Original Digital Edition (2020)
Cover design by Paolo Miguel G. Tiausas
“Bomba” © 2019 by Mina Saha
[Click on pic to enlarge]
© 2020 by Amauteurish Publishing
All Rights Reserved
Introduction: Authoring Auteurs
List of Lists
• Categorized List: A Dozen Classifications
• Alphabetized List by Author
• Alphabetized List by Title
• Chronologized List: Latest to Earliest
• Chronologized List: Earliest to Latest
• To Once and Future Entertainment Publishers
• The Aunor Effect
• The Rise in Spin-offs
Mini-Reviews: Memoirs & Bios
Authoring Auteurs: The Comprehensive Pinas Film Bibliography had its origin in an annotated bibliography that I completed in a directed-research class under my dissertation supervisor, the late film historian Robert Sklar. I’d intended to include it as an appendix in my last premillennial volume, Wages of Cinema: Film in Philippine Perspective (Quezon City: University of the Philippines Press, 1998). Unfortunately, as I recounted in the book’s digital edition (Amauteurish Publishing, 2014),
this was one of the rare moments I was adjusting computer hardware usage – from DOS to late-adapting Windows, with the notorious Iomega ZIP drive as a means of storage, prior to my subscription to an online storage service – and it was too late when I realized that I had deleted the original copies in my regularly emptied home and office hard drives. It wasn’t the first – or even last – time that I had lost an important file, but it was one of a few instances of carelessness that I keep regretting to this day.
I retained the entries (minus annotations) that I was able to prepare for the print version’s final “Selected Bibliography” section and continued updating the Philippine entries, in the hope of reconstructing what I had lost. Life lesson: an annotated bibliography is something you might be able to do early in your scholarly career, unless annotational writing turns out to be one of your callings. In my case, I realized early on that I preferred to create long-form pieces, but that I also didn’t mind aggregating useful data and watched with frustration as the Internet Movie Database presumed to cover all film-production territories while handling outlying areas with the usual cavalierism of Western-centered undertakings.
Nevertheless I also realized almost as early that there were enough enthusiasts covering Pinas cinema – a fabulous handful of them non-Filipinos. On the other hand, even with my own growing list of bibliographic titles, I kept finding myself performing internet searches every time I was in the process of finalizing papers or articles, whether as author or as editor. So the calling, such as it was, also sounded itself over a decade ago, when I had to strive anew for tenureship, this time in an overseas university. With the tenure confirmed in the early 2010s, I only had to tick off a few other projects – setting up an archival blog, updating and posting my out-of-date materials, writing a millennial volume as well as a film monograph (plus an intervening canon project) – before I could finally announce the current Pinas film-bibliography project in its rudimental form in late 2019.
The present material expanded not only the listings but also the formats; the latter entailed rearranging the original category-grouped entries into listings that were alphabetical (by author, then by title) as well as chronological (though first in reverse). I managed to draft and post a bibliographic essay, which now serves as the introduction to this volume, as well as a few shorter articles, including a collection of mini-reviews. All these were in addition to descriptions, whenever useful or necessary, that I provided for some of the bibliographic entries; apparently I am entitled by bibliographic tradition to still claim this material as my own set of annotations, a fair-enough arrangement when I reconsidered the effort that went into them.
They remain free in the spirit of the short list of internet hacktivists all over the world, many of whom paid severe or mortal costs in liberating essential information for the rest of humanity. In the case of the Philippines, I would like to name two, Jojo Devera and Mike de Leon, for pioneering in selflessly sharing with the public their invaluable and lovingly curated collections of rare film titles; they are Authoring Auteurs’ dedicatees, if they do not mind the gesture. All I can share in comparison are book titles, almost all of which I did not even write, and which cost next-to-nothing to track down and process. If succeeding generations realize the benefits of sharing whatever resources they own, I will find nothing more satisfying than that.
Help in finalizing the bibliography came from the following: Teddy Co, Deogracias Antazo, Rofel G. Brion, Byron Bryant, Jerrick Josue David, Madie Gallaga, Michelle Gallaga, Cristina Gaston, Joni Gutierrez, Mike de Guzman, Nestor de Guzman, Patrick Flores, Ellen Ongkeko-Marfil, Roumella Nina L. Monge, Eric Nadurata, Jim Paranal, Eduardo J. Piano, Jojo Terencio, Mauro Feria Tumbocon Jr., Boy Villasanta, Ram Banal, and Lio Mangubat (editor-in-chief of Summit Books). Assistance for the study was jointly provided by the Inha University Faculty Research Fund as well as the blog sponsor, Pelikulove.
National Library of the Philippines CIP Data
Authoring auteurs : the comprehensive Pinas film bibliography / Joel David. — Original Digital Edition. — Quezon City : Amauteurish Publishing, , © 2020.
N/A pages ; N/A cm
1. Motion pictures — Philippines — Bibliography. I. Title.
“The Rise in Spin-offs” © 2021 by Amauteurish Publishing.
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