Original Digital Edition (2021)
Cover design by Paolo Miguel G. Tiausas
“Bomba” © 2019 by Mina Saha
[Click on pic to enlarge]
[Entire version available at Pelikulove]
© 2021 by Amauteurish Publishing
All Rights Reserved
• There is no such thing as too much preparation
• Start with the long view: history, theory, long-form study
• Look inward at your personal motive(s)
• Insist on the use of basic study tools
Break: But where are the shortcuts?
• Review or critique, or is there a difference? (Part 1)
• Review or critique, or is there a difference? (Part 2)
• Watch and read the necessary texts more than once
• Pay attention to your stylistic approach, to determine its adequacy
Break: You call these writing tips?
• Be prepared to revise constantly
• Submit or upload your text, then attempt further revisions
• Own your errors
• Careful with the claims you make
Break: What about my actual motives?
Persistence of Vision
Mini-Appendices [including Works Cited section]
• A: Self-Study
• B: Deconstruction
Writing Pinas Film Commentary’s entire text was written during the Covid-19 pandemic that left me (and several other citizens) stranded in foreign locales. The Twosome Place coffeehouse branch of Inha University in Incheon, Korea, became my virtual workplace during the several months it was allowed to operate, under the first-rate management of Lee Sanghun, with my occasional craving for Turkish coffee adequately covered by Sinan Çakiltepe’s Itaewon diner. Affairs in the home country were worked out by my brother Aris David, colleague Ellen Ongkeko-Marfil, and scholars Juan Miguel Manansala and John Cris Velasquez. Upon deactivating from social media and discovering I preferred to remain virtually stranded as well, my connections to the digital world were sustained by a small circle of contacts, primarily Mauro Feria Tumbocon Jr. and Jerrick Josue David (not a relation). An accumulation of self-doubt was relieved by welcome news from Louie Jon A. Sánchez.
박신구, 박해석, 손범식, 유태윤.As always I managed to count on my colleague, Ha Ju-Yong, to make sure I could accomplish official work requirements that entail reporting or coordinating in my host country’s language (which I still to struggle to learn, embarrassing as that sounds), with Kwon Sungjin and Yoo Hee-chan taking care of the more casual end. The work of scholars from all over such as Patricio N. Abinales, Lulu Torres-Reyes, Caroline S. Hau, and Paul Grant continues to inspire me to be productive, and I share with overseas Filipinos everywhere the fond hope that in a future that ought to arrive soon, we can finally thank everyone who helped us in person, rather than in print. The individual with the most impact on my development as a writer was my high-school English teacher, Teret de Villa, now a professorial lecturer at the national university’s Open University; I dedicated my first book to her and my other HS English teachers, but her influence abides throughout all my publications. In the same spirit of acknowledging formative influences, this book is dedicated to the first circle of friends I made in Korea:
Disclaimer: The manuscript occasionally makes use of literary devices, including satire, hyperbole, and absurd humor, and thereby assumes basic competence in comprehension. The author will not be responsible for any person who observes a literal application of these passages in real life.
National Library of the Philippines CIP Data
Writing Pinas film commentary / Joel David. — Original Digital Edition. — Quezon City : Amauteurish Publishing, , © 2021.
52+vi pages ; 30 cm
1. Film criticism — Philippines — Handbooks, manuals, etc. 2. Film criticism — Philippines. 3. Philippine essays (English). I. Title.
US Copyright Office Certificate of Registration: