. Baquiran Jr., “Pagtagos ng Mitiko at Modernidad sa mga Piling Metasineng Tula/Sugidanon [Infusion of Myth and Modernity in Selected Metafilmic Poetry / Panay Epics].”
Bilang Filipinas: A Primer on Philippine Cultural Statistics. By the National Commission for Culture and the Arts. Manila: NCCA, 2017. “Bilang” means both counting and representing.
The Blood of Government: Race, Empire, the United States, and the Philippines. By Paul A. Kramer. Chapel Hill: University of North Carolina Press, 2006. Includes accounts of Dean C. Worcester’s activities and banning in the Philippines of the newsreel coverage of the heavyweight championship fight between Jack Johnson and James J. Jeffries, where Johnson (a black man) defeated his white contender.
Body Parts of Empire: Visual Abjection, Filipino Images, and the American Archive. By Nerissa Balce. Ann Arbor: University of Michigan Press, 2016.
Bongga sa Kusina [Fab in the Kitchen]: Recipes from Sarap Diva. By Regine Velasquez. Pasig City: Summit Publishing, 2016. “Sarap” means “delicious,” although “sarap diva” also resembles gayspeak for “yummy, isn’t it.”
Bonifacio’s Bolo. By Ambeth Ocampo. Pasig City: Anvil Publishing, 1995. Includes “The Nora Aunor Mystique.”
Book of the Philippines. Ed. Yen Makabenta. Manila: Research and Analysis Center for Communications and Aardvark Associates, 1976. Includes biographies for Nora Aunor, Lamberto V. Avellana, et al.
Book Texts: A Pinoy Film Course. By Joel David. Original digital edition. Quezon City: Amauteurish Publishing, 2016. A collection drawn from previous book publications, available exclusively at the Ámauteurish! website.
Border Cinema: Reimagining Identity through Aesthetics. Ed. Monica Hanna and Rebecca A. Sheehan. New Brunswick: Rutgers University Press, 2019. José B. Capino, “Filipinos at the Border: Migrant Workers in Transnational Philippine Cinema.”
Break It to Me Gently: Essays on Filipino Film. By Richard Bolisay. Makati City: Everything’s Fine, 2019. Compiled primarily from author’s blog, Lilok Pelikula. [Sculpting Film]
Broadcast Arts. Ed. Nicanor G. Tiongson. Vol. 10 (of 12 vols.) of Cultural Center of the Philippines Encyclopedia of Philippine Art. 2nd edition. Manila: Cultural Center of the Philippines & the Office of the Chancellor, University of the Philippines Diliman, 2017. No equivalent volume in the 1st edition of the CCP Encyclopedia of Philippine Art.
Broadcasting in Asia and the Pacific: A Continental Survey of Radio and Television. Ed. John A. Lent. International and Comparative Broadcasting series. Philadelphia: Temple University Press, 1978.
Brocka: The Filmmaker without Fear. By Jose T. Gamboa. Modern Heroes for the Filipino Youth series. Makati City: Bookmark, 2013. On Filipino director Lino Brocka.
Brutal/Salome. By Ricky Lee [as Ricardo Lee]. [Quezon City]: Cine Gang, 1981. Back-to-back screenplays of Brutal, dir. Marilou Diaz-Abaya (Bancom Audiovision, 1980); and Salome, dir. Laurice Guillen (Bancom Audiovision, 1981). The script of Salome was reprinted and translated in a foreign edition in 1993.
The Bubble Bible by Bitoy. By Michael V. Pasig City: Summit Publishing, 2015. Featuring characters created by the author for the Bubble Gang TV comedy program.
Bukas … May Pangarap [Tomorrow … There’ll Be a Dream]. By Ricky Lee [as Ricardo Lee]. [Quezon City: Markenprint, 1984]. Screenplay of Bukas … May Pangarap, dir. Gil Portes (Tri Films, 1984).
Burador [Draft]. Ed. Alvin Yapan and Glenda Oris. Quezon City: Ateneo de Manila University Press, 2010. Classical & contemporary studies on Philippine popular culture.
A Campaign for Public Decency and Civic Morality. Manila: Santo Tomas, 1912.
Cases on Arts and Culture Management in the Philippine Setting. Ed. Ben Paul B. Gutierrez. Quezon City: University of the Philippines Press, 2003. Manuel C. Dioquino Jr., “E-mail Conversations with Keith [Sicat] and Sari [Dalena]” (married film directors).
Celso Ad. Castillo: An Autobiography & His Craft. By Celso Ad. Castillo. [Manila]: CELCAS Film Entertainment, 2013.
Centennial Anniversary of the Philippine Cinema: Cinema, as a Response to the Nation. Ed. Kim Young-woo. Busan: Busan International Film Festival, 2018. Retrospective volume, with Korean translations.
The Chinese Question: Ethnicity, Nation, and Region in and Beyond the Philippines. By Caroline S. Hau. Quezon City: Ateneo de Manila University Press, 2014. Includes discussions of the works of scriptwriter Ricardo Lee and producer Lily Monteverde (particularly Regal Films’ Mano Po [Your Blessing, Please] series), as well as of Armando Garces’s Dragnet (1973, scripted by Lee), Eddie Romero’s Ganito Kami Noon … Paano Kayo Ngayon? [As We Were] (1976), and Mark Meily’s Crying Ladies (2003).
Cine: Spanish Influences on Early Cinema in the Philippines. By Nick Deocampo. Vol. 1 (out of 5) of Reflections on One Hundred Years of Cinema in the Philippines series. Manila: Cinema Values Reorientation Program, National Commission for Culture and the Arts, 2007. Succeeded by Film (2011).
Cinema and the Archives in the Philippines. Ed. Benedict Salazar Olgado. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 15, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2018. Bliss Cua Lim, “Fragility, Perseverance, and Survival in State-Run Philippine Archives”; Bernadette Rose Alba Patino, “From Colonial Policy to National Treasure: Tracing the Making of Audiovisual Heritage in the Philippines”; Rosemarie O. Roque, “Artsibo at Sineng Bayan: Pagpapanatili ng Kolektibong Alaala at Patuloy na Kolektibong Pagsalungat sa Kasinungalingan at Panunupil [Archive and National Cinema: Preserving Collective Memory and the Continuing Collective Resistance against Lies and Repression]”; Nick Deocampo, “Envisioning a Rhizomic Audio-Visual Archiving for the Future.”
Cinema and the City: Film and Urban Societies in a Global Context. Ed. Mark Shiel and Tony Fitzmaurice. Oxford: Blackwell Publishers, 2001. Rolando B. Tolentino, “Cityscape: The Capital Infrastructuring and Technologization of Manila.”
Cinema Filipinas: Historia, teoría y crítica fílmica (1999-2009) [Philippine Cinema: History, Theory, and Film Criticism (1999-2009)]. Ed. Juan Guardiola. [Andalucía]: Juna de Andalucía, Consejería de Cultura Fundación El Legado Andalusí, [2010]. Retrospective volume, with English translations.
The Cinema of Manuel Conde. By Nicanor G. Tiongson. Manila: University of Santo Tomas Publishing House, 2008. On the director, producer, and actor a.k.a. Juan Urbano, including a filmography of his productions.
Cinema of the Philippines: A History and Filmography, 1897-2005. By Bryan L. Yeatter. Jefferson, NC: McFarland, 2007.
Cinematographic Film Regulations: Administrative Order No. 50. By the Philippine[ Island]s Bureau of Internal Revenue. Manila: Bureau of Internal Revenue, 1918.
Cirio H. Santiago: Unbekannter Meister des B-Films [Unknown Master of B-Films]. By David Renske. Birkenfeld, Germany: Creepy*Images, 2020. “Unlike our other publications this book is very text-heavy and therefore in German language only! But we are already discussing the release of an English version as well” (Creepy*Images website announcement).
City of Screens: Imagining Audiences in Manila’s Alternative Film Culture. By Jasmine Nadua Trice. Durham: Duke University Press, 2021.
Clarita: Hanggang Saan Ka Kayang Dalhin ng Iyong Pananampalataya? [How Far Can Your Faith Take You?]. By Arlo Icabandi. Quezon City: ABS-CBN Publishing, 2019. Novelization of Clarita, dir. Derick Cabrido (Black Sheep, Purple Pig, & Clever Minds, 2019).
Claudia Zobel: An Untold Story. By Jessie B. Garcia. Iloilo City: [publisher unkn.], 1984. On the short life of the sex-film star.
A Closer Look at Manila by Night. Ed. Joel David. Forum of Kritika Kultura, no. 19. Quezon City: Department of English [of the] Ateneo de Manila University, 2012. A study of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980); includes the screenplay by Ishmael Bernal, transcribed by Joel David and translated to English by Alfred A. Yuson.
The Colonial Documentary Film in South and South-East Asia. Ed. Ian Aitken and Camille Deprez. Edinburgh: Edinburgh University Press, 2016. José B. Capino, “Figures of Empire: American Documentaries in the Philippines.”
Colonizing Filipinas: Nineteenth-Century Representations of the Philippines in Western Historiography. By Elizabeth Mary Holt. Quezon City: Ateneo de Manila University Press, 2002. “History as Visual Spectacle”; “Filipinas and Photography.”
Communication and Media Studies in Asia. Ed. Lourdes M. Portus. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 7, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2010. Taeyun Yu, “Eastern Gunslingers: Andrew Cunanan and Seung-Hui Cho in Western Media Imaginary.”
Communication and Media Theories. Ed. Rolando B. Tolentino, Patrick F. Campos, Randy Jay C. Solis, and Choy S. Pangilinan. Media and Communication Textbook Series. Quezon City: University of the Philippines Press, 2014. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic]”; Rolando B. Tolentino, “Masses, Power, and Gangsterism in the Films of Joseph ‘Erap’ Estrada”; Soledad Reyes, “Ang Mambabasa/Manonood, ang ‘Mass Media,’ at ang Paglikha ng Kahulugan [The Reader/Viewer, the ‘Mass Media,’ and the Production of Meaning]”; Patrick D. Flores, “Bodies of Work: Sexual Circulation in Philippine Cinema”; Eulalio R. Guieb III, “Worlding the Third World (O Kung Paanong Nagkadaigdig ang Ikatlong Daigdig sa mga Pelikula ni Kidlat Tahimik) [Or How the Third World Became Worlded in the Films of Kidlat Tahimik].”
Confrontations, Crossings, and Convergence: Photographs of the Philippines and the United States, 1898-1998. Ed. Enrique B. de la Cruz and Pearlie Rose S. Baluyut. Los Angeles: Asian American Studies Center Press, 1998. A “companion to the photographic display [titled] Confrontations, Crossings and Convergence, on exhibit at UCLA’s Fowler Museum from August 19, 1998 to January 3, 1999[, as] curated by Enrique B. de la Cruz and Pearlie Rose Baluyut of UCLA’s Asian American Studies Center and art history department respectively, and Rico Reyes, an innovative, San Francisco-based artist” (from Augusto Fauni Espiritu’s review in the Journal of Asian American Studies).
The Conjugal Dictatorship of Ferdinand and Imelda Marcos. By Primitivo Mijares. San Francisco: Union Square Publications, 1976. “The Loves of Marcos,” on Ferdinand Marcos’s predilection for movie stars, having married a beauty queen and aspiring film performer. Revised & annotated in 2017.
The Conjugal Dictatorship of Ferdinand and Imelda Marcos: Revised and Annotated. By Primitivo Mijares. Quezon City: Bughaw, 2017. Original published in 1976.
Contemporary Asian Cinema: Popular Culture in a Global Frame. Ed. Anne Tereska Ciecko. Asian Cinema series. New York: Berg, 2006. José B. Capino, “Philippines: Cinema and Its Hybridity (Or You’re Nothing but a Second-Rate, Trying Hard Copycat).”
Contestable Nation-Space: Cinema, Cultural Politics, and Transnationalism in the Marcos-Brocka Philippines. By Rolando B. Tolentino. Quezon City: University of the Philippines Press, 2014. On the anti-dictatorship activism of film director Lino Brocka during the regime of Ferdinand E. Marcos.
A Continuing Narrative on Philippine Theater: The Story of PETA (Philippine Educational Theater Association). By Laura Samson, Brenda V. Fajardo, Cecilia B. Garrucho, Lutgardo L. Labad, and Ma. Gloriosa Santos Cabangon. Quezon City: Philippine Educational Theater Association, 2008. “PETA’s Foray into Broadcast Theater.”
Contra Mundum [Against the World]: On the Film Restoration of Nick Joaquin’s A Portrait of the Artist as Filipino. Ed. Angelo Rodriguez Lacuesta. [Quezon City]: Miguel P. de Leon Publishing, 2015. Regarding A Portrait of the Artist as Filipino, dir. Lamberto V. Avellana (Diadem Productions & Cinema Artists Philippines, 1965). See Ang Larawan [The Portrait]: From Stage to Screen, ed. Girlie Rodis, for the text of the play.
Conversations Pa More. By Ricardo F. Lo. Pasig City: VRJ Books, 2016. Sequel of Conversations with Ricky Lo (2001).
Conversations with Lav Diaz. By Michael Guarneri. Bologna: Massimiliano Piretti Editore, 2020.
Conversations with Ricky Lo. By Ricardo F. Lo. Mandaluyong City: Anvil Publishing, 2001. Followed by Conversations Pa More (2016).
Coppola’s Monster Film: The Making of Apocalypse Now. By Steven Travers. Jefferson, NC: McFarland, 2016. Regarding Apocalypse Now, dir. Francis Ford Coppola (American Zoetrope, 1979).
El Cortometraje: Surgimiento de un nuevo cine filipino. By Nick Deocampo, trans. Mark Garner & Matxalen Goiria. Bilbao: Certámen Internacional del Cine Documental y Cortometraje, 1986. Spanish translation of Short Film (1985).
Crazy Beautiful You: The Novel. By Iris Lacap. Quezon City: ABS-CBN Publishing, 2017. Novelization of Crazy Beautiful You, dir. Mae Czarina Cruz [as Mae Cruz-Alviar] (ABS-CBN Film Productions & Star Cinema, 2015).
Creative Imaging: An Introduction to Film. By Jonah Añonuevo Lim. [Dumaguete City]: Jonah Lim, 1998.
Critic after Dark: A Review of Philippine Cinema. By Noel Vera. Singapore: BigO Books, 2005.
Critical Voice in Media Studies. Ed. Nicanor G. Tiongson and Violeda A. Umali. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 1, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2004. José B. Capino, “Prosthetic Hysteria: Staging the Cold War in Filipino/American Docudrama”; Johven [as Jovenal] Velasco, “Filipino Film Melodrama of the Late 1950s: Two Case Studies of Accommodation of Hollywood Genre Models”; Anne Marie G. de Guzman, “Philippine Experimental Film Practice: Influences and Directions through the Films of Roxlee.”
The [Cultural Center of the Philippines] Centennial Honors for the Arts. By the Cultural Center of the Philippines in Cooperation with the Centennial Commission. Manila: CCP, 1999. Includes entries for Nora Aunor, Daisy H. Avellana, Ishmael Bernal, Salvador F. Bernal, Amelia L. Bonifacio, Ryan Cayabyab, Benjamin H. Cervantes, Manuel Conde, Ernani J. Cuenco, Mike de Leon, Narcisa B. de Leon, et al.
Cultural Hybridities of the Philippines. Ed. Raul Pertierra. Special issue of Asian Studies: Journal of Critical Perspectives on Asia, vol. 47. Quezon City: Asian Center [of the] University of the Philippines, 2011. Mizhelle D. Agcaoili, “Hybrid Identities: Filipino Fansubbers of Japanese Media and Self-Construction.”
Cultural Icons of the Philippines. By Visitacion “Chit” R. de la Torre. Makati City: Tower Book House, 2002.
Culture and Customs of the Philippines. By Paul A. Rodell. Culture and Customs of Asia series. Westport, CT: Greenwood Press, 2002. “Festivals, Theater, Film, Media, and Other Entertainment.”
Cultures and Texts: Representations of Philippine Society. Ed. Raul Pertierra and Eduardo F. Ugarte. Quezon City: University of the Philippines Press, 1994.
Cultures at War: The Cold War and Cultural Expression in Southeast Asia. Ed. Tony Day and Maya H.T. Liem. Studies on Southeast Asia No. 51. Ithaca, NY: Southeast Asia Program Publications, 2010. Francisco Benitez, “Filming Philippine Modernity During the Cold War: The Case of Lamberto [V.] Avellana.”
Curtain Call: Selected Reviews, 1957-2000. By Leonor Orosa Goquingco. Quezon City: University of the Philippines Press, 2001. Includes reviews of performances of film actor Nora Aunor at the Philippine Educational Theater Association.
Daang Dokyu: A Festival of Philippine Documentaries. Ed. Richard Bolisay. Philippines [city unkn.]: FilDocs, 2020. A “DokBook” for the eponymous film festival; available as an Issuu digital file at the Daang Dokyu website.
Darna & Other Idols. By Marra PL. Lanot. Mandaluyong City: Anvil Publishing, 2012. Feature articles on Ryan Agoncillo, Gina Alajar, Lualhati Bautista, Ryan Cayabyab, Lucy & Richard Gomez, Marian Rivera, Rosanna Roces, Vilma Santos & Ralph Recto, Ali Sotto, et al.
Si Darna, ang Mahal na Birhen ng Peñafrancia, si Pepsi Paloma [Darna, the Blessed Virgin of Peñafrancia, (and) Pepsi Paloma]. By Rolando B. Tolentino. Kulturang Popular Series No. 3. Pasig City: Anvil Publishing, 2004.
Dawn of Freedom: A Toho Super Production. By Yutaka Abe and Hitō Hakengun. [Manila: Eiga Haikyūsha, 1943.] Commemorative volume for Dawn of Freedom, dirs. Abe Yutaka and Gerardo de Leon (Eiga Haikyūsha & Toho, 1944).
Deadma Walking [Superciliously Walking]. By Eric Cabahug. Pasig City: VRJ Books, 2017. Novelization of Deadma Walking, dir. Julius Alfonso (T-Rex Entertainment Productions, 2017); “dedma,” a contraction of “dead malice” (a transliteration of “patay malisya”), refers to feigning ignorance.
Dean Worcester’s Fantasy Islands: Photography, Film, and the Colonial Philippines. By Mark Rice. Ann Arbor: University of Michigan Press, 2014.
The Debut: The Making of a Filipino American Film. By Gene Cajayon, John Manal Castro, and Dawn Bohulano Mabalon. Chicago: Tulitos, 2001. Regarding The Debut, dir. Gene Cajayon (5 Card Productions, Celestial Pictures, Center for Asian American Media, National Asian American Telecommunications Association, Visual Communication, 2000).
The Decolonized Eye: Filipino American Art and Performance. By Sarita Echavez See. Minneapolis, MN: University of Minnesota Press, 2009. “An Open Wound” discusses Angel Velasco Shaw’s experimental documentary Nailed (Angel Velasco Shaw, 1992).
Deja Vu & Other Essays. By Marra PL. Lanot. Quezon City: University of the Philippines Press, 1999.
Diamond Anniversary of Philippine Cinema. Brochure for the 43rd awards ceremony of the Filipino Academy of Movie Arts and Sciences. Manila: [Movie Workers Welfare Fund], 1994. Includes a filmography of Philippine productions from the beginning to 1993 prepared by Lynn Pareja; significant for being the first published listing of Filipino movies made during the 1960s.
Digital Cinema in the Philippines, 1999-2009. By Eloisa May P. Hernandez. Quezon City: University of the Philippines Press, 2014.
Directory of Filipino Women in Radio, TV & Film Media. [Manila]: National Commission on the Role of Filipino Women, National Printing Office, and Philippine Information Agency, 1992.
Direk [Director]: Essays on Filipino Filmmakers. Ed. Clodualdo del Mundo Jr. and Shirley Lua. Critical Voices series. Eastbourne, East Sussex: Sussex Academic Press, 2019.
Direk 2 da Poynt [Direct(or) to the Point]. By Wenn V. Deramas. Pasig City: VRJ Books, 2016. Written and published autobiography, posthumously launched.
Displaying Filipinos: Photography and Colonialism in Early 20th Century Philippines. By Benito M. Vergara. Quezon City: University of the Philippines Press, 1995.
Documentary: A History of the Non-Fiction Film. By Erik Barnouw. 1974. 2nd. rev. ed. Oxford: Oxford University Press, 1993. Mentions Thomas Alva Edison’s fake documentaries produced to propagandize the US’s bid to expand its overseas territories, including the colonization of the Philippines.
Dolphy: Hindi Ko Ito Narating Mag-isa [I Did Not Attain This by Myself]. By Bibeth Orteza. Quezon City: Kaizz Ventures, 2008. Authorized biography of actor-producer Rodolfo Vera Quizon, a.k.a. Dolphy.
Don Jose [Nepomuceno] and the Early Philippine Cinema. By Joe Quirino. History of the Philippine Cinema series no. 1. Quezon City: Phoenix Publishing House, 1983. First in the author’s projected 3-volume history series; no other volumes followed.
Doña Sisang and Filipino Movies. Ed. Monina A. Mercado. [Quezon City]: Vera-Reyes, 1977. Articles on Narcisa Buencamino de Leon (founder of LVN Pictures), her professional principles, and the films she produced; includes a filmography of LVN productions from 1939 to 1961.
Double Twisting Double Back: The Novel. By Arlo Icabandi. Quezon City: ABS-CBN Publishing, 2018. Novelization of Double Twisting Double Back, dir. Joseph Abello (Cinema One Originals, #TeamMSB, & Black Maria Pictures, 2018).
The Drama of It: A Life on Film and Theater. By Daisy Hontiveros Avellana. Pasig City: Anvil Publishing, 2009. Stage & film performer’s memoir of her life with Lamberto V. Avellana.
Dream Factories of a Former Colony: American Fantasies, Philippine Cinema. By José B. Capino. Minneapolis: University of Minnesota Press, 2010.
Duterte and Disinformation. Ed. Ma. Diosa Labiste. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 17, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2020. Adjani Guerrero Arumpac, “Regenerative Documentary: Posthuman Art in the Context of the Philippine Drug War”; Carlo Gabriel “Choy” Pangilinan, “Mula kay GMA Hanggang kay Duterte: Kritika sa Ilang Dokumentaryong Politikal at Pagmamapa sa Tunguhin ng Dokumentaryo sa Panahong Pinapaslang ang Politikal [From (Philippine Presidents Gloria Macapagal Arroyo) to (Rodrigo Roa) Duterte: A Critique of Selected Political Documentaries and a Mapping of Documentary Trends during the Slaughter of Political (Participants)].”
Early Cinema in Asia. Ed. Nick Deocampo. Bloomington: Indiana University Press, 2017.
East Asian Popular Culture: Philippine Perspectives. Ed. Michiyo Yoneno-Reyes. Quezon City: University of the Philippines Asian Center, 2013.
Eat Bulaga: Ang Unang Tatlong Dekada [Lunchtime Surprise: The First Three Decades]. By Butch Francisco. Pasig City: TAPE, 2010. On the still-running daily noontime TV program that first aired in 1979.
Edifice Complex: Power, Myth, and Marcos State Architecture. By Gerard Lico. Quezon City: Ateneo de Manila University Press, 2003. “The Cultural Center of the Philippines Complex,” with emphasis on the catastrophic construction history of the Manila Film Center.
Eiga: Cinema in the Philippines during World War II. By Nick Deocampo. Vol. 3 (out of 5) of Reflections on One Hundred Years of Cinema in the Philippines series. Mandaluyong City: Anvil Publishing, 2016. Preceded by Film (2011) and succeeded by Alter/Native (2021).
Elizabeth Ramsey: Queen of Philippine Rock n’ Roll. By Sansu Ramsey. Scotts Valley, CA: CreateSpace Independent Publishing Platform, 2017. Authorized biography of the late multimedia entertainer, of Jamaican and Spanish descent, by her daughter.
Empire’s Mistress, Starring Isabel Rosario Cooper. By Vernadette Vicuña Gonzalez. Durham: Duke University Press, 2021. On movie actor Elizabeth Cooper, nicknamed Dimples, famed for the first onscreen kiss in Jose Nepomuceno’s Ang Tatlong Hambog [The Three Braggarts] (Malayan Movies & Nepomuceno Productions, 1926), who later became the consort of General Douglas MacArthur.
Si Elwood, Pelikula, Atbp. [Elwood, Film, Etc.]. By Jojo Devera. Quezon City: Jojo Devera, 2011. A study of Elwood Perez as filmmaker.
Empire and Memory: Repercussions and Evocations of the 1899 Philippine-American War. By the Solomon R. Guggenheim Museum. [New York: Solomon R. Guggenheim Museum, 1999.]
Encyclopedia of Early Cinema. Ed. Richard Abel. London: Routledge, 2005. Nick Deocampo, “The Philippines.”
The End of National Cinema: Filipino Film at the Turn of the Century. By Patrick F. Campos. Quezon City: University of the Philippines Press, 2016.
Everyday Kath: Kathryn Bernardo’s 365 Ways To Be Your Own Teen Queen. By Kathryn Bernardo. Pasig City: Summit Publishing, 2016. “Compiles 365 anecdotes, lessons and tips that you can use so you can also become your own Teen Queen” (Facebook page).
Exes Baggage. By Dwein Baltazar. Quezon City: ABS-CBN Publishing, 2018. Screenplay of Exes Baggage, dir. Dan Villegas (Black Sheep, 2018).
Exporting Entertainment: America in the World Film Market, 1907-34. By Kristin Thompson. London: British Film Institute Publishing, 1985. Describes how the Philippines, as the sole US colony, became the regional center for distribution of Hollywood film prints – which were flawed or easily damaged, since the Orient was regarded as a “junk” market: “90% of the prints from American exchanges were worn almost beyond being showable, with splices, torn sprockets, ends and titles missing” (per an exhibitor’s account).
Exposé: Peryodismong Pampelikula sa Pilipinas [Movie Journalism in the Philippines]. By Boy Villasanta. Manila: University of Santo Tomas Publishing House, 2007.
Expressions of Tagalog Imaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939-1959). By Antonio P. Africa. Full issue of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, vol. 89, no. 2. Manila: University of Santo Tomas, 2016.
The Face of Urban Poverty in the Cinema of [Lino] Brocka. By Veronica L. Isla. Quezon City: University of the Philippines Press, 2020.
Fandom and Cinephilia in Southeast Asia. Ed. Wikanda Promkhuntong and Bertha Chin. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 16, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2019. Richard Bolisay, “‘Yes, You Belong to Me!’ Reflections on the JaDine [James Reid & Nadine Lustre] Love Team Fandom in the Age of Twitter and in the Context of Filipino Fan Culture”; Leticia Tojos, “Empowering Marginalized Filipinos Through Participatory Video Production.”
Fantasy-Production: Sexual Economies and Other Philippine Consequences for the New World Order. By Neferti X.M Tadiar [as Neferti Xina M. Tadiar]. Hong Kong: Hong Kong University Press, 2004. “Himala, Miracle [dir. Ishmael Bernal (Regal Films, 1980)]: The Heretical Potential of Nora Aunor’s Star Power.”
Fields of Vision: Critical Applications in Recent Philippine Cinema. By Joel David. Book edition. Quezon City: Ateneo de Manila University Press, 1995. Revised & updated for a digital edition in 2014.
Fields of Vision: The Digital Edition. By Joel David. Quezon City: Amauteurish Publishing, 2014. Revision & update of the 1995 book edition, available at the Ámauteurish! website.
Fifty Shades of Philippine Art: Philippine Cinematic Art. By Andrea L. Peterson, Gaspar A. Vibal, Christopher A. Datol, and Nicanor A. Lajom. 50 Shades of Philippine Art series. Quezon City: Vibal, 2020.
Figures of Southeast Asian Modernity. Ed. Joshua Barker, Erik Harris, and Johan Lindquist. Honolulu: University of Hawai’i Press, 2014. José B. Capino, “Domestic Helper.”
Filipiniana Reader: A Companion Anthology of Filipiniana Online. Ed. Priscelina Patajo-Legasto. Quezon City: University of the Philippines Open University, 1998. Clodualdo del Mundo Jr., “Komiks: An Industry, a Potent Medium, Our National ‘Book,’ and Pablum of Art Appreciation” & “Philippine Television: A History of Politics and Commerce”; Patrick D. Flores, “Philippine Cinema and Society”; Bienvenido Lumbera, “Brocka, Bernal & Co.: The Arrival of New Filipino Cinema” & “Problems in Philippine Film History”; Soledad S. Reyes, “The Philippine Komiks”; Nicanor G. Tiongson, “Becoming Filipino: 1565-1898”; Rolando B. Tolentino, “‘Inangbayan’ (Mother-Nation) in Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Clutching a Knife [Malaya Films & Stephan Films], 1985) and Orapronobis (Fight for Us [Bernadette Associates International], 1989).”
Filipino Directors Up Close: The Golden Ages of Philippine Cinema, 1950-2010. By Bibsy M. Carballo. Pasig City: Anvil Publishing, 2010.
Filipino Nurse Migration under [Japan-Philippines Economic Partnership Agreement]. Ed. Michiyo Yoneno-Reyes & Yuko O. Hirano. Special issue of Asian Studies: Journal of Critical Perspectives on Asia, vol. 52, no. 2. Quezon City: Asian Center [of the] University of the Philippines, 2016. Angelo Arriola, review of Anthony Chen’s Ilo Ilo (Singapore Film Commission, Ngee Ann Polytechnic, & Fisheye Pictures, 2013); Domar Balmes, review of Lawrence Fajardo’s Imbisibol (Sinag Maynila & Solar Entertainment, 2015).
Filipino Studies: Palimpsests of Nation and Diaspora. By Martin F. Manalansan and Augusto F. Espiritu. New York: New York University Press, 2016. Robert Diaz’s “Redressive Nationalisms, Queer Victimhood, and Japanese Duress” discusses the claims of Walter Dempster Jr. a.k.a. [Walterina] Markova: Comfort Gay [male enslaved for sex work by the Japanese Imperial Army during World War II], dir. Gil Portes (RVQ Productions, 2000).
Film. Ed. Nicanor G. Tiongson. Vol. 6 (of 12 vols.) of Cultural Center of the Philippines Encyclopedia of Philippine Art. 2nd edition. Manila: Cultural Center of the Philippines & the Office of the Chancellor, University of the Philippines Diliman, 2017. Equivalent volume of Philippine Film, vol. 8 in the 1st edition of the CCP Encyclopedia of Philippine Art.
Film: American Influences on Philippine Cinema. By Nick Deocampo. Vol. 2 (out of 5) of Reflections on One Hundred Years of Cinema in the Philippines series. Mandaluyong City: Anvil Publishing, 2011. Preceded by Cine (2007) and succeeded by Eiga (2016).
Filming in the Philippines. By Sonia P. Ner, Louise Arianne C. Ferriols, and Angelo J. Aguinaldo. [Pasig City]: Film Development Council of the Philippines, [2018].
Film and Freedom: Movie Censorship in the Philippines. By Guillermo de Vega. Manila: De Vega, 1975. Includes reviews of Tubog sa Ginto [Dipped in Gold], dir. Lino Brocka (Lea Productions, 1970); and Kung Bakit Dugo ang Kulay ng Gabi [Why Blood Is the Color of Night], dir. Celso Ad. Castillo (AA Productions, 1973).
Film & Politics in the Third World. Ed. John Downing. New York: Autonomedia, 1986. Luis Francia, “Philippine Cinema: The Struggle against Repression.”
Film Blockbusters from the Philippines. [Manila]: Manila International Film Festival, [1981]. “Dry run” for the regular MIFF, to be held starting the next year.
Film Criticism in the Philippines. Ed. Joel David and Joyce Arriola. Special issue of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, vol. 93, no. 1. Manila: University of Santo Tomas, 2020.
Film Directory of the Philippines. Ed. Ricardo V. Fernandez. [Manila: Philippine Motion Pictures Producers Association?], 1978.
Film in South East Asia: Views from the Region (Essays on Film in 10 South East Asia – Pacific Countries). Ed. David Hanan. Hanoi: Southeast Asia-Pacific Audio Visual Archive Association, 2001. Agustin Sotto, “Philippines: A Brief History of Philippine Cinema.”
Filmography of Filipino Films, 1982. By the Film Academy of the Philippines. [Manila]: Film Academy of the Philippines, [1983]. Launch publication for what has been subsequently called the Luna Awards, first held in 1984.
Films by Lino Brocka: A Retrospective, November 14 [to] December 2, 1990, American Film Archives. By the AMAUAN Filipino American Multi-Arts Center and Anthology Film Archives. AMAUAN Notebook series 7.1. New York: AMAUAN Filipino American Multi-Arts Center, 1990.
Films from a “Lost” Cinema: A Brief History of Cebuano Films. By Nick Deocampo. Quezon City: [Movie Workers Welfare Fund] Film Institute, 2005.
The Films of ASEAN. Ed. Jose F. Lacaba. Quezon City: Association of Southeast Asian Nations Committee on Culture and Information, 2000. Clodualdo del Mundo Jr., “Philippines.”
The First Experimental Cinema of the Philippines Annual Short Film Festival: November 16-21, 1982, Manila Film Center, [Cultural Center of the Philippines] Complex. Manila: ECP, 1982.
The First Impulse. By Laurel Fantauzzo. Mandaluyong City: Anvil Publishing, 2017. On the unsolved September 2009 murder case of film critics Alexis Tioseco and his Slovenian partner Nika Bohinc.
First Person, Plural: Essays. By Edel E. Garcellano. Quezon City: Edel E. Garcellano, 1987.
The Flip Side: A Filipino American Comedy. By Rod Pulido. Chicago: Tulitos, 2002. Screenplay of The Flip Side, dir. Rod Pulido (Pure Pinoy, 2001).
Focus on Filipino Films: A Sampling, 1951-1982. Manila: Manila International Film Festival, [1983]. Brochure for a special module selected by the Filipino Film Screening Committee and presented during the second MIFF edition, accompanied by freshly struck positive prints subtitled in English & French.
Footnotes to Philippine History. By Renato Perdon. Manila: Manila Prints, 2008. Includes a citation of Himala [Miracle], dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), in discussing religious belief.
Frank G. Rivera’s Darna, Etc.: Screenplays Based on Characters Created by Mars Ravelo. By Frank G. Rivera and Mars Ravelo. Manila: University of Santo Tomas Publishing House, 2003. Adaptations by Frank G. Rivera of Mars Ravelo stories, including two produced films: Darna, dir. Joel Lamangan (Viva Films, 1991); and Dyesebel, dir. Emmanuel H. Borlaza (Viva Films, 1995; co-written with Borlaza).
Frisson: The Collected Criticism of Alice Guillermo. By Alice Guillermo, ed. Patrick D. Flores & Roberto G. Paulino. Quezon City: Philippine Contemporary Art Network, 2019. “The Walking Tall Syndrome”; “National Identity and the Artist”; “The Many Faces of Censorship”; “Rejecting the Anti-Women in Art and Media”; “Book-Burning in the 20th Century,” on the censorship of the Isip Pinoy [Pinoy Mentality] TV program. Available at the Philippine Contemporary Art Network website.
From Darna to ZsaZsa Zaturnnah: Desire and Fantasy (Essays on Literature and Popular Culture). By Soledad S. Reyes. Pasig City: Anvil Publishing, 2009. Includes studies on komiks-to-film crossovers including the title texts.
From Globalization to National Liberation: Essays of Three Decades. By E. San Juan Jr. Quezon City: University of the Philippines Press, 2008. “Allegories of National Liberation” discusses Savage Acts and Fairs – possibly Savage Acts, dir. Pennee Bender, Joshua Brown, and Andrea Ades Vasquez (American Social History Productions, 1995) – as well as Lino Brocka’s opposition to Imelda Marcos’s edifice complex; similar passages appear in a number of earlier books by the author.
From Loren to Marimar: The Philippine Media in the 1990s. Ed. Sheila S. Coronel. Quezon City: Philippine Center for Investigative Journalism, 1999.
The Future of Film: 100 New Directors. By Cameron Bailey, Frederic Maire, Piers Handling, Sergio Wolf, Wieland Speck, Kim Dong-Ho, Marco Muller, Michel Ouedraogo, and Li Cheuk-to. Take 100 series. London: Phaidon Press Ltd., 2010. Each of ten film festival directors – representing Locarno, Toronto, Buenos Aires, Berlin, Pusan, Venice, Ouagadougou (Burkina Faso), and Hong Kong – selected ten of “the world’s most exceptional emerging film directors” along with a representative recent film from each one (from the Library of Congress’s publisher description); includes Philippine filmmakers Raya Martin with Maicling Pelicula nañg Ysañg Indio Nacional [A Short Film About the Indio Nacional] (Atopic films & The Hubert Bals Fund of the Rotterdam Festival, 2005), Brillante Mendoza with Masahista [The Masseur] (Gee Films International & Centerstage Productions, 2005), Pepe Diokno with Engkwentro [Clash] (Cinemalaya Foundation, 2009), and Auraeus Solito with Ang Pagdadalaga ni Maximo Oliveros [The Blossoming of Maximo Oliveros] (Cinemalaya Foundation & UFO Pictures, 2005).
Gabby [Concepcion]. By George Vail Kabristante. Quezon City: Jingle Clan Publications, 1982. On the then-emerging teen star.
The Geopolitical Aesthetic: Cinema and Space in the World System. By Fredric Jameson. Perspectives series. Bloomington: Indiana University Press, 1992. “Art Naïf and the Admixture of Worlds” is an appreciation of Kidlat Tahimik’s Mababangong Bangungot [Perfumed Nightmare] (Zoetrope Studios, 1977).
Geopolitics of the Visible: Essays on Philippine Film Cultures. Ed. Rolando B. Tolentino. Quezon City: Ateneo de Manila University Press, 2000.
Getting to Know Nora. By Herbert L. Vego. Manila: Herbert L. Vego, 1973. On film actor Nora Aunor, published “with permission from Philippines Daily Express” (cover text).
Ginhawa, Kapalaran, Dalamhati: Essays on Well-being, Opportunity/Destiny, and Anguish. Ed. Consuelo J. Paz. Quezon City: University of the Philippines Press, 2009. Patrick D. Flores, “Hanapbuhay sa mga Pelikula ni Nora Aunor [Occupation in the Films of Nora Aunor].”
Glimpses: Essays, Letters, Memoirs (A Selection from the Writing Class from February to April, 2009). Ed. Letty T. Sala and Felipe L. Reyes. “Book concept” and foreword by Monina Allarey Mercado. Quezon City: Gabriel Books, 2009. A chapter by Michelle Gallaga comprises essays on her family, including her parents, producer-scriptwriter Madeleine Gallaga and director Peque Gallaga.
Glimpses of Freedom: Independent Cinema in Southeast Asia. Ed. May Adadol Ingawanij and Benjamin McKay. Ithaca, NY: Cornell Southeast Asia Program Publications, 2012. Tilman Baumgärtel, “The Piracy Generation: Media Piracy and Independent Film in Southeast Asia”; Eloisa May P. Hernandez, “The Beginnings of Digital Cinema in Southeast Asia”; Alexis A. Tioseco, “Like the Body and the Soul: Independence and Aesthetics in Contemporary Philippine Cinema”; John Torres, “Piracy Boom Boom.”
The Global Challenge in Services Trade: A Look at Philippine Competitiveness. Ed. Gloria O. Pasadilla. Makati City: Philippine Institute for Development Studies and German Technical Cooperation, 2006. Gloria O. Pasadilla and Angelina M. Lantin, “Audiovisual Services Sector: Can the Philippines Follow ‘Bollywood’?”
Global Makeover: Media and Culture in Asia. Ed. Danilo Arao. Seoul: Asian Media and Culture Forum & Development Center for Asia Africa Pacific, 2010. Conference proceedings, including Patrick F. Campos, “The New Fantasy-Adventure Film as Contemporary Epic, 2000-2007”; Joel David, “Orientalism and Classical Film Practice”; and Shirley Palileo-Evidente, “The Alternative Metaphor in Metaphors: Discursive ‘Readings’ on Language, Symbols, and Enculturation in Philippine Cinema and other Media.”
Gloria Diaz and Other Delineations. By Nick Joaquin [as Quijano de Manila]. [Manila]: National Book Store, 1977.
The Golden Years: Memorable Tagalog Movie Ads 1946-1956 (From the Collection of Danny Dolor). Ed. Ronald K. Constantino and Ricardo F. Lo. Manila: Danny Dolor, 1994.
Goyo: Ang Batang Heneral [The Young General]: The History Behind the Movie. Mandaluyong City: Anvil Publishing, 2018. Regarding Goyo: Ang Batang Heneral, dir. Jerrold Tarog (TBA Studios, Artikulo Uno Productions, & Globe Studios, 2018); containing “an interview with Isagani Giron” (cover description).
Great & Famous Filipinos. By Jenny King. [Cainta, Rizal]: Worldlink Marketing Corp., 2002. Includes a number of pop-culture figures.
A Guide to the Intellectual Property Code of the Philippines: Understanding the Law, Empowering the Artist. By Nicolas B. Pichay. Pasig City: Anvil Publishing, 2010.
Halakhak [Laughter]: National Humor in Philippine Popular Cultural Forms. By Maria Rhodora G. Ancheta. Quezon City: University of the Philippines Press, 2017. Includes studies on comic strips, digital media, and the films of Dolphy.
Hallyu in and for Asia. Ed. Ha Ju-yong. Forum of Kritika Kultura, no. 28. Quezon City: Department of English [of the] Ateneo de Manila University, 2017. Joel David, “Remembering the Forgotten War: Origins of the Korean War Film and Its Development during Hallyu”; Maria Luisa Torres Reyes, “Multicultural Bildungsroman: Coming of Age between Han and Sana.”
Hello, Love, Goodbye: The Novel. By Charmaine Lasar. Quezon City: ABS-CBN Publishing, 2019. Novelization of Hello, Love, Goodbye, dir. Cathy Garcia-Molina (Star Cinema, 2019).
Heneral Luna: The History Behind the Movie. Ed. Ruby Rosa A. Jimenez. Mandaluyong City: Anvil Publishing, 2015. Regarding Heneral Luna, dir. Jerrold Tarog (Artikulo Uno Productions, 2015), based on “an interview with Dr. Vivencio R. Jose, author of The Rise and Fall of Antonio Luna” (cover text).
History with Lourd: Tsismis Noon, Kasaysayan Ngayon [Once Rumor, Now History]. By Lourd Ernest H. de Veyra. Pasig City: Summit Publishing, 2018. The volume “gathers in book form noteworthy episodes from the multi-awarded history program of the same name which ran on TV5 from 2013 to 2016” (Summit Books website).
Hong Kong Film, Hollywood and the New Global Cinema. Ed. Gina Marchetti and Tan See Kam. London: Routledge, 2007. Bliss Cua Lim, “Generic Ghosts: Remaking the New ‘Asian Horror Film.’”
Hong Kong Screenscapes: From the New Wave to the Digital Frontier. Ed. Esther M.K. Cheung, Gina Marchetti, and Tan See-Kam. Hong Kong: Hong Kong University Press, 2011. Roger Garcia, John Woo, & Jessica Hagedorn’s “Alternative Perspectives/Alternative Cinemas: Modern Films and the Hong Kong Experimental Scene” comprises “a discussion of a representative program of experimental films by three filmmakers – Jim Shum, Comyn Mo, and [Filipino] Raymond Red, all produced in Hong Kong and Manila in the 1980s under Garcia’s Modern Films Productions company, and shown at the Hollywood/Hong Kong at the Borders: Alternative Perspectives, Alternative Cinema symposium in April 2004” (chapter description in Oxford Index).
Hospicio [Hospice]: The Original Screenplay. By Bobby Bonifacio Jr. and Juvy G. Galamiton. Quezon City: ABS-CBN Publishing, 2018. Screenplay of Hospicio, dir. Bobby Bonifacio Jr. (Cinema One & Project 8 Corner San Joaquin Projects, 2018).
The Hows of Us: The Novel. By Charmaine Lasar. Quezon City: ABS-CBN Publishing, 2018. Novelization of The Hows of Us, dir. Cathy Garcia-Molina (ABS-CBN Film Productions & Star Cinema, 2018).
Hotel Purgatorio. By Noel F. Lim, Joey Agbayani, and David Hontiveros. Los Angeles: Dizzy Emu Publishing, 2020. Unproduced filmscript.
How to Become a Star.. Now!!! The Seven Universal Laws and Principles of Attraction to Be a Star. By Tato Malay. [Metro Manila]: Tato Malay, 2020. Philippine-edition cover is titled 7 Universal Laws and Principles of Attraction to Be a Star and contains the all-caps text “Nobody gives you a break except yourself, you attract it,” while the foreign edition excludes the text The Seven Universal Laws and Principles of Attraction to Be a Star from the cover though not in bookstore listings; emphasis is on local and foreign musicians including crossover talents Lea Salonga, Rico J. Puno, Andrew E., Marco Sison, Jojo Alejar, and Jenine Desiderio (double-dot ellipsis in original title).
How to Enjoy a Film Intelligently for Value Education. By Tomas D. Andres. [Manila]: Our Lady of Manaoag Publishers, 1987.
Huwaran/Hulmahan Atbp. [Model/Mold Etc.]: The Film Writings of Johven Velasco. By Johven Velasco, ed. Joel David. Quezon City: University of the Philippines Press, 2009.
The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene. By Celine Parreñas Shimizu. Durham: Duke University Press, 2007. Includes discussions of the film releases Francis Ford Coppola’s Apocalypse Now (American Zoetrope, 1979) and PJ Raval’s Call Her Ganda (Unraval Pictures, Fork Films, & Naked Edge Films, 2018); the stage musical Miss Saigon (with Lea Salonga and Monique Wilson originally cast as title characters in 1989); the stag movie Philippino Couple (1970-71); and the author’s short films “Mahal Means Love and Expensive” (1993), “Her Uprooting Plants Her” (1995), “Super Flip” (1997), and “The Fact of Asian Women” (2002).
I Am Bubble Gang: The Bubble Gang 20th Anniversary Commemorative Comedy Chronicles. Pasig City: Summit Publishing, 2015. Cover text includes “IMBG” as a logo framed by “The Show – The Cast – The Viewers – The Network.”
I Am Jake. By Jake Zyrus. Mandaluyong City: Anvil Publishing, 2018. Transition account of the singer deadnamed Charice Pempengco.
Iconography of the New Empire: Race and Gender Images and the American Colonization of the Philippines. By Servando D. Halili Jr. Quezon City: University of the Philippines Press, 2006.
Identities in Motion: Asian American Film and Video. By Peter X. Feng. Durham: Duke University Press, 2002. “The Camera as Microscope: Cinema and Ethnographic Discourse” discusses Bontoc Eulogy, dir. Marlon Fuentes & Bridget Yearian (Corporation for Public Broadcasting & National Asian American Telecommunications Association, 2008).
Images in the Dark: An Encyclopedia of Gay and Lesbian Film and Video (Revised and Updated). By Raymond Murray. London: Titan Books, 1998. Originally published 1994; includes an entry on Macho Dancer, dir. Lino Brocka (Award Films, Special People Productions, & Viva Films, 1988).
Images of Change: Essays and Reviews. By Alice Guillermo. Quezon City: Kalikasan Press, 1988.
El Imaginario colonial: Fotografia en Filipinas durante el periodo Español 1860-1898 [The Colonial Imaginary: Photography in the Philippines during the Spanish Period 1860-1898]. By Juan Guardiola. Barcelona: Casa Asia, [2006].
Implementing Rules and Regulations Pursuant to Section 3(a) of Presidential Decree No. 1986: The Movie and Television Review and Classification Board (MTRCB). By the Movie and Television Review and Classification Board. Quezon City: Office of the President, Republic of the Philippines, 1997.
Indie Cinema at mga Sanaysay sa Topograpiya ng Pelikula ng Filipinas [Indie Cinema and Essays on the Topography of Philippine Cinema]. By Rolando B. Tolentino. Manila: University of Santo Tomas Publishing House, 2016.
In My Own Little Corner: Stories and Screenplays. By Jeanne Lim. Tubao Book Series of the Davao Writers Guild. Manila: National Commission for Culture and the Arts, 2009. “No Passport Needed,” dir. Pepe Diokno (Cinemalaya Independent Film Festival, 2006); and Gulong, dir. Sockie Fernandez (Creative Programs, 2007).
Inside Philippine Movies, 1970-1990: Essays for Students of Philippine Cinema. By J. Eddie Infante. Quezon City: Ateneo de Manila University Press, 1991.
Insight & Foresight. By Renato Constantino. Quezon City: Foundation for Nationalist Studies, 1977. “Entertainment as Tranquilizer” contains a reference to the author’s Manila Chronicle article “Nora Nora” (February 27, 1971), with a footnote qualifying its criticism of Nora Aunor’s lack of “progressive content” by acknowledging her 1976 productions, Mario O’Hara’s Tatlong Taóng Walang Diyos [Three Godless Years] (NV Productions) and Lupita Aquino-Kashiwahara’s Minsa’y Isang Gamu-gamo [Once a Moth] (Premiere Productions); per Nestor de Guzman’s research.
Institutions and Icons of Patronage: Arts and Culture in the Philippines during the Marcos Years, 1965-1986. By Pearlie Rose S. Baluyut. Manila: University of Santo Tomas Publishing House, 2012.
Intellectual Property Code of the Philippines and Related Laws: With Movie and Television Review and Classification Board (PD 1986), Videogram Regulatory Board (PD 1987), Children’s Television Act of 1997 and Others. Manila: Central Book Supply, 1998.
Intellectuals, the Public Arena, and the Nation. Ed. Patrick F. Campos. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 13, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2016. Joyce Arriola, “Visual Artists as Literary Artists: Fantasy and Folklore in 1950s Komiks-to-Film Adaptations.”
Inter/Sections: Isagani R. Cruz and Friends. Ed. David Jonathan Y. Bayot. Pasig City: Anvil Publishing, 2010. “A festival of writings by mentors, colleagues, friends, and students – writing in honor of [film & literary critic] Isagani R. Cruz” (David Jonathan Y. Bayot).
Interdisciplinarity in the Philippine Academia: Theory, History, and Challenges. Ed. Francis Sollano and Jose Mari B. Cuartero. Forum of Kritika Kultura, nos. 33 & 34. Quezon City: Department of English [of the] Ateneo de Manila University, 2020. Louie Jon A. Sánchez, “Ilang Eksplorasyon sa Pag-Aaral ng Kulturang Popular sa Filipinas [Some Explorations in the Study of Popular Culture in the Philippines].”
Interventions. By Edel E. Garcellano. Manila: Polytechnic University of the Philippines Press, 1998.
Isa Pa, with Feelings [Once More, with Feelings]: The Original Screenplay. By Jen Chuaunsu and Katherine Labayen. Quezon City: ABS-CBN Publishing, 2019. Screenplay of Isa Pa, With Feelings, dir. Prime Cruz (Black Sheep & APT Entertainment, 2019). Includes “interviews with cast and crew, and exclusive content inside” (cover description).
Japanese Cultural Policies in Southeast Asia During World War II. Ed. Grant K. Goodman. New York: MacMillan, 1991. Motoe Terami-Wada, “The Japanese Propaganda Corps in the Philippines: Laying the Foundation.”
José Rizal. By Marilou Diaz-Abaya. Quezon City: University of the Philippines College of Mass Communication, 1999. Commemorative volume for José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).
Joseph Estrada and Other Sketches. By Nick Joaquin [as Quijano de Manila]. [Manila]: National Book Store, 1977.
Jowable [Lover Material]. By Darryl Yap. Pasig City: VRJ Books, 2019. Novelization of #Jowable, dir. Darryl Yap (Viva Films & VinCentiments, 2019). Based on videos first posted on Facebook; “jowa” is a contraction of “jowawa,” originally gay lingo for asawa or spouse, with the first sound replaced by “j-” (sometimes “sh-”) as a pseudo-French affectation from the 1970s.
Just a Stranger. By Blaise C. Gacoscos. Pasig City: VRJ Books, 2019. Novelization of Just a Stranger, dir. Jason Paul Laxamana (Viva Films, 2019).
Kakaibang Tingin, Kakaibang Titig [Different Look, Different Gaze]: An Appreciation of the Golden Period in Philippine Cinema. By Kathy Almajose and JV Ramos. [Batangas City]: La Abuela Publishing House, 2013.
Kasaysayan at Pelikula [History and Film]: 100 Years of Cinema in the Philippines. Manila: National Centennial Commission, Presidential Management Staff, and Movie and Television Review and Classification Board, 1998.
Keeping the Flame Alive: Essays in the Humanities. Ed. Pacita Guevara-Fernandez. Diamond Jubilee Publication. Quezon City: University of the Philippines Press, 1983. Behn Cervantes’s “Ganyan Lang Talaga Yan [That’s Just How It Is]” describes the Philippine situation as “a large market that can be redirected in its tastes and attitudes so that they [sic] can dictate what types of movies should be made.”
Keywords: Essays on Philippine Media Cultures and Neocolonialisms. By Rolando B. Tolentino. Quezon City: Ateneo de Manila University Press, 2016.
Kidlat Tahimik. By Edgar San Juan, Son-hwa Yi, Aramch’an Yi, and Hye-jong Mok. JIFF ch’ongso series. [Jeonju]: Jeonju International Film Festival, 2011. On film director Kidlat Tahimik.
Kilates: Panunuring Pampanitikan ng Pilipinas [Appraisal: Critical Literature of the Philippines]. Ed. Rosario Torres-Yu. Quezon City: University of the Philippines Press, 2006. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic].”
Kings of the B’s: Working within the Hollywood System. By Todd McCarthy and Charles Flynn. New York: E.P. Dutton, 1975. “Eddie Romero.”
Kino-Sine: Philippine-German Cinema Relations. Ed. Tilman Baumgärtel. Makati City: Goethe-Institut Manila, 2007.
Kita Kita [I See You]: The Novel. By Sigrid Andrea Bernardo. Pasig City: VRJ Books, 2018. Novelization of Kita Kita, dir. Sigrid Andrea Bernardo (Spring Films, 2017).
Knife’s Edge: Selected Essays. By Edel E. Garcellano, ed. Caroline S. Hau. Quezon City: University of the Philippines Press, 2001.
Krisis at Pelikula: Mga Paunang Tala tungkol sa mga Imahe at Eksena sa Panahon ng Digma [Crisis and Film: Preliminary Notes about Images and Scenes during a Time of War]. By Epoy Deyto. Pasig City: TollidBilly & Shonenbat Collective, 2018. Available at the author’s Missing Codec blog.
Kritikal na Espasyo ng Kulturang Popular [Critical Spaces of Popular Culture]. Ed. Rolando B. Tolentino and Gary C. Devilles. Quezon City: Ateneo de Manila University Press, 2015.
Kritisismo: Mga Teorya at Antolohiya para sa Epektibong Pagtuturo ng Panitikan [Criticism: Theories and an Anthology for the Effective Teaching of Literature]. Ed. Soledad S. Reyes. Pasig City: Anvil Publishing, 1992. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic].”
Kulang na Silya at Iba Pang Kuwentong Buhay [Missing Chairs and Other Life Stories]: Essays on Life and Writing. By Ricky Lee. Quezon City: Philippine Writers Studio Foundation, 2020. Reminiscences and lessons by the country’s premiere scriptwriter.
Ang Larawan [The Portrait]: From Stage to Screen. Ed. Girlie Rodis. Mandaluyong City: Anvil Publishing, 2017. Includes the screenplay by Alemberg Ang, Loy Arcenas, Ryan Cayabyab, Waya Gallardo, Celeste Legaspi, Dennis Marasigan, Girlie Rodis, & Rolando Tinio of Ang Larawan, dir. Loy Arcenas (Culturtain Musicat Productions, 2017).
Legacy. By Simon Godfrey Rodriguez, Nina Macaraig-Gamboa, and Wylzter Gutierrez. Modern Heroes for the Filipino Youth series. Makati City: Bookmark & Studio Graphics Corp., 2015. On film & theater director Lamberto V. Avellana.
Life Letters: Stories of a Wanderer. By Mel Tobias. Vancouver: New Hogarath Press, 2003.
Lilas [Film]: An Illustrated History of the Golden Ages of Cebuano Cinema. By Paul Douglas Grant and Misha Boris Anissimov. Cebu City: University of San Carlos Press, 2016.
Lino Brocka: The Artist and His Times. Ed. Mario A. Hernando. Manila: Sentrong Pangkultura ng Pilipinas, 1993.
The Little Black Book [of] Movies: Over a Century of the Greatest Films, Stars, Scenes, Speeches and Events that Rocked the Movie World. Ed. Chris Fujiwara. London: Cassell Illustrated, 2007. “Part expert selection of [1,000] seminal moments, part glorious celebration of 100 years of cinema” (product description); includes contributions by Nick Deocampo and Noel Vera.
Lost Films of Asia. Ed. Nick Deocampo. Pasig City: Anvil Publishing, 2006.
Mag-Artista Ka! Mga Dapat Mong Malaman Para Sumikat sa Showbiz sa Tamang Paraan, sa Tamang Panahon [Be a Star! What You Should Learn to Get Famous in Showbiz in the Right Way, at the Right Time]. By Noel D. Ferrer. Mandaluyong City: Anvil Publishing, 2015. Filipino version of Sisikat Din Ako!
Making Documentaries & News Features in the Philippines. Ed. James Kenny and Isabel Enriquez Kenny. Pasig City: Anvil Publishing, 1996.
Making Waves: 10 Years of Cinemalaya [Philippine Independent Film Festival]. Ed. Clodualdo del Mundo Jr. Mandaluyong City: Anvil Publishing, 2014.
Malikhaing Pelikula: Mga Sanaysay Tungkol sa Pelikulang Pilipino [Creative Film: Essays on Philippine Cinema]. By Emmanuel A Reyes. Makati: Media Plus, 1996. Includes the screenplays of Dreaming Filipinos (Manny Reyes Productions, 1991) and Suwapings [The Laughing Barrio] (Safari Films, 1994), both directed by the author [as Manny Reyes].
Manila by Night. By Ishmael Bernal. Screenplay of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980). See A Closer Look at Manila by Night, ed. Joel David.
Manila by Night: A Queer Film Classic. By Joel David. Queer Film Classics series, eds. Thomas Waugh & Matthew Hays. Vancouver: Arsenal Pulp Press, 2017. A study of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980).
Marcos’ Lovey Dovie. By Hermie Rotea. Los Angeles: Liberty Publishing, 1983. On the affair between then-President Ferdinand E. Marcos and Dovie Beams, leading lady of Maharlika, dir. Jerry Hopper (Roadshow Films International & Solar Films, 1970); Beams sued Rotea for allegedly pilfering some of her personal items pertaining to her account of her romance with Marcos, whom she professed to still love years later.
Martial Law Melodrama: Lino Brocka’s Cinema Politics. By José B. Capino. Berkeley: University of California Press, 2020.
Martin Heidegger’s Being and Time & Manuel Silos’s Biyaya ng Lupa [Blessings of the Land]. By Edward delos Santos Cabagnot. Media and Communication series. Quezon City: University of the Philippines Press, 2018. A study of the 1927 Seit und Zeit text (in English translation) vis-à-vis Biyaya ng Lupa, dir. Manuel Silos (LVN Pictures, 1959).
Masculinity, Media, and Their Publics in the Philippines: Selected Essays. By Reuben Ramas Cañete. Media and Communication series. Quezon City: University of the Philippines Press, 2014. “Subjects of [the] essays in the book include post-EDSA homoerotic cinema, outright pornography, Bench billboard ads, Manny Pacquiao, and the [University of the Philippines’s symbolic] Oblation” (UP Press Facebook announcement).
Maxie: Book & Lyrics by Nicolas B. Pichay, Adapted from the Screenplay of Michiko Yamamoto. By Nicolas B. Pichay. Manila: University of Santo Tomas Publishing House, 2017. Based on Ang Pagdadalaga ni Maximo Oliveros [The Blossoming of Maximo Oliveros], dir. Aureaus Solito (Cinemalaya & UFO Pictures, 2005).
Maynila: Sa mga Kuko ng Liwanag [Manila: In the Claws of Neon], ’Merika [with Gil Jose Quito], at Alyas Raha Matanda [with Herky del Mundo]: Tatlong Dulang Pampelikula [Three Screenplays]. By Clodualdo del Mundo Jr. Manila: De La Salle University Press, 1992. Screenplays of Maynila: Sa mga Kuko ng Liwanag, dir. Lino Brocka (Cinema Artists, 1975); and ’Merika, dir. Gil Portes (Adrian Films, 1984).
Media and Communication Discourse. Ed. Danilo Arao. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 6, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2009. Jose Gutierrez III, “Images of the Mother in Lino Brocka Films: 1970-1991.”
Media and Folklore. Ed. Nicanor G. Tiongson. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 6, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2009. Patrick F. Campos, “The Fantasy-Adventure Films as Contemporary Epics, 2000-2007”; Alvin Yapan, “Nang Mauso ang Pagpapantasya: Isang Pag-aaral sa Estado ng Kababalaghan sa Telebisyon [When Fantasizing Was in Vogue: A Study on the State of Wonderment on Television].”
Media and Freedom. Ed. Victor Avecilla and Josefina Santos. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 4, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2007. Armida Vallejo Santiago, “The Liberative Role of Discourse in Articulating Women’s Issues and Concerns in Filipino Melodramatic Films from 1990 to 2000”; Leticia Tojos, “Empowering Marginalized Filipinos Through Participatory Video Production.”
Media and Gender Identity. Ed. Elizabeth L Enriquez. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 10, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2013. Rommel B. Rodriguez, “Representasyon ng Pagkalalaki sa Pelikulang Bakbakan ni FPJ [Representation of Masculinity in the Action Film of Fernando Poe Jr.].”
Media and History. Ed. Georgina Encanto. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 3, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2006. Michael Hawkins, “The Colonial Past in the Postcolonial Present: Eddie Romero’s Cavalry Command [Cirio H. Santiago Film Organization & Premiere Productions, 1958]”; Joyce Arriola, “The Impact of United States Colonization on the Rizalian Tradition in Cinema and Literature: A View of the Popular Arts as Postcolonial Historiography.”
Media and History. Ed. Nicanor G. Tiongson. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 10, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2013. José S. Buenconsejo, “Orientalism in the Narrative, Music and Myth of the Amok in the 1937 Film Zamboanga [dir. Eduardo de Castro, prod. Filippine Productions]”; Ma. Rina Locsin, “A Brief History of the Baguio Sine.”
Media and Popular Culture. Ed. Rolando B. Tolentino. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 2, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2005. Emil Flores, “The Concept of the Superhero in Filipino Films.”
Media and the Diaspora. Ed. Joel David and Violeda A. Umali. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 11, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2014. Louie Jon A. Sanchez, “Koreanovelas, Teleseryes, and the ‘Diasporization’ of the Filipino/the Philippines”; Joel David, “Phantom Limbs in the Body Politic: Filipinos in Foreign Cinema”; Andrew Leavold, “Bamboo Gods and Bionic Boys: A Brief History of the Philippines’ B Films.”
Media at Lipunan [Media and Society]. Ed. Rolando B. Tolentino and Josefina M.C. Santos. Media and Communication Textbook Series. Quezon City: University of the Philippines Press, 2014. Nicanor G. Tiongson, “The Politics of Film Censorship.”
Media, Gender and Sexuality. Ed. Elizabeth L. Enriquez. Special issue of Review of Women’s Studies, vol. 20, nos. 1-2. Quezon City: Center for Women’s Studies [of the] University of the Philippines, 2010.
Meet Me in St. Gallen. By Irene Emma Villamor. Pasig City: VRJ Books, 2018. Screenplay of Meet Me in St. Gallen, dir. Irene Emma Villamor (Spring Films & Viva Films, 2018).
Melodrama and Asian Cinema. Ed. Wimal Dissanayake. Cambridge Studies in Film. Cambridge University Press, 1993. Teresita A. Herrera and Wimal Dissanayake, “Power, Pleasure, and Desire: The Female Body in Filipino Melodrama.”
Memoirs of an Asian Moviegoer. By Mel Tobias. Hong Kong: South China Morning Post, 1982.
Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery. By Joel David. Book edition. Quezon City: Amauteurish Publishing, 2019. Also available online as editions of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society: Part 1 (Traversals within Cinema) in vol. 88, no. 1 (May 2015) and Part 2 (Expanded Perspectives) in vol. 89, no. 1 (May 2016). More information at the Ámauteurish! website.
Miracle in Cell No. 7. By Viva Films. Pasig City: VRJ Books, 2019. Regarding the production of Miracle in Cell No. 7, dir. Nuel C. Naval (Viva Films, 2019), remake of 7-beon-bang-ui seon-mul, dir. Hwan-kyung Lee (Fineworks & CL Entertainment, 2013).
Miss Granny. By Rinka Sycip. Pasig City: VRJ Books, 2018. Screenplay of Miss Granny, dir. Joyce Bernal (Viva Films & N2 Productions, 2018), remake of Soo-sang-han geun-yeo, dir. Dong-hyuk Hwang (Yeinplus Entertainment & CJ Entertainment, 2014); also “with lots of scenes not found in the movie, and several photos from the movie itself” (Viva Books website).
Mr. and Mrs. Cruz: The Novel. By Ethelinda Cais. Pasig City: VRJ Books, 2018. Novelization of Mr. and Mrs. Cruz, dir. Sigrid Andrea Bernardo (IdeaFirst & Viva Films, 2018).
Modern Contemporary: Art Since 1980 at MOMA. Ed. Kirk Varnedoe, Paola Antonelli, and Joshua Siege. New York: Museum of Modern Art, 2000. Features Bona, dir. Lino Brocka (NV Productions, 1980).
MOMOL Nights: The Original Screenplay. By Benedict Mique. Quezon City: ABS-CBN Publishing, 2019. Screenplay of MOMOL Nights, dir. Benedict Mique (Dreamscape Digital & Lonewolf Films, 2019); MOMOL is the anagram for “make-out make-out lang” or engaging in “merely” non-penetrative sexual activity.
Mona Lisa: A Portrait from the Memoirs of a Grandmother. By Celine Beatrice Fabie. Parañaque City: Mona Lisa Publication, [2013]. On the globally renowned film performer.
Monitored Peril: Asian Americans and the Politics of TV Representation. By Darrell Y. Hamamoto. Minneapolis: University of Minnesota Press, 1994. Includes discussions of Francis Ford Coppola’s Apocalypse Now (American Zoetrope, 1979), the work of Lino Brocka, and the impact of the Marcos regime.
Moral. By Ricky Lee [as Ricardo Lee]. [Quezon City]: Seven-Star Productions, 1982. Screenplay of Moral, dir. Marilou Diaz-Abaya (Seven Stars Productions, 1982).
Motion Pictures Abroad: Philippines. By the United States Business and Defense Services Administration’s Scientific, Motion Picture, and Photographic Products Division. Washington, DC: US Government Printing Office, 1958.
Motion Pictures in Japan, Philippine Islands, Netherland East Indies, Siam, British Malaya, and French Indo-China. By Eugene Irving Way. Trade Information Bulletin No. 634, series of the United States Bureau of Foreign and Domestic Commerce. Washington, DC: Government Publishing Office, 1929.
Motion Pictures in the Philippines. By Vicente Salumbides. Manila: V.S., 1952.
A Movie Album Quizbook. By Jessie B. Garcia. Iloilo City: Erehwon Books & Magazines, 2004.
Movie-Made America: A Cultural History of American Movies. By Robert Sklar. Revised and updated. New York: Vintage Books, 1994. First published as Movie-Made America: A Social History of the American Movie (New York: Random House, 1975); Sklar observed that “because whenever wars were in progress the US government would pressure Hollywood to assist in the war effort, ‘echoes and shadows’ of the Viet Nam conflict could only be provided” via the Blood-Island film cycle initiated by Gerardo de Leon’s Terror Is a Man, a.k.a. Creature from Blood Island (Lynn-Romero Productions & Premiere Productions, 1959), a takeoff from H.G. Wells’s The Island of Doctor Moreau (1896) (from Joel David, “Phantom Limbs in the Body Politic,” Plaridel, vol. 11, no. 1, February 2014).
Movie Queen: Pagbuo ng Mito at Kapangyarihang Kultural ng Babae sa Lipunan [Formation of the Myth and Cultural Dominance of Women in Society]. By Cesar D. Orsal. Quezon City: New Day Publishers, 2007.
Movie Times. By Isagani R. Cruz. Manila: National Book Store, 1984.
Movies in a Third World Country. By Lucila V. Hosillos. Third World Studies Dependency series no. 15. [Quezon City]: Third World Studies Program [of the] University of the Philippines College of Arts and Sciences, 1978.
Movies that Matter: A Festschrift in Honor of [film critic & professor] Nicasio D. Cruz, S.J. Ed. Severino R. Sarmenta, Jr. [Quezon City]: Office of Research and Publications, Loyola Schools, Ateneo de Manila University, 2008.
Mowelfund Film Institute Catalog. By Ricky Orellana. Quezon City: [Movie Workers Welfare Fund] Film Institute, 2001.
Multiculturalism, Postcoloniality, and Transnational Media. Ed. Ella Shohat and Robert Stam. Rutgers Depth of Field Series. New Brunswick: Rutgers University Press, 2003. Talitha Espiritu, “Multiculturalism, Dictatorship, and Cinema Vanguards: Philippine and Brazilian Analogies.”
My Filipino Connection: The Philippines in Hollywood. By Ruben Nepales. Mandaluyong City: Anvil Publishing, 2013. Includes articles on Bernardo Bernardo, Vanessa Hudgens, Charice Pempengco [deadname of Jake Zyrus], Darren Criss, Bessie Badilla, Matthew Libatique, Ramona Diaz, Mikey Bustos, et al.
My Life with My Brother Rudy Fernandez. By Marie P. Fernandez. [City unkn.]: Marie P. Fernandez, 2008. On the late action star, son of film director Gregorio Fernandez; book has “Daboy” (Rudy Fernandez’s nickname) on cover but not on title page.
The Myth of the Lazy Native: A Study of the Image of the Malays, Filipinos and Javanese from the 16th to the 20th Century and Its Function in the Ideology of Colonial Capitalism. By Syed Hussein Alatas. London: Frank Cass, 1977.
Mythopoeic Poe: Understanding the Masa as Audience through the Films of Fernando Poe Jr. By Alfonso B. Deza. Manila: Great Books Publications, 2006.
Naglalayag [Silent Passage]. By Irma V. Dimaranan. Quezon City: University of the Philippines Press, 2006. Screenplay of Naglalayag, dir. Maryo J. de los Reyes (Angora Films, 2004).
The National Artists of the Philippines. Manila: Cultural Center of the Philippines & Anvil Publishing, 1998. Followed by The National Artists of the Philippines 1999-2003 (2003). Lena S. Pareja, “Lamberto V. Avellana (Theater/Film, 1976): An Innate Love for Truth and Beauty”; Amadis Ma. Guerrero, “Gerardo de Leon (Film, 1982): Views from the Master Filmmaker”; Ramil Digal Gulle, “Rolando S. Tinio (Theater/Literature, 1997): The Song of Rolando: Creative Genius.” The entry “Lino Brocka (Film/Broadcast Arts, 1997): Human Being, Artist, Filipino” contains the following tagline credits: the Ramon Magsaysay Awards Foundation program brochure (September 1985), Mario A. Hernando, and Marilou Diaz-Abaya.
The National Artists of the Philippines 1999-2003. Manila: Cultural Center of the Philippines & Anvil Publishing, 2003. Preceded by National Artists of the Philippines (1998). Justino Dormiendo, “Ishmael Bernal (Film, 2001): The Finest Poet of Philippine Cinema”; Lena S. Pareja, “Eddie Romero (Film, 2003): World-Class Filmmaker.”
The National Pastime: Contemporary Philippine Cinema. By Joel David. Book edition. Pasig City: Anvil Publishing, 1990. Revised & updated for a digital edition in 2014.
The National Pastime: The Digital Edition. By Joel David. Quezon City: Amauteurish Publishing, 2014. Revision & update of the 1990 book edition, available at the Ámauteurish! website.
National/Transnational: Subject Formation and Media in and on the Philippines. By Rolando B. Tolentino. Quezon City: Ateneo de Manila University Press, 2001. “‘Inangbayan’ (Mother-Nation) in Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Clutching a Knife [Malaya Films & Stephan Films], 1985) and Orapronobis (Fight for Us [Bernadette Associates International], 1989)”; “Issues of the ‘Filipino/a’ in Asia-Pacific American Media Arts”; “Kidlat Tahimik in the Rhetoric of First World Theory”; “Subcontracting Imagination and Imageries of Bodies and Nations.”
Native Resistance: Philippine Cinema and Colonialism, 1898-1941. By Clodualdo del Mundo Jr. Manila: De La Salle University Press, 1998.
Necessary Fictions: Philippine Literature and the Nation, 1946-1980. By Caroline S. Hau. Quezon City: Ateneo de Manila University Press, 2000. “Alien Nation” discusses the characters of Quiroga in José Rizal’s Noli Me Tángere [Touch Me Not] (1887), Ah Tek in Edgardo M. Reyes’s Sa mga Kuko ng Liwanag [In the Claws of Neon] (1967), and Wei-fung in Ricardo Lee’s short story “Huwag, Huwag Mong Kukuwentuhan ang Batang si Wei Fung [Don’t, Don’t Tell Stories to Young Wei Fung]” (1969) – works and/or authors associated with films; Necessary Fictions is complemented by another text by the same author, titled On the Subject of the Nation: Filipino Writings from the Margins, 1981-2004 (2004).
Neoliberalism and Global Cinema: Capital, Culture, and Marxist Critique. Ed. Jyotsna Kapur and Keith B. Wagner. New York: Routledge, 2011. Bliss Cua Lim, “Gambling on Life and Death: Neoliberal Rationality and the Films of Jeffrey Jeturian.”
Nora [Aunor]. Ed. Jaya Jacobo. Special issue of Bikol Studies: Perspectives & Advocacies, issue no. 1. Naga City: Ateneo de Naga University, 2020.
Nora Aunor and Other Profiles. By Nick Joaquin [as Quijano de Manila]. [Manila]: National Book Store, 1977.
Si Nora Aunor sa mga Noranian: Mga Paggunita at Pagtatapat [Nora Aunor to the Noranians: Remembrances and Confessions]. Ed. Nestor de Guzman. Quezon City: Milflores Publishing, 2005.
Nora Aunor: Tagumpay sa Bawat Awit [Triumph in Every Song]. Ed. Jose Reyes Martinez. Sitsiritsit Special No. 1. Quezon City: Asia-Pacific Publications, 1971. “Book-length fully illustrated biography” featuring various topics plus “her songs, with guitar chords” (cover description).
Nora Aunor: Through the Years…. Ed. Nestor de Guzman and Albert M. Sunga. San Juan City: Ace Entertainment, 2004. Commemorative volume for the Through the Years concert.
Notes on Philippine Cinema. By Emmanuel A Reyes. Manila: De La Salle University Press, 1989. Includes an interview conducted for the documentary Vic Silayan: An Actor Remembers, dir. Manny Reyes (Manny Reyes, 1984).
Notes: On the Making of Apocalypse Now. By Eleanor Coppola. 1979. London: Faber and Faber, 1995. Regarding Apocalypse Now, dir. Francis Ford Coppola (American Zoetrope, 1979).
On Nora Aunor and the Philippine Star System. Ed. Joel David. Forum of Kritika Kultura, no. 25. Quezon City: Department of English [of the] Ateneo de Manila University, 2015.
One Hundred Acclaimed Tagalog Movies: Sineng Mundo [Film World], Best of Philippine Cinema. By Mel Tobias. Vancouver: Peanut Butter Publishing, 1998.
One More Chance. By Juan Miguel Sevilla. Quezon City: ABS-CBN Publishing, 2015. Novelization of One More Chance, dir. Cathy Garcia-Molina (ABS-CBN Film Productions & Star Cinema, 2007).
[Overseas Filipino Workers] in Foreign Cinema. Ed. Joel David. Monograph of Kritika Kultura, nos. 21 & 22. Quezon City: Department of English [of the] Ateneo de Manila University, 2014.
Pagbasa ng Panitikan at Kulturang Popular: Piling Sanaysay, 1976-1996 [Reading Literature and Popular Culture: Selected Essays, 1976-1996]. By Soledad S. Reyes. Quezon City: Ateneo de Manila University Press, 1997.
Paghahanap ng Virtual na Identidad [The Search for Virtual Identity]. By Rolando B. Tolentino. Kulturang Popular Series No. 5. Pasig City: Anvil Publishing, 2004.
Pagpasok sa Eksena: Ang Sinehan sa Panitikan at Pag-aaral ng Piling Sinehan sa Recto [Scene Entrance: The Movie House in Literature and the Study of Selected Theaters along Recto (Avenue)]. By Chuckberry J. Pascual. Quezon City: University of the Philippines Press, 2016.
Panahon ng Hapon: Sining sa Digmaan, Digmaan sa Sining [The Japanese Period: Art in War, War in Art]. Ed. Gina V. Barte. Studies on Philippine Art and Society, 1942-1945 series. Manila: Sentrong Pangkultura ng Pilipinas, 1992. Exhibition & conference publication, including Agustin Sotto, “War and the Aftermath in Philipine Cinema”; and Motoe Terami-Wada, “Strategy in Culture: Cultural Policy and Propaganda in the Philippines, 1942-1945.”
PA(ng)LABAS: Architecture + Cinema – Projection of Filipino Space in Film. By Gerard Lico. Manila: National Commission for Culture and the Arts, 2009.
PA(ng)LABAS: Architecture + Cinema – Projection of Filipino Space in Film. By Gerard Lico. 2nd ed. Quezon City: Arc Lico International Services, 2020. “A new essay tracing the development and decline of Filipino cinema houses, referred to in this book as Popcorn Palaces, is the main highlight of this book and features rare archival images” (author’s Facebook announcement).
Pang MMK [For (the television program) Maalaala Mo Kaya / Would You Remember]: The Original Screenplay. By John Lapus. Quezon City: ABS-CBN Publishing, 2018. Screenplay of Pang MMK, dir. John Lapus (Cinema One Originals, 2018).
Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime. By Talitha Espiritu. Ohio University Research in International Studies Southeast Asia Series No. 132. Athens: Ohio University Press, 2017. “National Discipline and the Cinema”; “The New Politics, Lino Brocka, and People Power”; “The Force of National Allegory.”
The Past, Love, Money and Much More: Philippines-Japan Relations since the End of the Second World War. Ed. Lydia N. Yu-Jose. Quezon City: Ateneo de Manila University Press, 2008. Tito Genova Valiente, “The Japanese in the Filipino Cinematic Space.”
Pelikula: An Essay on the Philippine Film. By Bienvenido Lumbera. [Manila]: Sentrong Pangkultura ng Pilipinas, 1989. Later expanded in the Tuklas Sining [Art Discovery] series by Lumbera, Agustin Sotto, and Nestor U. Torre.
Pelikula: An Essay on the Philippine Film, 1897-1960. By Agustin Sotto. Tuklas Sining [Art Discovery] series. [Manila]: Sentrong Pangkultura ng Pilipinas, 1992. Continued in Bienvenido Lumbera’s Pelikula: An Essay on the Philippine Film, 1961-1992 and supplemented by Nestor U. Torre’s Pelikula: An Essay on Philippine Film, Touchstones of Excellence.
Pelikula: An Essay on the Philippine Film, 1961-1992. By Bienvenido Lumbera. Tuklas Sining [Art Discovery] series. [Manila]: Sentrong Pangkultura ng Pilipinas, 1992. Continuation of Agustin Sotto’s Pelikula: An Essay on the Philippine Film, 1897-1960 and supplemented by Nestor U. Torre’s Pelikula: An Essay on Philippine Film, Touchstones of Excellence.
Pelikula: An Essay on Philippine Film, Touchstones of Excellence. By Nestor U. Torre. Tuklas Sining [Art Discovery] series. [Manila]: Sentrong Pangkultura ng Pilipinas, 1994. Supplementary to Agustin Sotto’s and Bienvenido Lumbera’s 1992 Pelikula accounts.
Pelikula at Lipunan [Film and Society]: Festival of Filipino Film Classics and Short Films. [Quezon City]: National Commission for Culture and the Arts Cinema Committee, Film Academy of the Philippines, and Movie Workers Welfare Fund, 1994.
Pelikulang Komiks [Comics Films]: Toward a Theory of Filipino Film Adaptation. By Joyce L. Arriola. Quezon City: University of the Philippines Press, 2019.
Ang Pelikulang Tagalog… [The Tagalog Movie…]. By Teodoro Virrey. Publications of the Institute of National Language, vol. 4, no. 11. Manila: Bureau of Printing, 1938.
Philippine Cinema and the Cultural Economy of Distribution. By Michael Kho Lim. Cham, Switzerland: Palgrave Macmillan, 2019.
Philippine Cinema: 1897-2020. By Gaspar A. Vibal and Dennis S. Villegas, ed. Teddy Co. Quezon City: Vibal Foundation, 2020. A “lavishly illustrated art book [that] not only provides a dazzling retrospective of over a hundred years of Philippine cinema…. The volume also boldly looks at the seamier side of the industry” (cover description).
Philippine Diary: A Gay Guide to the Philippines. By Joseph Itiel. San Francisco: International Wavelength, 1989. Lists film theaters in major cities where gay cruising occurred circa the late 1980s.
Philippine Film. Ed. Nicanor G. Tiongson. Vol. 8 (of 10 vols.) of CCP [Cultural Center of the Philippines] Encyclopedia of Philippine Art. 1st edition. Manila: Sentrong Pangkultura ng Pilipinas, 1994. 2nd edition’s equivalent volume is titled Film.
Philippine Film Catalogue. By the Film Development Council of the Philippines. Pasig City: Film Development Council of the Philippines, [2007].
Philippine Film Festival: Fiesta of the Filmmakers. Ed. Ishizaka Kenji. Introducing Southeast Asian Cinema series no. 3. Tokyo: Masaru Inoue, 1991.
Philippine Gay Culture: Binabae to Bakla, Silahis to MSM [Invert to Gay, Bisexual to Men Who Have Sex with Men]. By J. Neil C. Garcia. Quezon City: University of the Philippines Press, 2008. Reprint of Philippine Gay Culture, the Last Thirty Years: Binabae to Bakla, Silahis to MSM (1996). Mentions problematic depictions of queer sexualities in Philippine commercial cinema.
Philippine LGBT-Related Films, Including: Masahista [Masseur, dir. Brillante Mendoza (Gee Films Productions International & Centerstage Productions, 2005)], Aishite Imasu 1941: Mahal Kita [I Love You, dir. Joel Lamangan (Regal Films, 2004)], Miguel/Michelle [dir. Gil Portes (Forefront Films, 1998)], Macho Dancer [dir. Lino Brocka (Award Films, Special People Productions & Viva Films, 1988)], Ang Lalaki sa Buhay ni Selya [The Man in Selya’s Life, dir. Carlos Siguion-Reyna (Reyna Films & Star Pacific Cinema, 1987)], The Blossoming of Maximo Oliveros [dir. Aureaus Solito (Cinemalaya & UFO Pictures, 2005)], Paper Dolls (film) [dir. Tomer Heymann (Claudius Films, L.M. Media, Heymann Brothers Films, & The Film Sales, 2006)], Twilight Dancers [dir. Mel Chionglo (Centerstage Productions, 2006)], Burlesk King [dir. Mel Chionglo (Seiko Films, 1999)], Markova: Comfort Gay [dir. Gil Portes (RVQ Productions, 2000)]. [Toronto: Hephaestus Books, 2011.]
Philippine Mass Media: A Book of Readings. Ed. Clodualdo del Mundo Jr. and Jose Mari Magpayo. Manila: Communication Foundation for Asia, 1986. Mario A. Hernando, “Against All Odds: The Story of the Filipino Film Industry (1978-1982)”; Bienvenido Lumbera, “Problems in Philippine Film History”; Eduardo Sazon, “Film Distribution and Exhibition.”
“Philippine Motion Pictures, 1908-1958: A Checklist of the First Fifty Years.” By Maria Carmencita A. Momblanco. Master’s thesis, 2 vols. University of the Philippines, 1979.
Philippine Mass Media in Perspective. Ed. Gloria D. Feliciano and Crispulo J. Icban Jr. Quezon City: Capitol, 1967. T.D. Agcaoili, “Movies.”
Philippine New Wave: This Is Not a Film Movement. By Khavn de la Cruz, Dodo Dayao, and Mabie Alagbate. Quezon City: Noel D. Ferrer, MovFest, and Instamatic Writings, 2010.
Philippine Politics and Society in the Twentieth Century: Colonial Legacies, Postcolonial Trajectories. By Eva-Lotta E. Hedman and John T. Sidel. Politics in Asia series. London: Routledge, 2000. Discusses the “mockery of mimicry” in the films of Joey de Leon and Rene Requiestas.
The Philippine Screen Golden Book Album ng mga Artista [Album of Actors]: Favorite Movie Stars with Autographed Fotos. [Manila: Philippine Screen Publishing, 1952.]
Philippine Studies: Have We Gone Beyond St. Louis? Ed. Priscelina Patajo-Legasto. Quezon City: University of the Philippines Press, 2008. Joel David, “Awake in the Dark: Philippine Film during the Marcos Era”; Eleanor Sarah D. Reposar, “Carlo Vergara’s ZsaZsa Zaturnnah and the Tradition of Subversion in Philippine Komiks”; Johven [as Jovenal] D. Velasco, “‘Feminized’ Heroes and ‘Masculinized’ Heroines: Changing Gender Roles in Contemporary Phiippine Cinema?”
Philippines Media Yearbook. By Kevin Trzcinski and Owen Hughes. Hong Kong: Cornerstone Associates Ltd., 1996.
Pinay Power (Peminist Critical Theory): Theorizing the Filipina/American Experience. Ed. Melinda L. de Jesús. New York: Routledge, 2005. The phrase Peminist Critical Theory does not appear on the cover; includes Celine Parreñas Shimizu, “Theory in/of Practice: Filipina American Feminist Filmmaking.”
Pinoy Pop Culture. By Gilda Cordero-Fernando and M.G. Chaves. [Manila]: Bench/Suyen Corp., G.C. Fernando, and M.G. Chaves, 2001.
Piolo, Believing: A Pictorial Biography of Piolo Pascual. By David Fabros. Quezon City: Vibal Foundation, 2007. On the contemporary producer & actor.
Pitong Teleplay [Seven Teleplays]. Ed. Fanny A. Garcia and Armando Lao. Pasig City: Anvil Publishing, 1995. TV scripts by Ricky Lee, Armando Lao, Lualhati Bautista, Jose F. Bartolome, Rosalie Matilac, Dado C. Lumibao, and Fanny A. Garcia.
Place, Power, Situation and Spectacle: A Geography of Film. Ed. Stuart C. Aitken and Leo E. Zonn. Lanham, MD: Rowman & Littlefield, 1994. Gerald M. Macdonald’s “A Mapping of Cinematic Places: Icons, Ideology, and the Power of (Mis)Representation” provides an assessment of Kidlat Tahimik’s Mababangong Bangungot [Perfumed Nightmare] (Zoetrope Studios, 1977).
Planet TV: A Global Television Studies Reader. Ed. Lisa Parks and Shanti Kumar. New York: New York University Press, 2002. José B. Capino, “Soothsayers, Politicians, Lesbian Scribes: The Philippine Movie Talk Show.”
Political and Social Issues in Philippine Film: Two Perspectives. By Agustin Sotto and Marilou Diaz-Abaya. Political and Social Change Working Paper Series, No. 12. Canberra: Department of Political and Social Change, Division of Politics and International Relations, Research School of Pacific and Asian Studies, Australian National University, [1995].
Pornography and Culture. Ed. Peter Lehman. New Brunswick: Rutgers University Press, 2006. José B. Capino, “Asian College Girls and Oriental Men with Bamboo Poles: Reading Asian Pornography.”
The Postcolonial Perverse: Critiques of Contemporary Philippine Culture, Volume 1. By J. Neil C. Garcia. Quezon City: University of the Philippines Press, 2014. Table of Contents contains the heading “Volume One: The Postcolonial”; includes “Philippine Cinema: The State of the Art.”
Postmodern Filming of Literature: Sources, Contexts, and Adaptations. By Joyce L. Arriola. Manila: University of Santo Tomas Publishing House, 2006.
Presidential Decree No. 1986 Creating the Movie & Television Review and Classification Board and Implementing Rules and Regulations, 2004. [Manila]: MTRCB, [2004].
Primed: Selected Stories 1972-1992. By Jo-Ann Q. Maglipon. Reportage on an Archipelago series. Pasig City: Anvil Publishing, 1993. “MIFFed [Manila International Film Festival]”; “Free the Artist!”; “The Republic of the Philippines vs. Lino Brocka, et al.”; “Canuplin: The Little Tramp Time Left Behind”; “Erap [Joseph Estrada]”; “Phantoms of the Cinema”; “Starlight, Starbright”; “Mega Mother Lily [Monteverde]: Superstar for All Seasons.”
Pro Bernal Anti Bio. By Ishmael Bernal, Jorge Arago, and Angela Stuart Santiago. Manila: ABS-CBN Publishing, 2017. Biography of Ishmael Bernal, authorizing Jorge Arago, completed by Angela Stuart Santiago.
Proceedings of the 8th ASEAN [Association of Southeast Asian Nations] Inter-University Conference on Social Development. Ed. Almond Pilar Aguila, Danilo Araña Arao, Alfonso Deza, Lourdes Portus, and Fernando Paragas. CD-ROM format. Quezon City: University of the Philippines, Union Network International – Asia and Pacific, Free Trade Alliance, & National University of Singapore, 2008. Sheryl Rose M. Andes, “A Peek at the Winners of the Most Gender-Sensitive Film Awards of the Metro Manila Film Festival”; David R. Corpuz, “Subverting Zsa-Zsa Zaturnnah: A Critique of the Original Graphic Novel and Stage and Film Adaptations of Ang Kagila-gilalas na Pakikipagsapalaran ni Zsa-Zsa Zaturnnah [The Spectacular Adventures of Zsa-Zsa Zaturnnah]”; Joel David, “The Cold War and Marcos-Era Cinema in the Philippines”; Jongsuk Ham, “Online Games and Gender Issues in South Korea and the Philippines”; Roy Nicolas R. Molon Jr., “Women in a Better Light”; Danny Yu, “Gun-Toting Orientals: Global and Local Media Coverage of Andrew Cunanan and Cho Seung Hui.”
Proceedings of the Whither the Orient: Asians in Asian and Non-Asian Cinema Conference, Kimdaejung Convention Center, Gwangju, Korea, 28-29 October 2006. Ed. Joel David. Seoul: Asia Culture Forum, 2006.
A Profile on Motion Pictures. By the Philippines Bureau of Export Trade Promotion. Product Profile series. [Manila]: Product Research and Strategy Group, Bureau of Export Trade Promotion, Department of Trade & Industry, 1989.
Public Faces, Private Lives. By Lorna Kalaw-Tirol. Pasig City: Anvil Publishing, 2000. Emphasizes less prominent celebrities than Above the Crowd.
The Proximity of Other Skins: Ethical Intimacy in Global Cinema. By Celine Parreñas Shimizu. New York: Oxford University Press, 2020. Chapters tackle Gerardo Calagui’s Mga Gabing Kasinghaba ng Hair Ko [Those Long Haired Nights] (Epicmedia & Outpost Visual Frontier, 2017) and PJ Raval’s Call Her Ganda (Unraval Pictures, Fork Films, & Naked Edge Films, 2018); Brillante Mendoza’s Tirador [Slingshot] (Centerstage Productions, Rollingball Entertainment, & Ignite Media, 2007), Serbis [Service] (Centerstage Productions, Swift Productions, & Asian Cinema Fund, 2008), and Ma’ Rosa (Centerstage Productions, 2016); and Ramona S. Diaz’s Imelda (CineDiaz, ITVS, & String and Can, 2004) and David Byrne’s Here Lies Love (Nonesuch Records & Todomundo, 2010-17).
Queen Vi: An Intimate Biography. By Jessie B. Garcia. Bacolod City: Jessie B. Garcia, 1984. On film star Vilma Santos; allegedly unauthorized and pulled from distribution after initial sales.
Queer Asian Cinema: Shadows in the Shade. Ed. Andrew Grossman. New York: Harrington Park Press, 2000. Co-published simultaneously as Journal of Homosexuality’s vol. 39, nos. 3-4 issues; Rolando B. Tolentino, “Transvestites and Transgressions: Panggagaya [Mimicry] in Philippine Gay Cinema.”
Queer Looks: Perspectives on Lesbian and Gay Film and Video. Ed. Martha Gever, John Greyson, and Pratibha Parmar. New York: Routledge, 1993. Nick Deocampo, “Homosexuality as Dissent / Cinema as Subversion: Articulating Gay Consciousness in the Philippines.”
Queer Media and Representations. Ed. Rolando B. Tolentino. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 9, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2012. Joel David, “Thinking Straight: Queer Imaging in Lino Brocka’s Maynila[: Sa mga Kuko ng Liwanag / Manila: In the Claws of Neon, dir. Lino Brocka, prod. Cinema Artists] (1975)”; J. Neil C. Garcia, “Postcolonial Camp: Hybridity and Performative Inversions in ZsaZsa Zaturnnah [Ze Moveeh, dir. Joel Lamangan, prod. Regal Films, Regal Multimedia, & Ignite Entertainment (2006)].”
Querida [Paramour]: An Anthology. Ed. Caroline S. Hau, Isabelita O. Reyes, and Katrina Tuvera. Mandaluyong City: Anvil Publishing, 2013. Ricky [as Ricardo] Lee, Raquel Villavicencio, and Ishmael Bernal, Relasyon [Affair], screenplay of the film, dir. Ishmael Bernal (Regal Films, 1982).
Rampa: Mga Sanaysay [Sashay: Essays]. By Danton Remoto. Pasig City: Anvil Publishing, 2008. Includes discourses on Freddie Aguilar, Nora Aunor, Ishmael Bernal, Darna, Joel Lamangan, Manila by Night [dir. Ishmael Bernal (Regal Films, 1980)], and Miss Saigon.
A Reader in Philippine Film: History and Criticism (Essays in Honor of [film & culture critic] Nicanor G. Tiongson). Ed. Jonathan Chua, Rosario Cruz-Lucero, and Rolando B. Tolentino. Quezon City: University of the Philippines Press, 2017.
A Reader on International Media Piracy: Pirate Essays. Ed. Tilman Baumgärtel. MediaMatters series. Amsterdam: Amsterdam University Press, 2015. Tilman Baumgärtel, “The Triumph of the Pirates: Books, Letters, Movies, and Vegan Candy – Not a Conclusion.”
Reading Popular Culture. Ed. Soledad S. Reyes. Quezon City: Office of Research and Publications [of the] Ateneo de Manila University, 1991. Papers presented at the First National Conference on Popular Culture at the Ateneo de Manila University on November 17-19, 1988; includes Ruth Elynia Mabanglo, “Mula sa Altar nina Huli at Maria Clara: Imahen ng Babae sa Ilang Dramang Pilipino [From the Altar of (José Rizal characters) Huli and Maria Clara: Images of Women in Selected Philippine Dramas]”; and Soledad S. Reyes, “Women on Television.”
Readings in Philippine Cinema. Ed. Rafael Ma. Guerrero. Manila: Experimental Cinema of the Philippines, 1983.
Reconceptualizing the Digital Humanities in Asia: New Representations of Art, History and Culture. Ed. Kaby Wing-Sze Kung. Digital Culture and Humanities series no. 2 (Challenges and Developments in a Globalized Asia). Singapore: Springer Nature, 2020. Jose Gutierrez III, “Cinematic Contemplation Online: The Art and Philosophy of Life-world Series (2017)”; regarding Life-world Series, dir. Joni Gutierrez (Hong Kong Baptist University, 2017).
Relasyon [Affair], by Ricky Lee [as Ricardo Lee], Raquel Villavicencio, and Ishmael Bernal, screenplay of the film, dir. Ishmael Bernal (Regal Films, 1982). See Querida [Paramour]: An Anthology, ed. Caroline S. Hau, Isabelita O. Reyes, and Katrina Tuvera.
Remembering/Rethinking EDSA. Ed. JPaul S. Manzanilla and Caroline S. Hau. Mandaluyong City: Anvil Publishing, 2016. Joel David, “Grains & Flickers”; Patrick D. Flores, “A Cinema in Transition: Initial Incursions.”
Rethinking Third Cinema. Ed. Antony R. Guneratne and Wimal Dissanayake. New York: Routledge, 2003. Sumita S. Chakravarty’s “The Erotics of History: Gender and Transgression in the New Asian Cinema” closes with a discussion of Ishmael Bernal’s Himala [Miracle] (Experimental Cinema of the Philippines, 1982) as an example of the “relationship between eroticism and spirituality, [exploring] its implications for Filipino constructions of history and identity.”
Revaluation: Essays on Philippine Literature, Cinema and Popular Culture. By Bienvenido Lumbera. [Quezon City]: Index, 1984. Reprinted and expanded as Revaluation 1997.
Revaluation 1997: Essays on Philippine Literature, Cinema and Popular Culture. By Bienvenido Lumbera. Manila: University of Santo Tomas Publishing House, 1997. Reprint of 1984 edition with additional 22 articles and interview.
Re-Viewing Filipino Cinema. By Bienvenido Lumbera. Mandaluyong City: Anvil Publishing, 2011. Includes articles previously published in Revaluation (1984 & 1997).
Richard Gomez at ang Mito ng Pagkalalake, Sharon Cuneta at ang Perpetwal na Birhen at Iba Pang Sanaysay ukol sa Bida sa Pelikula Bilang Kultural na Texto [Richard Gomez and the Myth of Masculinity, Sharon Cuneta and the Perpetual Virgin and Other Essays about Movie Stars as Cultural Texts]. By Rolando B. Tolentino. Pasig City: Anvil Publishing, 2000.
A Richness of Embarrassments and Other Easy Essays. By Butch Dalisay. Quezon City: University of the Philippines Press, 2020. “Couple, Clan, and Country” is a review of Dekada ’70, dir. Chito Roño (Star Cinema, 2002); “Learning from Lino” is an account of the author’s scriptwriting experience with Lino Brocka.
Rizal [and] Bayaning 3rd World [3rd World Hero]: Dalawang Dulang Pampelikula [Two Screenplays]. By Clodualdo del Mundo Jr. and Mike de Leon. Manila: De La Salle University Press, 2000. Screenplays of Rizal, dir. Mike de Leon (unfinished); and Bayaning 3rd World, dir. Mike de Leon (Cinema Artists, 2000).
Robin Padilla: Bad Boy ng Showbiz [Bad Boy of Showbiz]. By Deo J. Fajardo. [Manila]: Concept Society, 1993. On the controversial lifestyle of a member of the respected Padilla clan.
Ronnie Poe and Other Silhouettes. By Nick Joaquin [as Quijano de Manila]. [Manila]: National Book Store, 1977. “Ronnie Poe” is the nickname of actor, director, and producer Fernando Poe Jr.
The Routledge Companion to Asian American Media. Ed. Lori Kido Lopez and Vincent Pham. Routledge Media and Cultural Studies Companions. New York: Routledge, 2017. Cecilia S. Uy-Tioco, “Transnational Ties: Elite Filipino Migrants and Polymedia Environments.”
The Routledge Companion to Global Popular Culture. Ed. Toby Miller. New York: Routledge, 2015. Talitha Espiritu, “Performing Native Identities: Human Displays and Indigenous Activism in Marcos’s Philippines.”
The Routledge Encyclopedia of Films. Ed. Sarah Barrow, Sabine Haenni, and John White. Abingdon, Oxon: Routledge, 2014. José B. Capino, “Manila: In the Claws of Neon / Maynila: Sa mga Kuko ng Liwanag[, dir. Lino Brocka (Cinema Artists, 1975)].”
Salome: A Filipino Filmscript by Ricardo Lee. By Ricky Lee [as Ricardo Lee]. Trans. Rofel G. Brion. Madison: Center for Southeast Asian Studies, University of Wisconsin, Madison, 1993. Screenplay of Salome, dir. Laurice Guillen (Bancom Audiovision, 1981). Originally published untranslated in 1981.
Salungat [Opposed]: A Soledad S. Reyes Reader. By Soledad S. Reyes, ed. David Jonathan Y. Bayot. Academica Filipina series. Quezon City: Vibal Foundation, 2012. “Si Erap Para sa Mahirap [Joseph Estrada for the Poor]: The Discourse of the Powerless”; “Fernando Poe Jr.: The Making of a Legend.”
Sampúng Taóng Sine [Ten Film Years]: Philippine Cinema 1990-1999. By the Young Critics Circle[’s Film Desk]. Manila: National Commission for Culture and the Arts, 2002.
Sa Puso ng Himala [In the Heart of Miracle]. By Ricky Lee. Quezon City: Philippine Writers Studio Foundation, 2012. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), production notes, interviews.
Screening Asian Americans. Ed. Peter X. Feng. New Brunswick: Rutgers University Press, 2002. Rolando B. Tolentino, “Identity and Difference in ‘Filipino/a American’ Media Arts.”
Ang Screenplay ng José Rizal [The Screenplay of José Rizal]. By Ricky Lee [as Ricardo Lee], Jun Lana, and Peter Ong. Makati City: Butz Jimenez and Jimmy Duavit for GMA Network, 1999. Screenplay of José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).
The Search for Weng Weng. By Andrew Leavold. Melbourne: LedaTape Organisation, 2017. On the filming of The Search for Weng Weng documentary, dir. Andrew Leavold (Death Rides a Red Horse & Turkeyshoot Productions, 2013).
Seksinema. By Boy Villasanta. San Pedro, Laguna: World Publishing, 2009.
Shake Rattle & Roll: Kahindik-hindik na Klasikong Katatakutan [Terrifying Horror Classics]. By Adam David, Carljoe Javier, Noel Pascual, and Mervin Malonzo. Quezon City: ABS-CBN Publishing, 2016. Based on Shake, Rattle & Roll II, dir. Peque Gallaga & Lore Reyes (Regal Films, 1990).
She’s the One: The Novel. By Pao Flores. Quezon City: ABS-CBN Publishing, 2018. Novelization of She’s the One, dir. Mae Czarina Cruz (ABS-CBN Film Productions & Star Cinema, 2013).
Short Film: Emergence of a New Philippine Cinema. By Nick Deocampo, ed. Alfred A. Yuson. Manila: Communication Foundation for Asia, 1985. Translated to Spanish as El Cortometraje (1986).
Showbiz Lengua: Chika and Chismax about Chuvachuchu [Showbiz Lingo: Small Talk and Gossip about Everything]. By Jose F. Lacaba. Pasig City: Anvil Publishing, 2010. A “compilation of 68 columns that [the author] wrote for YES! Magazine from 2003 to 2009” (Jose F. Lacaba, Ka Pete blog, November 2010).
Show Biz, Seriously: A Collection of Essays and Feature Articles. By Emmie G. Velarde. Manila: University of Santo Tomas Publishing House, 2011.
Showbiz Uncensored. By Jessie B. Garcia. [Iloilo City]: Moviola Publishing House, [1995].
Shuttling through Stage and Screen. By Rustica C. Carpio. Manila: Far Eastern University Publications, 2008. Veteran performer’s memoir.
Sid & Aya (Not A Love Story). By Irene Emma Villamor. Pasig City: VRJ Books, 2018. Screenplay of Sid & Aya (Not A Love Story), dir. Irene Emma Villamor (Viva Films & N2 Productions, 2018).
Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. Ed. Tam Kwok-kan, Wimal Dissanayake, and Terry Siu-han Yip. Hong Kong: Chinese University Press, 2002. Rolando B. Tolentino, “Subcontracting Imagination and Imageries of Bodies and Nations: The Philippines in Contemporary Transnational Asia Pacific Cinemas.”
Silver Book: A Movie Directory of the Philippines. [City & publisher unkn.], 1949.
Sinegabay: A Film Study Guide. Ed. Nick Deocampo. Pasig City: Anvil Publishing, 2008.
Sining at Lipunan [Art and Society]. By Cecilia S. de la Paz and Patrick D. Flores. Aklat Sanyata series. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 2014. 2nd edition of Patrick D. Flores & Cecilia S. de la Paz’s Sining at Lipunan (1997).
Sining at Lipunan [Art and Society]. By Patrick D. Flores and Cecilia Sta. Maria de la Paz. Aklat Sanyata series. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 1997. 2nd edition (2014) is listed as de la Paz & Flores.
Sining ng Sineng Filipino [Art of the Filipino Film]. By the Young Critics Circle. Aklat Sanyata series. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 2009.
Sipat Kultura: Tungo sa Mapagpalayang Pagbabasa, Pag-aaral at Pagtuturo ng Panitikan [Culture View: Toward the Liberative Reading, Study and Teaching of Literature]. By Rolando B. Tolentino. Quezon City: Ateneo de Manila University Press, 2007.
Sisikat Din Ako! [I’ll Also Get Famous!] Your Guide to Making Your Mark in Show Business. By Noel D. Ferrer. Mandaluyong City: Anvil Publishing, 2015. English version of Mag-Artista Ka!
Sites of Review: Critical Practice in Media. By Patrick D. Flores. San Pablo City: Oraciones, 1996.
Soltero [Bachelor]. By Bienvenido M. Noriega Jr., trans. Rolando S. Tinio. Quezon City: New Day Publishers, 1985. Screenplay of Soltero, dir. Pio de Castro III (Experimental Cinema of the Philippines, 1984).
Southeast Asian Independent Cinema. Ed. Tilman Baumgärtel. Hong Kong: Hong Kong University Press, 2012. Tilman Baumgärtel, “The Downside of Digital: A German Media Critic Plays Devil’s Advocate.”
Spirituality and the Filipino Film. Ed. Clodualdo del Mundo Jr. Film and Faith series. Manila: Communication Foundation for Asia, 2010.
Star Studded. By Ricardo F. Lo. Makati City: Virtusio Books, 1995.
Stars in the Raw. By Jessie B. Garcia. Bacolod City: [publisher unkn.], 1982.
Stars in World Cinema: Screen Icons and Star Systems Across Cultures. Ed. Andrea Bandhauer and Michelle Royer. London: I.B. Tauris, 2015. Bliss Cua Lim, “Sharon’s Noranian Turn: Stardom, Race, and Language in Philippine Cinema” discusses Sharon Cuneta’s successful replication of Nora Aunor’s early rags-to-riches-via-singing film persona.
Still Moving: The Film and Media Collections of the Museum of Modern Art. By Steve Higgins. New York: Museum of Modern Art, 2006. Features Bona, dir. Lino Brocka (NV Productions, 1980).
Straitjacket Sexualities: Unbinding Asian American Manhoods in the Movies. By Celine Parreñas Shimizu. Asian America series. Stanford: Stanford University Press, 2012. “The Marvelous Plenty of Asian American Men: Independent Film as a Technology of Ethics” discusses The Debut, dir. Gene Cajayon (5 Card Productions, Celestial Pictures, Center for Asian American Media, National Asian American Telecommunications Association, Visual Communication, 2000), among other titles.
Styled With Heart. By Love Marie Escudero [screen name of Heart Evangelista]. Pasig City: Summit Publishing, 2019. “Besides letting readers in on her styling mindset, Heart also lets them into her private life by sharing stories about her family, her showbiz beginnings, her life with Senator Chiz Escudero and their dogs, and the penchant for painting that has led her to hold art exhibits, create handbag paintings, and have her very own collection under womenswear label Kamiseta” (Summit Media website); preceded by This Is Me, Love Marie (2015).
StyLIZed: Liz Uy’s 10 Style Essentials. By Liz Uy. Pasig City: Summit Publishing, 2014. From the film and TV performer and stylist; “each essential featured in the book was modeled by her friends and celebrity clients like Georgina Wilson, Julia Barretto, Anne Curtis, Sarah Geronimo, Isabelle Daza, Marian Rivera, Bianca Gonzales, Bea Alonzo, Toni Gonzaga, and of course, Kris Aquino” (Summit Media website).
The Subversive Impact: Sakada [Plantation Laborer] of Behn Cervantes (A Critique). By Simeon G. del Rosario. Quezon City: Simeon G. del Rosario, 1976. A study of Sakada, dir. Behn Cervantes (Sagisag Films, 1976).
Sulong Pilipina! Sulong Pilipinas! [Forward Filipina! Forward Philippines!] A Compilation of Filipino Women Centennial Awardees. Manila: Women Sector [of the] National Centennial Commission, 1999. Includes Liwayway A. Arceo, Fides S. Asensio, Nora Aunor, Daisy H. Avellana, Susana C. de Guzman, Narcisa B. de Leon, et al.
Sulyap sa Buhay ng mga Artistang Pilipino [Glimpse into the Life of Philippine Movie Actors]. By Julio F. Silverio. Manila: National Book Store, 1973.
Symposium on Gerardo de Leon. Ed. Ishizaka Kenji. Tokyo: Japan Foundation & [Association of Southeast Asian Nations] Culture Center, 1995.
Synthetic Culture and Development. By Renato Constantino. Quezon City: Foundation for Nationalist Studies, 1984. Rare direct mention of cinema in the nationalist author’s texts (from Patrick D. Flores’s findings).
Tales of Southeast Asia’s Jazz Age: Filipinos, Indonesians and Popular Culture, 1920-1936. By Peter Keppy. Singapore: National University of Singapore Press, 2019.
Tanging Yaman [A Change of Heart], the Film Book: Screenplay. By Shaira Mella-Salvador, Raymond Lee, and Laurice Guillen. Pasig City: Anvil Publishing, ABS-CBN Consumer Products & Star Cinema, 2001. Screenplay of Tanging Yaman, dir. Laurice Guillen (Star Cinema, 2001).
Tanglaw Introduction to Film: An Outcomes-Based Text Manual in Film Aesthetics, Appreciation, Theory and Criticism for the Filipino Student. By Jaime Gutierrez-Ang. Manila: Mindshapers, 2014.
Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda [Old Man and the Miracles of Our Time: Collection of Writings]. By Ricky Lee [as Ricardo Lee]. Quezon City: Bagong Likha Publications, 1988. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), reviews of other films, and interview articles; reprinted in 2009.
Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda [Old Man and the Miracles of Our Time: Collection of Writings]. By Ricky Lee. Special edition. Quezon City: Writers Studio Foundation, 2009. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), reviews of other films, and interview articles; reprinted [as Ricardo Lee] from 1988.
Tatlong Dulang Pampelikula [Three Screenplays]. By Pedro C. Laurel Jr., Ramonfelipe A. Sarmiento, and Rody [as Rodolfo C.] Vera. Quezon City: University of the Philippines Press, 2003. Pedro C. Laurel Jr., “Ang Diego at Gabriela: Lagablab sa Ilocos [The (story of) Diego and Gabriela: Firestorm in Ilocos]”; Ramonfelipe A. Sarmiento, “Batingaw [Chime]”; Rody [as Rodolfo C.] Vera, “Senyor Pascual.”
Team Real: Your All-Access Pass into James Reid & Nadine Lustre’s World. Ed. Christianne Dizon. Pasig City: VRJ Books, 2017.
Things Fall Away: Philippine Historical Experience and the Makings of Globalization. By Neferti X.M Tadiar. Post-Contemporary Interventions series. Durham: Duke University Press, 2009. Mentions Nora Aunor and the career boost given by her performance in The Flor Contemplacion Story, dir. Joel Lamangan (Viva Films, 1995); discusses Sharon Cuneta’s stature as “arguably the most popular female movie star in the Philippines today”; and erroneously ascribes the “Second Golden Age” concept to an essay by Bienvenido Lumbera.
This Is Me, Love Marie. By Love Marie Escudero [screen name of Heart Evangelista]. Pasig City: Summit Publishing, 2015. “The very first beauty guide by a Filipino actress” (Summit Media website); succeded by Styled With Heart (2019).
Third World Film Making and the West. By Roy Armes. Berkeley: University of California Press, 1987.
Through a Catholic Lens: Religious Perspectives of 19 Film Directors from Around the World. Ed. Peter Malone. Communication, Culture, and Religion Series. Lanham, MD: Rowman & Littlefield Publishers, 2007. Nicasio Cruz, “The Legacy of Lino Brocka.”
Tio Ticong: Pelikula at Pulitika (Vicente Salumbides) [Uncle Ticong: Film and Politics (of) Vicente Salumbides]. By Boy Villasanta [as Julianito “Boy” Villasanta]. Manila: University of Santo Tomas Publishing House, 2002.
Towards Our Own Image: An Alternative Philippine Report on Women and Media. By Rina David and Pennie Azarcon de la Cruz. PWRC Pamphlet Series no. 1. [Manila]: Philippine Women’s Research Collective, 1985. Continued in Wilhelmina S. Orozco’s Towards Our Own Image.
Towards Our Own Image: An Alternative Philippine Report on Women and Media. By Wilhelmina S. Orozco. PWRC Pamphlet Series no. 2. [Manila]: Philippine Women’s Research Collective, 1985. Continued from Rina David and Pennie Azarcon de la Cruz’s Towards Our Own Image.
Tradisyon: Two Screenplays. By Jeanne Lim. Tubao Book Series of the Davao Writers Guild. Manila: National Commission for Culture and the Arts, 2009. “Tradisyon follows the life of Ramon Co, a patriarch of [a] Filipino-Chinese family…. Laloma [sic] [is] set in the eponymous cemetery” (NCCA website description).
Translating Time: Cinema, the Fantastic, and Temporal Critique. By Bliss Cua Lim. Durham: Duke University Press, 2009. The book “interweaves scholarship on visuality with postcolonial historiography” (Duke University Press website) and discusses horror samples including Itim [The Rites of May], dir. Mike de Leon (Cinema Artists, 1976); Haplos [Caress], dir. Antonio Jose Perez (Mirick Films International, 1982); and Aswang [Viscera Sucker], dir. Peque Gallaga & Lore Reyes (Regal Films, 1992).
Transpacific Femininities: The Making of the Modern Filipina. By Denise Cruz. Durham: Duke University Press, 2012. “Transpacific Femininities, Multimedia Archives, and the Global Marketplace” discusses the figure of Imelda Marcos via David Byrne & Fatboy Slim’s musical Here Lies Love: A Song Cycle about Imelda Marcos & Estrella Cumpas (Nonesuch Records & Todomundo, 2010), and describes how the deluxe edition’s DVD makes use of images from “footage of late 1970s and early 1980s club scenes [and] news clips of violence and revolt during the martial law years,” as well as scenes from Iginuhit ng Tadhana [Determined by Destiny]: The Ferdinand E. Marcos Story, dir. Conrado Conde, Jose de Villa, & Mar S. Torres (777 Films & Sampaguita Pictures, 1965).
A Tribute to the Movie Queen Carmen Rosales: Ang Tangi Kong Pag-ibig [My Only Love]. By Manuel B. Fernandez and Ronald K. Constantino. Makati City: DLD Publishing, 2013.
Trip to Quiapo: Scriptwriting Manual. By Ricky Lee. Quezon City: Bagong Likha Publishing, 1998.
The Trouble with Nick [Joaquin] & Other Profiles. By Marra PL. Lanot. Philippine Writers series. Quezon City: University of the Philippines Press, 1999. Includes “That Gal Named Guy” (nickname of film actor Nora Aunor).
Ang True Story ni Guy, Ikalawang Aklat [The True Story of Guy, Volume Two]. By Baby K. Jimenez. Quezon City: Mass Media Promotions, 1983. On film actor Nora Aunor; in 2 vols.
Ang True Story ni Guy, Unang Aklat [The True Story of Guy, Volume One]. By Baby K. Jimenez. Quezon City: Mass Media Promotions, 1983. On film actor Nora Aunor; in 2 vols.
Tuklas Sining [Art Discovery]: Essays on the Philippine Arts. Ed. Nicanor G. Tiongson. Manila: Sentrong Pangkultura ng Pilipinas, 1991.
Ang Tunay na Kasaysayan ni Nora Aunor, Superstar [The True History of Nora Aunor, Superstar]. By Rustum G. Quinton. Manila: RMD&A Publishing, 1972.
Twisted Flicks. By Jessica Zafra. Pasig City: Anvil Publishing, 2003.
Two Women as Specters of History: Lakambini [Noblewoman] and Indigo Child. By Rody Vera, ed. Ellen Ongkeko-Marfil. Quezon City: Ateneo de Manila University Press, 2019. Screenplays of Lakambini, dir. Ellen Ongkeko-Marfil & Jeffrey Jeturian (unfinished); and Indigo Child, dir. Ellen Ongkeko-Marfil (Erasto Films, 2017).
Unang Pagtingin sa Pelikulang Bakbakan: Tatlong Sanaysay [A First Glance at the Action Film: Three Essays]. By Zeus A. Salazar, Agustin Sotto, and Prospero Reyes Covar. Manila: Sentrong Pangkultura ng Pilipinas, 1989.
Unforgettable. By Ash M. Malanum. Pasig City: VRJ Books, 2019. Novelization of Unforgettable, dirs. Perci Intalan & Jun Robles Lana (Viva Films & Ideafirst, 2019).
Union Catalog on Philippine Culture: Film. By the Cultural Center of the Philippines Library. CCP Library Research Guide Series no. 4. Manila: Cultural Center of the Philippines Library, 1990.
The University of the Philippines Cultural Dictionary for Filipinos. By Thelma B. Kintanar “and Associates.” Quezon City & Pasig City: University of the Philippines Press & Anvil Publishing, 1996. “Communication and Mass Media.”
Mga Uod at Rosas [Caterpillars and Roses]. By Edgardo M. Reyes. Quezon City: C & E Publishing, 2010. Novelization of Mga Uod at Rosas, dir. Romy V. Suzara (Ian Film Productions, 1982).
The Urian Anthology 1970-1979. Ed. Nicanor G. Tiongson. Quezon City: Manuel L. Morato, 1983. “Selected essays on tradition and innovation in the Filipino cinema of the 1970s by the Manunuri ng Pelikulang Pilipino: with about 550 photos and illustrations and a filmography of Philippine movies, 1970-1979” (title page descriptor).
The Urian Anthology 1980-1989. Ed. Nicanor G. Tiongson. Manila: Antonio P. Tuviera, 2001. Includes filmography of 1980-89 Philippine film releases.
The Urian Anthology 1990-1999. Ed. Nicanor G. Tiongson. Quezon City: University of the Philippines Press, 2010. Includes filmography of 1990-99 Philippine film releases.
The Urian Anthology 2000-2009: The Rise of the Philippine New Wave Indie Film. Ed. Nicanor G. Tiongson. Quezon City: University of the Philippines Press, 2013. Includes filmography of 2000-10 Philippine film releases.
Vaginal Economy. Ed. Rolando B. Tolentino. Special issue of Positions: Asia Critique, vol. 19, no. 2. Durham: Duke University Press, 2011. On “Cinema and Sexuality in the Post-Marcos, Post-Brocka Philippines” (guest editor’s introduction).
Vernacular and Regional Cinemas in the Philippines. Ed. Paul Douglas Grant. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 17, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2020.
Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999. Ed. Angel Velasco Shaw and Luis H. Francia. New York: New York University Press, 2002. In conjunction with an exhibit titled Vestiges of War, “a project of Asian/Pacific/American Studies Program and Institute, New York University”; includes Nick Deocampo, “Imperialist Fictions: The Filipino in the Imperialist Imaginary.”
Vince & Kath series. By Queen Elly. 7 volumes, with vols. 6 & 7 titled Vince & Kath & James. Quezon City: ABS-CBN Publishing, 2016. Origin of and takeoff from Vince & Kath & James, dir. Theodore Boborol (Star Cinema, 2016). Originally a “textserye” (“social serye” on the book covers) appearing on Facebook, comprising exchanges among the characters, with the later books bearing individual titles: Book 2, Remember; Book 3, Promise; Book 4, Walang Titibag [None Can Destroy]; Book 5, Cheer and Var (Kath & Vince’s respective terms of endearment); Book 6, The Reunion; and Book 7, The Finale. (Per Roumella Nina L. Monge, in an email exchange, “books 5 & 6 were developed alongside the creation of the film.”)
Visualizing American Empire: Orientalism and Imperialism in the Philippines. By David Brody. Chicago: University of Chicago Press, 2010. “Strange Travelogues: Charles Longfellow in the Orient” is about the son of Henry Wadsworth Longfellow; against his father’s wishes, he toured Asian countries, settled in the Philippines, transformed his appearance, and accumulated souvenirs & photographs (in effect, an archive) of himself and his environment.
Wages of Cinema: Film in Philippine Perspective. By Joel David. Book edition. Quezon City: University of the Philippines Press, 1998. Revised & updated for a digital edition in 2014.
Wages of Cinema: The Digital Edition. By Joel David. Digital edition. Quezon City: Amauteurish Publishing, 2014. Revision & update of the 1998 book edition, available at the Ámauteurish! website.
Walking the City of Literature: A Film and Literary Guide to Quezon City. By Angelo Rodriguez Lacuesta [as Sarge Lacuesta] and Mookie Katigbak-Lacuesta. Quezon City: Office of the City Mayor, 2020.
Westernized Visual Representation of Jesus and the Construction of Religious Meanings: A Reception Analysis of The Jesus Film (1979) among the Mangyan Tribes. By Kwon Dong Hwan. Asbury Theological Seminary Series in Christian Revitalization Studies. Lexington, KY: Emeth Press, 2015. Study of The Jesus Film, dirs. John Krish & Peter Sykes (Inspirational Films & The Genesis Project, 1979).
White AF. By Carlo Cielo. [Pasig City]: Shonenbat Collective, 2019. A “loose account of the current ‘whiteness’ in Pinoy politics and culture” (product self-description); available at Shonenbat Collective on Facebook.
White Love and Other Events in Filipino History. By Vicente L. Rafael. American Encounters/Global Interactions series. Durham: Duke University Press, 2000. “Patronage, Pornography, and Youth: Ideology and Spectatorship during the Early Marcos Years.”
The Woman without a Face: The Life Story of Pilar Pilapil. By Pilar V. Pilapil. Pasig City: Pilar Pilapil Foundation, 2006. Autobiography of the beauty queen and actor.
Women and the Media in Asia: The Precarious Self. Ed. Kim Youna. London: Palgrave Macmillan, 2012. Bliss Cua Lim, “Fandom, Consumption and Collectivity in the Philippine New Cinema: Nora and the Noranians.”
Writing for Film. By Clodualdo del Mundo Jr. [Manila]: Communication Foundation for Asia, 1981.
Writing the Nation / Pag-akda ng Bansa. By Bienvenido Lumbera. Quezon City: University of the Philippines Press, 2000. Revision of several previously anthologized film articles.
Year One. By the Experimental Cinema of the Philippines. Annual report. Metro Manila: ECP Public Relations Division, 1983.
The Years of Permanent Midnight and Other Unedited Essays. By Epoy Deyto. 2018. Pasig City: TollidBilly & Shonenbat Collective, 2020. Available at the author’s Missing Codec blog; new issue includes an additional essay.
Youth and Media. Ed. Arminda Vallejo Santiago. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 8, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2011. Jongsuk Ham, “Fluid Identities in the Structure of Cyberspace: A Comparison of Philippine and Korean Experiences”; Pamela Marie Cruz, “Ang Karanasan ng Nakaraan sa Gunitang Viswal: Pagsusuri sa mga Pelikulang Romantiko sa Baguio [The Past Experienced via Visual Recollection: Critique of Romantic Films (set in) Baguio].”
Yup, I Am that Girl. By Maine Mendoza. Pasig City: Summit Publishing, 2017. On the comedian, host, and viral internet personality who attained TV prominence with the AlDub kalyeserye (street series) via a fictional romance with Alden Richards.
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