Mini-Appendix A: Self-Study
There is a wealth of introductory books on film theory, most of which provide an adequate overview of ideas on the subject. I usually recommend Robert Stam’s Film Theory: An Introduction for the author’s acknowledgment of the interests of non-Western peoples; it is accompanied by a supplement, edited by Stam and Toby Miller, titled Film and Theory: An Anthology. The more comprehensive standard collection, continually updated, is Film Theory & Criticism, edited by Leo Braudy and Marshall Cohen, now on its 8th edition. A still-useful reference would be the two volumes edited by Bill Nichols titled Movies and Methods: An Anthology. A recommendable process would be to complete an overview, read up on the authors who prove interesting and useful, and proceed to these authors’ book-length output. (Make sure though to still read up on the other authors later.)
I would also urge any beginner to provide herself with a beyond-theoretical summary of the field; a sample (that badly needs updating) might be The Oxford Guide to Film Studies, edited by John Hill and Pamela Church Gibson. Considered a basic and vital introduction to film aesthetics would be David Bordwell, Kristin Thompson, and Jeff Smith’s Film Art: An Introduction, currently on its 12th edition. Bordwell himself maintains a website that contains his recent articles and updates, as well as an exemplary blog with Thompson (as primary author) titled Observations on Film Art. I mention this to be able to badmouth all the other film-studies websites that fail to display the same degree of rigor and thoroughness, and these are legion. Avoid getting into those (and writing similar crap later – you’ve been warned) by using Thompson and Bordwell’s material as benchmark, and focus instead on reading as many entire books as you can find useful, whether for instruction or pleasure.
Mini-Appendix B: Deconstruction
Two French names are central in studying deconstruction (unfortunately still far from being fully assimilated in Pinas education, even in grad-school programs): Jacques Derrida, whose principles were initially reduced to methodological approaches by overeager American literary critics, but who persisted in tackling forward-looking global issues through the turn of the millennium; and Michel Foucault, acknowledged as influential by several new progressive activist movements as well as historians grateful for the opportunity to regard the past in new ways.
Both have been extensively translated to English, with Foucault generally more readable than early Derrida; both are also well-served by scholars who sought to explicate the deconstructive turn, which requires a grasp of interdisciplinary principles drawn from history, literature, aesthetics, sociology, politics, psychoanalysis, and economics. (Sounds intimidating, but it gets easier as you go along.) Read up on as many introductory materials as you can find, then explore each one’s body of work before forming your own take on deconstruction and its usefulness for social change. You may even reject it, but if your ultimate motive is to return to an older set of ideas, then save yourself the trouble and find other ways (if you can) to defend an order that has become part of the past.
Your encounter with deconstructive principles will lead you to certain trends and ideas that may or may not be familiar to you, depending on how updated your educational institution was: binary systems, poststructural frameworks, identity politics, and so on. Unlike preceding systems of thought that mimicked monotheistic religions in claiming the finality and correctness of their premises and prescriptions and abhorred all manner of dissent, deconstruction has the potential of operating without end and leading to relativistic, if not nihilistic, conclusions. It can of course turn into its own form of dogma, open to exploitation by both left and right extremists, so the challenge (recognized early enough by politicized thinkers) is in harnessing it to attain progressive social change. At the very least, the excitement of encountering a new set of ideas for the first time will be yours to claim.
Bazin, André. What Is Cinema? Volume 1. Trans. Hugh Gray. Berkeley: University of California Press, 2005.
Bordwell, David. On the History of Film Style. 2nd ed. Madison, WI: Irvington Way Press, 2018.
Bordwell, David, Kristin Thompson, and Jeff Smith. Film Art: An Introduction. 1979. 12th ed. New York: McGraw-Hill Education, 2020.
Braudy, Leo, and Marshall Cohen, eds. Film Theory & Criticism. 1974. 8th ed. New York: Oxford University Press, 2021.
David, Joel. “Corrigenda & Problematics for Manila by Night: A Queer Film Classic.” Ámauteurish! (June 6, 2020).
———. “The Reviewer Reviewed.” Ámauteurish! (December 12, 2015).
Fowler, H.W. A Dictionary of Modern English Usage: The Classic First Edition. Ed. David Crystal. 1926. Oxford: Oxford University Press, 2009.
Hechler, David. The Battle and the Backlash: The Child Sexual Abuse War. Lexington, MA: Lexington Books, 1988.
Hill, John, and Pamela Church Gibson, eds. The Oxford Guide to Film Studies. New York: Oxford University Press, 1999.
Lenin, Vladimir Ilyich. “Directives on the Film Business.” 1922. Volume 42 of Lenin Collected Works, October 1917 – March 1923. Moscow: Progress Publishers, 1971. 388-89.
Longworth, Karina. Meryl Streep: Anatomy of an Actor. Cahiers du Cinema series. London: Phaidon Press, 2013.
Malko, George. “Pauline Kael Wants People to Go to the Movies: A Profile.” Conversations with Pauline Kael. Ed. Will Brantley. Jackson: University Press of Mississippi, 1996. 15-30.
McCoy, Alfred W. Policing America’s Empire: The United States, the Philippines, and the Rise of the Surveillance State. New Perspectives in Southeast Asian Studies series. Madison: University of Wisconsin Press, 2009.
McMahon, James. “Life Is a Great Screenwriter.” Interview with Francis Ford Coppola. The Guardian (December 5, 2020).
Modern Language Association of America. MLA Handbook. 9th ed. New York: MLA, 2021.
Nichols, Bill, ed. Movies and Methods: An Anthology. Vols. 1 & 2. Berkeley: University of California Press, 1976 & 1985.
Rice, Mark. Dean Worcester’s Fantasy Islands: Photography, Film, and the Colonial Philippines. Ann Arbor, MI: University of Michigan Press, 2014.
Simon, John. “A Critical Credo.” Private Screenings: Views of the Cinema of the Sixties. New York: Macmillan, 1967. 1-16.
Smith, Zadie. “That Crafty Feeling.” Columbia University Writing Program lecture. The Believer (June 1, 2008).
Stam, Robert. Film Theory: An Introduction. Malden, MA: Blackwell 2000.
Stam, Robert, and Toby Miller, eds. Film and Theory: An Anthology. Malden, MA: Blackwell 2000.
Thompson, Kristin, and David Bordwell. Observations on Film Art. At David Bordwell’s Website on Cinema (September 2006 to the present).