Your best way to proceed is to start out knowing what kind of final project you’ll be writing, and more important, you have to know what kind of intervention you’re providing for Philippine film scholarship. It will be a critical project, which is why we’re in film criticism (duh), but it will have implications for history, education, archiving, society (if we’re lucky), and so on. This is why you cannot just swoop down on the pop-culture field, armed with some conventional tools provided by long-standing institutions, unless you don’t mind being ignored or getting blasted by some annoyed expert later. From what you have read, watched, and observed in a comprehensive review of your area of concern (including foreign counterparts when applicable), what do you think requires improvement, and how will you be able to provide that improvement?
Once you have answered that, you can structure your larger goal(s) and the means by which you can get there. Let me provide a sample template, one that has become feasible for me and a number of other contemporary netizens: a volume (or two) covering the issues confronting audiences and/or practitioners and/or producers in the area of independent and/or mainstream and/or regional (including diasporic) Pinas cinema during the millennium and/or the late celluloid era, raising the issue of aesthetics and/or reception and/or industrial processes using a critical deployment of the ideas of some native or foreign school of criticism.
Once you have concretized these elements, you will know as you go along what films will matter and what won’t, what issues to raise, what people and texts to consult, and so on. In the (still-distant) end, you can compile your output, jettison whatever may be extraneous or redundant, organize the material, write an introduction, write short or long texts to bridge adjacent sections, draft a conclusion or epilogue, hire an artist or two and an indexing service (if you’re self-publishing, with funds on tap). You’ll have the volume you planned in the beginning; if you wrote scholarly articles, you’ll have a thesis or dissertation. Not as easy as it sounds, but better than stumbling around hoping to be the best film critic you can be.
But what happens if, say, your concern for an area outside critical writing or artistic production becomes too distracting, and promises opportunities for professional advancement as well? The answer should be obvious to anyone who’s already familiar with the principles I laid out in this manual. The practice of critical thinking and the ability to work out creative solutions limit themselves to art and literature only in the minds of the hopelessly old-fashioned. Several former students of mine have opted to work in fields as diverse as talent management, archiving, festival organizing, music, porn performance (you read that right) – and made their areas of practice richer by their presence. Find your vocation, make sure it makes you happy and productive, and keep everyone else posted whenever possible.