Participation in Journals

Click here to go to Honors & Distinctions. The following is a list of journals where I am (or in other cases, had been) listed as an editorial board member or its equivalent, with links to each still-available journal’s home page[1]:

11011I have peer-reviewed book manuscripts for university presses, which I have been unable to track. In the preceding list as well as in the following partial list of journals (each followed by name of publisher), I have performed peer-review functions:

  • Asian Cinema (Intellect; formerly Asian Cinema Studies Society);
  • Asian Communication Research (Korean Society for Journalism and Communication Studies);
  • Asian Journal of Women’s Studies (Ewha Womans University Press);
  • Asian Studies: Journal of Critical Perspectives on Asia (University of the Philippines Asian Center);
  • Filipinas (Philippine Studies Association);
  • Humanities Diliman: A Philippine Journal of Humanities (University of the Philippines Office of the Vice-Chancellor for Research and Development);
  • International Journal of Cultural Studies (Sage Publications);
  • ISLE: Interdisciplinary Studies in Literature and Environment (Association for the Study of Literature and Environment);
  • Kasarinlan [Independence]: Philippine Journal of Third World Studies (University of the Philippines Third World Studies Center);
  • Journal of Southeast Asian Studies (formerly Journal of Southeast Asian History; Cambridge University Press);
  • Jump Cut: A Review of Contemporary Media (independent);
  • Localities (Pusan National University Center for Locality and Humanities);
  • Mobility Humanities (Konkuk University Academy of Mobility Humanities);
  • Philippine Population Review (Philippine Population Association);
  • Res Rhetorica (University of Warsaw Polish Rhetoric Society);
  • Southeast Asian Media Studies (Southeast Asian Media Studies Association);
  • Third Text: Critical Perspectives on Contemporary Art & Culture (Third Text Ltd.);
  • Southeast Asian Studies (Kyoto University Center for Southeast Asian Studies); and
  • Universitas: Monthly Review of Philosophy and Culture (Philosophy and Culture Monthly Press, Taipei).

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The first life-achievement recognition that I received for film criticism and scholarship was international in scope: the Art Nurturing Award of the Filipino Arts & Cinema International (FACINE), bestowed during the 23rd Annual FACINE Film Festival’s opening ceremony at the City College of San Francisco’s Diego Rivera Theater in October 2016. Possibly the ultimate ironic detail in a career premised in large measure on skewering awards as indicators of prestige.

11011Herewith are a few other selected honors and distinctions, in reverse chronological order:

  • Balagtas Award for Film Criticism (Writers Union of the Philippines, 2021);
  • Platinum Stallion Media Citation for Film Criticism (Trinity University of Asia, 2020);
  • First Dean Gloria Feliciano Award for Outstanding UPCMC Alumni (University of the Philippines College of Mass Communication Alumni Association, 2017; rejected in 2021)[2];
  • Centennial Professorial Chair (University of the Philippines, 2008);
  • Centennial Book Award for Wages of Cinema (University of the Philippines, 2008);
  • Lily Monteverde Professorial Chair (University of the Philippines College of Mass Communication, 2007);
  • Ramon Cojuangco Professorial Chair (University of the Philippines College of Mass Communication, 2003);
  • First National Book Award for Film Criticism for Fields of Vision (Manila Critics Circle, 1996);
  • Fulbright-Hayes Graduate Studies Full Grant (Institute of International Education, 1993-94);
  • First Place in the Short Feature Category, Film Division (UP Alternative Film and Video Festival, 1990);
  • Most Outstanding Student (University of the Philippines System, 1986);
  • Presidential pins for undergraduate Latin honors in Film & in Journalism (University of the Philippines College of Mass Communication, 1986 & 1979); and
  • First Place in Short Story Writing, English Division (UP Literary Contest, 1978).


[1] The journals associated with the University of the Philippines did not prove sustainable for my participation. Philippines Communication Journal was pre-internet era and folded up after funding dried up. The same thing happened with Pelikula: A Journal of Philippine Cinema, which nevertheless was revived a few years ago – still as essentially a magazine, despite its name. In the case of Plaridel: A Philippine Journal of Communication, Media, and Society, I early on conveyed my strong misgiving over the automatic appointment of the college dean as journal editor, without any concomitant stipulation of journal-editorial competence during the deanship search process. To me this constitutes an unmitigated and unjustifiable anomaly, and painful as it is, I add here my belief that institutional corruption is openly at play: not only does the college select deans of questionable ability, the journal itself becomes a source of unearned incentive and suffers from occasional politicized intervention.

[2] The same reason expressed in the preceding endnote was behind my rejection of the college’s so-called Glory Award in 2021, despite my supposedly having been the first batch’s frontrunner.

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