Author Archives: Joel David

About Joel David

Teacher, scholar, & gadfly of film, media, & culture. [Photo of Kiehl courtesy of Danny Y. & Vanny P.]

Wages of Cinema – By Way of an Epilogue

Commemorating Laura Samson
(September 1, 1953 – September 10, 2020)

Laura Samson, retired sociology professor at the Philippines’s national university, passed away recently. She was the first of my book publishers to leave, and ironically the youngest. Our association stretched way back to my undergraduate years during the military-dictatorship era, when she conducted a kick-ass writing workshop for the sub-rosa student writers’ collective I was in charge of. I made sure to take her popular-culture class later for the Philippine studies master’s degree I never completed, and congratulated her on her appointment to the University of the Philippines Press. She gave the most invaluable practical advice when I informed her that I was accepted to a US doctoral program despite the expiration of my Fulbright grant: finish everything, including the dissertation, before returning home, or else accept that you will never be able to complete the program.

It was during my last visit during my graduate-studies years when she insisted on an extended merienda at a café near the press. She asked me about the books I’d written, so I described the first and second and how one differed from the other (demonstrating some chronological development, or so I hoped). She responded by mentioning how she convinced O.D. Corpuz to allow her to publish his monumental study of Philippine economic history by working on an earlier manuscript of his, and then she came up with the clincher: she wanted a book out of me, during her term as UP Press director. Of course she recognized that my grad studies had to remain my priority, so we should look at existing materials that I already had on hand – term papers, reports, notes, and the like.

I mentioned the classes I took (I was ABD by then) and the papers I wrote for each one, as she scribbled on a piece of paper. After my recollection, she presented me with a structure, essentially a ready-made table of contents. I forget the exact proposal she prepared, but I was astonished: this was the way our grad-school advisers were telling us to get our dissertations ready with minimal suffering, by writing papers that could serve as chapters. The first of four sections that she suggested focused on formalist arguments, but I wound up jettisoning some papers here (as well as in the other sections) and incorporating the others in the other three sections – specificities, subjectivities, and sexualities.

This was how I came up with Wages of Cinema, a book for which I hold much ambivalence. I told her why I thought it suffered several lacks and lapses, but she brought up a crucial insight: no book (and this includes any thesis and dissertation) will ever be satisfactory enough, and the ratio of the author’s discontent will be in direct proportion to its ambition. Through the years, with several titles preceding and succeeding it, WoC remains the book I have the most complaints about, even though I’ve been able to draw forth several journal articles, my dissertation, and my first book monograph from it. But I’ve also learned to keep Laura’s admonition in mind: like having an unruly brood of siblings or a classroom of restless students, the most gifted will invariably cause the most headaches.

What unusual mentors I’ve had, and what an exceptional one Laura was.

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Memoirs & Bios

My original intent was to draft an article that provided a report on the state-of-the-writing of this area in Philippine film-book publication. I learned about a much-awaited completed draft, by a practitioner who had passed away, that might take a while to process for publication, then learned about a couple of others being finished, plus plans for several more. At this rate, it would take too long before I could write on what has turned out to be the largest category of books on Philippine cinema.

This was when I opted to fall back on a less-than-satisfactory critical format, the listicle. Incapable of providing a macro view, true, but then it’s updatable. I’d already raised some points in “Authoring Auteurs,” the bibliographical essay I wrote, but these are worth repeating for the sake of the present posting: the country’s very first non-institutional film book, Vicente Salumbides’s Motion Pictures in the Philippines (Manila: V.S., 1952), would have been a full-blown memoir if it did not have to assume the unwieldy challenges of representing an industry and narrating a history; and the impetus for active film-book publication that started roughly with the declaration of martial law by then-President Ferdinand E. Marcos covered the same individual, Nora Aunor, as did a number of other film books (and film-book chapters) that emerged afterward. I didn’t mind expanding my coverage to include intellectual bios, if any should come along, as well as investigative or even muckraking reports, if these prove to be productive of critical insight. What I had to exclude were the several essentially biographical encyclopedias, since these would comprise listicles (like, but not like, this post) that were premised on a predetermined Who’s Who-style of maximal appeal with minimal analytics. Collections that comprise more than paragraph-length entries, on the other hand, are included, as they deserve to be.

All blog entries, as anyone with a Facebook account can attest, can be subjected to endless tinkering – corrections, revisions, even outright deletions. Some foreground this changeable condition less than others, and this post resembles the front page of Ámauteurish! in being updated whenever and wherever I manage to go over a new entry. The books will be alphabetically ordered by their respective authors’ family names, but will also be tagged with the date of uploading. These may best be regarded as extended annotations rather than reviews, and at some future point an index of entries might become necessary and will be incorporated in this introduction.

Ishmael Bernal, Jorge Arago, & Angela Stuart Santiago, Pro Bernal Anti Bio (Manila: ABS-CBN Publishing, 2017), 394+x.

Jessica Zafra once headlined that this was “the best Filipino film book of the year, maybe of all time,” but that assertion raises questions of comparative criteria (in a field where I’ve got a few entries myself, but I think my reservation’s valid nevertheless, even outside of my books’ areas). Where Pro Bernal Anti Bio can definitely win is in the Pinas bio category: controversially, it’s the best in its own way. It swings a few of these achievements by being sufficiently nothing and everything in the same instance: an autobio that wasn’t finished by its subject, a bio that also wasn’t finished by its author, a memoir that draws in voices and perspectives from everyone else, finished after the autobio and bio writers passed away. Any Filipino film observer would know Ishmael Bernal, and a better-informed one would know Jorge Arago, but it’s Angela Stuart Santiago who accomplishes what the previous authors probably only instinctively envisioned when they went about writing their entries: a literary equivalent of Bernal’s specialization, the multicharacter movie. Part of the reason it succeeds is because of a paradox: Ishma may have turned into a leftist ideologue toward the end of his life, but he remained irrepressible and transgressive, and would probably have abandoned vulgar Marxism if he had hung around longer, claiming that that phase of his life was just for the lulz.

PBAB could get by on Bernal & co.’s intelligence and wit alone, but the instinctive, nearly experimental structure commands closer scrutiny. Inevitably, several details conflict among themselves and/or with the historical record, despite Stuart-Santiago’s alert interventions. But this is the exception to the flawed-data project: the typical non-fiction text can be critiqued on its author’s inadequate analysis, with its errors indicating careless or lazy handling. In this instance, these troubles assume minor proportion in relation to the impressive achievement of recapturing a life lived to the hilt, the mind in constant overdrive, the heart always anxious to keep up. I had never pulled myself away from a Philippine book so many times, in order to slow down the process of completing it. Anyone who wants to learn about celebrity and/or queer culture in the Philippines ought to make this book her first stop. [July 30, 2020]

Bibsy M. Carballo, Filipino Directors Up Close: The Golden Ages of Philippine Cinema, 1950-2010 (Pasig City: Anvil Publishing, 2010), 206+xvi.

Bibsy Carballo stood apart as more than the public-relations practitioner that the public knew. She handled top-flight talents, line-produced prestige film projects, hobnobbed with bohemians, and had the ability to write like a journalism graduate and professor, both of which she was. One of the pleasant surprises of Filipino Directors Up Close derives from her account of its writing process. The articles were written purposefully for compilation in this volume, rather than for various publications at opportune periods, and though she observed the canonical practice of starting with winners of the Order of the National Artist, she readily and good-naturedly included filmmakers who were breaking ground in merging quality and commerce, shining a light, for example, on what she called Star Cinema’s “Three Marias” (Olive Lamasan, Rory Quintos, and Cathy Garcia-Molina, misnamed Cathy Molina Garcia in the table of contents and Cathy Grace Molina in a caption). Although the articles draw from standard references and even take care to specify bibliographic information, they never fall back on standard or predictable narratives, mainly because Carballo had the ability to identify telling details or raise crucial questions. She claimed to have enough leftover material for a second volume, and that is the tragedy that attends this publication: she could have persisted in an impressively creative and productive career if a terminal illness did not cut her life short. [August 2, 2020]

Nestor de Guzman (ed.), Si Nora Aunor sa mga Noranian: Mga Paggunita at Pagtatapat [Nora Aunor to the Noranians: Remembrances and Confessions] (Quezon City: Milflores Publishing, 2005), 238+viii.

You may think that a collection of testimonials about someone who has been written about, more than anyone else, in local publications and not just film books, could constitute star overload. Yet these are (necessarily) fans and appreciators writing at the point when their object of adulation had grown up, and when they also underwent their own process of maturation. Nestor de Guzman – who put together a historical first for Philippine pop culture, the Noraniana [memorabilia] Collection at the public library in Iriga City, Camarines Sur (Nora Aunor’s hometown) – zeroed in on the star’s most articulate and devoted admirers. Wilfredo O. Pascual Jr., the first essayist to win first prize in the Don Carlos Palanca Memorial Awards for Literature for his Noranian appreciation, provides his own awakening to her pervasive cultural presence; a number of academics and professionals, film and literary critics, even a drag queen whose profession is premised on mimicking Aunor: all stand up to be counted. Most impressively, for Aunor’s star record, are fans who became famous precisely for being her fans, notably the late Armando “Mandy” Diaz Jr. True to the Philippines’s own historical exigencies, many of the contributors are now based in foreign countries, and nearly all of them are identified according to their membership in one or the other Aunor fan club. All of course are effusive about their particular experience of Noramania, so the best approach is to keep the book on a shelf and dip into it a few articles at a time, preferably after going over a sampling of the artiste’s output. [July 30, 2020]

Jerry B. Grácio, Bagay Tayo [We’re Compatible] (Pasay City: Visprint, 2018), 274+vi.

Those who were fortunate enough to track Jerry B. Grácio’s now-deleted Facebook posts would have had an inkling of what Bagay Tayo would have been about: an account of his life with his husband Raymond Reña, whom he nicknamed Pitbull. Yet BT is still so much more than its already-rewarding hyper-romantic queerness portends. Some of these details may spoil your discovery, so we’ll leave it at that for now. Grácio was approaching his peak as scriptwriter when he set down his historia de amor (cowriting in the same period the script of Khavn’s Balangiga: Howling Wilderness), so his navigation of the class and culture differences between him and Pitbull would not be too surprising. What makes BT extra-special is the manner in which he partakes of Pitbull’s way of thinking, seemingly to the point where he can take the place of his partner entirely, if that kind of arrangement became necessary. Grácio deactivated his social-media account at the point when Pitbull’s spell in prison was about to end (spoiler, I know, but not if you were in his FB circle), and any further questions you may have are dealt with in the text, in the most painfully honest way you can imagine. BT’s actually romantic only to the extent that Grácio allows it to be, and to ensure that you don’t get too much of a wonderful thing, he made sure to come up with what appears to be a miniaturized version of the book: Hindi Bagay [Incompatible], which is actually a collection of poems about love, including the end of it. [July 30, 2020]

Mario A. Hernando (ed.), Lino Brocka: The Artist and His Times (Manila: Sentrong Pangkultura ng Pilipinas, 1993), 312+viii.

The Philippines’s most internationally renowned filmmaker was a combative pro-democracy activist when he was alive, with his output about to explore a set of formal and social-semiotic innovations when he unexpectedly died due to a vehicular accident. He always had a conflicted relationship with government institutions and film critics, so a government volume handled by one of his allies (and occasional nemesis) had to be primarily hagiographic or be accused of grinding an ax or two. For that reason, the more extensive articles work out better than the reviews and publicity interviews, and the material more closely approximates Lino Brocka’s constantly (if slowly) shifting sensibility the closer it was written in the book’s present time. Two contributions in particular complement each other historically and provide novel revelations: Johven Velasco’s “Brocka’s Theater: Something from the Heart” points out where Brocka actually started out as rightist in both gender- and political-activist terms, with the Philippine Educational Theater Association enduring his virulence. Jo-Ann Maglipon’s “The Brocka Battles” picks up on the director’s realization that the Communist left had the most prepared program and personnel in confronting the dictatorship of Ferdinand E. Marcos, although he also started considering anarchy as a more appropriate approach to his style of radicalism after Marcos’s ouster. Always, one has to exercise caution in taking Brocka at his word: to the end, he remained defensive about his past missteps, notably in his capitulations to the left-leaning literati’s sexism, homophobia, and anti-Asian racism. His output indicated that he was sensitive to oppressed people’s objections and took cognizance even if he would occasionally fall short, so the volume works best as a dialogical sampling of Brocka, his colleagues, and his body of work. [July 30, 2020]

Baby K. Jimenez, Ang True Story ni Guy, Unang Aklat [The True Story of Guy, Volume One] and Ang True Story ni Guy, Ikalawang Aklat [The True Story of Guy, Volume Two] (Quezon City: Mass Media Promotions, 1983), 208+nulla and 296+nulla resp.

Until Ishmael Bernal et al.’s Pro Bernal Anti Bio came along, this was the definitive entry of its type. Written in then-unusual Taglish, complemented by dozens of snapshots, by a confidant of someone who has actually been the most successful multimedia star in Philippine history, at the point when she became the country’s premiere film performer. It is no fault of Baby K. Jimenez that at least a third volume seems to be missing, since Nora Aunor (the “Guy” in the title) ventured even further, and continues staking new ground well into her 60s. Fortunately BKJ herself is updating her text and promises anyone who asks that it will be appearing within her and Guy’s lifetime. Just for context, Ang True Story ni Guy arrived after a few other books on Aunor jump-started the so-far still-flourishing trend in Pinas film book publication, and was followed by a few other books and book chapters, all no longer primarily biographical. But if you still can’t get enough Guy in your life, she recently authorized another author, Ricardo Lee, to cover the areas that ATSG 1&2 avoided: in a word, the scandals, the same elements that would have defeated most of us but what an artistic genius (Bernal’s description of her) knew how to work into her craft. We still haven’t heard the last of her – and she’s still around, if you can imagine the mythological possibilities. [July 30, 2020]

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Mother Pinas, Onscreen

From the Internet Movie Database.

Out of Anita Linda’s several bouts of mixed fortunes, the fact that she survived into the internet era should count as her so-far final stroke of good luck. Tributes, recollections, even film excerpts regarding her excellence as performer flooded Pinas social media on the day she died, two days before Independence Day 2020 – a time when people were seeking fitting symbols of the nation to honor.

Linda would of course be the perfect embodiment. Dying in the early morning – or, in keeping with her professional approach, sleeping her last – she seemingly made sure that no schedule that required her for the day would be disrupted by any untoward drama in real life. Anything dramatic, for her, should be allowed to emerge only in her performances.

Anyone should be able to pick up the basic details by now, and a whole lot more might be added to her bio once historians of pop culture have finished combing through the many anecdotes her co-workers have been posting about her. Born in 1924 to an American father and Ilongga mother, Alice Lake was discovered while watching a stage show by Lamberto V. Avellana, and given her screen name by Avellana’s wife, the former Daisy Hontiveros.[1] She expressed reluctance because of her difficulty with Tagalog, but Avellana was insistent and cast her in a non-speaking stage part.

Sisa publicity pic. [From Video 48]

World War II delayed the screening of her first film, Avellana’s Tiya Juana [Aunt Juana] (1943), for LVN Pictures, Avellana’s home studio. Her next projects, however, came out four years later (because of the wartime suspension of production), for Premiere Productions: three films in 1947, five in 1948, seven in 1949. Premiere was where Gerardo de Leon worked, and Linda may have impressed him enough to cast her in a period project, Sisa, based on the tragic figure in Jose Rizal’s 1887 novel Noli Me Tangere [Touch Me Not], who in turn was partly based on the racist persecution of the hero’s Chinay mother by Spanish authorities.[2] Most of the other evidence of Linda’s evolution as film actor may be impossible to source by now, since most of the Premiere holdings were burned in one of those warehouse fires that kept razing down combustible celluloid stock.

An added misfortune was political in nature. Linda, along with Patria Plata, supported a crewpersons’ strike at her home studio, led by soundperson Casimiro Padilla. The owners decided to shut down the production company, leaving the strikers stranded, the actresses included. (Based on their production credits, this would have occurred around the mid-1950s.)[3] During this period, the studio system was also faltering from its top-heavy vertical integration and was facing challenges from more successful stars, who had enough of their own money to start producing their own films. Once more, this highly commercial catch-as-catch-can approach to production did not guarantee that many of the titles made by practitioners during that period could be preserved for posterity.

Fortunately for Linda’s most celebrated film role, Lino Brocka spearheaded a recovery program with a team whose members hunted down Gerry de Leon films from all over the country, starting with the most logical final destinations – provincial theaters where celluloid prints would usually be left to deteriorate or be cannibalized as caps and horns for Christmas and New Year merriment. The recovery of Sisa (1951) bowled over a new generation of observers, who had been earlier transfixed by a more recent performance, Lolita Rodriguez’s in Lino Brocka’s own Tinimbang Ka Ngunit Kulang [Weighed But Found Wanting] (1974).

In Emmanuel Quindo Palo’s Sta. Niña (2012), with Coco Martin. [Cinemalaya & CCM Creatives]

Linda in Sisa deservedly took top spot as Pinas cinema’s most outstanding film performance, the gold standard against which a much younger aspirant, Nora Aunor, was subsequently to measure herself. To say that Aunor was eventually able to surpass her is no slight on Linda’s achievement: a new filmmaking generation brought with it more openness and artistic daring, along with Aunor’s own considerable resources as top multimedia star of her generation. Nevertheless Linda persisted and even managed to occasionally headline her own film projects, possibly the oldest Filipino actor to ever achieve the feat. The two millennial-era films where she appears as lead actress, Adolfo Borinaga Alix Jr.’s Adela (2008) and Brillante Ma. Mendoza’s Lola [Grandmother] (2009), deploy the benevolence and humility that Linda became known for among her colleagues. It were as if the directors scouted for unusual and inaccessible urban settings, set Linda down in them, and instructed her to be her truest self. Her final film, Alix’s Circa (2019), also features her in lead capacity – a fitting end to a career with several highs but also too many lows.

This may also have been a consequence of iconicity, a higher realm than stardom: people become aptly reverential, sometimes to a fault. One of the unforgettable anecdotes about Linda on the set of Sisa was of de Leon adjusting her delivery by saying, “Anita, konting libog pa [more libido please].” Cineastes may have delighted in this narrative by imagining how much greater the director was than his performer, but Linda’s output throughout and beyond the Marcos regime (regarded as the Second Golden Age of Philippine cinema) belies this auteur-snobbish interpretation. Scroll through the tribute excerpts posted by, as an example, Facebook’s Cristina Gaston (a pseudonym adopted from an Alma Moreno character): Ishmael Bernal, Maryo J. de los Reyes, Elwood Perez, and Joey Gosiengfiao were never content to just depict her as mother to the star(s) of their projects. She had to be kooky, eccentric, decadent, flighty, bitchy, alcoholic, unfaithful, and/or ambitious.

The working-class assassin in Gumapang Ka sa Lusak (1990). [Viva Films]

These characterizations did not arise out of disrespect. On the contrary, they came from a recognition that Linda was always game for unusual challenges, and seemed grateful to make use of comic devices for a change. We’ve left out Lino Brocka, with whom Linda was most associated with sanctimonious-motherly roles. Yet even in this territory, we find departures from her later mater-dolorosa persona. In Jaguar (1979), she scolds her son for his social-climbing delusions but shields him later from pursuing police agents and helps him escape when they get near; in Gumapang Ka sa Lusak [Dirty Affair] (1990), nominatively a sequel to Jaguar, she reprises the role played by Carlito Dimailig in real life, assassinating the movie’s Imelda Marcos figure with a bolo (though as in real life, the person gets killed by security personnel).

In the “Hello, Soldier” segment of Tatlo, Dalawa, Isa [Three, Two, One] (1974), she transforms from a devoted mother dutifully preparing to surrender her daughter to the American who fathered her and now wants to adopt her, to a drunk-off-her-ass slum dweller re-enacting the moment she, as a then-younger bargirl, espied and seduced the foreigner she would fall for and be abandoned by. Brocka documents the sequence from the moment she wakes up from her intoxication, through her panic at the thought of being left alone and wandering the streets, regretful at how she was unable to say a proper farewell, without a single line of dialogue: Linda pursues and finishes the tale magnificently, by the use of her face and nothing else.[4]

The wordless closure of the “Hello, Soldier” episode of Tatlo, Dalawa, Isa (1974).

In two films by Mario O’Hara, we find definitive formal proof of Linda’s capabilities. In Bakit Bughaw ang Langit? [Why Is the Sky Blue?] (1981), she executes extended melodramatic arguments with Nora Aunor and proves to be the only actor capable of matching the country’s most gifted performer, line by spiteful line. In Babae sa Bubungang Lata [Woman on a Tin Roof] (1998), she uses the disadvantages of representing a lost past in cinema, narrating her tale rather than enacting it, providing embarrassingly manipulative final-act revelations, and winds up claiming equal-ensemble status as the younger performers via the force of her haunted slow-burn delivery.

It would therefore be unsurprising to learn that when Elwood Perez decided to initiate an autobiographical film trilogy as his final artistic statement, Anita Linda heralded the first installment, Otso [Eight] (2013). Her presence infuses the entire film, even though she appears only in the final sequence – as Alice Lake, playing a once-famous actress known as Anita Linda, now the owner of a residential building where an aspiring artist learns about life, love, and desire, realizing to his amazement that his present has become possible because of what the lady at the top floor, overlooking events in her property, underwent in the past.[5] This may be the ultimate way to remember Linda: a woman who dedicated her life so completely to her craft that it expectedly defined her, but also unexpectedly and even more profoundly became defined by her.

Alice Lake in Otso (2013). [Film Development Council of the Philippines & Earth Moving Pictures]

Notes

First published June 13, 2020, as “Remembering Anita Linda: She Devoted Her Life So Completely to Her Craft that It Defined Her,” in ABS-CBN News Channel. The author acknowledges the solicitation and assistance of Jerome Gomez, as well as anecdotes provided by the late Vic Delotavo.

[1] Most reports ascribe the source of Linda’s screen name to Avellana, but their granddaughter Ina Avellana Cosio provided the clarification – that it was Daisy rather than Lamberto who suggested the name – in her comment on my Facebook post of June 10, 2020.

[2] I recall this staggering and essential revelation on why a member of the landed gentry was made to march from her home to the municipal jail from one of the first article publications of Caroline S. Hau, whose title I do not recall but which I read for certain in the 1990s. In a recent exchange, she mentioned that her account was cut from the final version of The Chinese Question: Ethnicity, Nation, and Region in and Beyond the Philippines (Quezon City: Ateneo de Manila University Press, 2014). In her typically generous manner, she maintained that “the Sisa-Alonso link is orthodox in the scholarship on Rizal, and the authorities really made an example of her, not caring if she was herself of relatively high social standing in the town, whether Chinese mestizoness or not, so there’s no need to cite anything I wrote” (“Re: Query re Teodora Alonso Realonda,” received by the author, July 25, 2020) – all the more reason for a non-Rizal scholar like me to insist on acknowledging her continuing contribution to this field of study.

[3] This information first came out in the citation for Anita Linda’s award for outstanding achievement, given by the Filipino Film Critics Circle (of which I was a member then). The citation was published in the group’s first decadal collection and reprinted in the second; see “Anita Linda,” in The Urian Anthology 1970-1979 (Quezon City: Manuel L. Morato, 1983), pp. 420-21, taglined Jun Cruz Reyes, trans. Nicanor G. Tiongson. After 1953, Patria Plata stopped working altogether at Premiere, while Anita Linda had occasional projects, although not as actively as before. My provisional speculation is that she may have been emboldened by winning the first industry-wide award for an actress in Sisa. Her people skills may be seen in her returning for the occasional Premiere project, as well as for production companies set up by her colleagues in the studio, specifically Gerry de Leon and Larry Santiago. In fact, by freelancing not just for rival studios but also for independent outfits, she may have been the first star who demonstrated the instability and morally questionable logic behind the oligopoly of the Big Three. One of her early “indie” projects anticipated the wild and woolly years of the post-studio 1960s: Nardo Vercudia’s Basagulera [Troublemaker] (1954), for Everlasting Pictures.

[4] A precursor of how her soon-to-be-rediscovered performance in Sisa was about to recapture the top spot in local film appreciators’ regard was during the televised awards ceremonies of the 1974 Filipino Academy of Movie Arts and Sciences: while Lolita Rodriguez in Lino Brocka’s Tinimbang Ka Ngunit Kulang affirmed her stature as an outstanding female performer by winning best actress, it was Linda’s far shorter role, misclassified as supporting actress, in one of three episodes in Tatlo, Dalawa, Isa, that presenters kept raving over.

[5] A wistfully poetic full circle has been inscribed with Otso as well, when we consider that Elwood Perez’s first film, the now-lost Blue Boy (1970), starred Fred Cortes Jr., Linda’s son by Fred Cortes, with whom she had starred in her first film, Tiya Juana. She put her film career on hold, for the last time, when she opted to live with Cortes in the US, but returned after their union ended. Cortes died in 1966.

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Empiricals; or the Bearable Heaviness of Having-Been

The following chart is based on a more comprehensive (nearly half a century!) file of my output than what I posted on the Chronologically Arranged Listing of Publications page. That one contains around 350 entries (as of May 2020) while this one counts over 400 in all. [Please click on the image for enlargement.]

The discrepancies begin with a different start year, owing to the inclusion of articles I’d delisted in the blog version as juvenilia. One difficulty in the method is that it counts any single publication as one. This could range from short reports to books. The 1990s drought, for example, owes to the fact that I’d been writing academic papers during graduate school – many of which got compiled in an encyclopedia as well as in books of mine, accounting for two years’ sudden spikes – alongside my doctoral dissertation (one final spike, in 2017, stemmed from the printing of a second edition of the aforementioned encyclopedia). I noticed as well that the years when I needed to adjust to non-writing jobs tended, logically enough, to impinge on my productivity, requiring a few couple of years for me to bounce back.

What struck me about the chart was the apparent high yield during the late 1980s, exceeding my freelance period of 1980-81. From personal experience, however, it felt like I was doing more writing recently than I ever had before – and again, it all boiled down to the question of the nature of output. With my tenured status in a more supportive non-Philippine educational institution, I was able to devote more time to writing, but these focused on academic articles and an occasional book volume.

The surest way of determining productivity would be by performing a word count of each entry and tabulating word output per year. That would of course require the kind of dedication to positivist projects that I can no longer muster. A less difficult means would be to count number of pages instead – a predicament for the articles whose copies I no longer possess, and a challenge that requires patience and obsession and time to spare (none of which I have enough of right now). As of this writing (December 2018), the last two years in the chart still have to transpire, so some of the items being counted are finished works awaiting publication, or planned output that I have announced. I imagine (though I don’t hope) that I might be writing to my end of days, so the definitive version of this study, assuming it’s worth completing, may just have to be undertaken by others.

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Chronologically Arranged Listing of Publications

Warning: you might find this (incomplete but still-growing) section too extensive for casual browsing.

A number of entries may appear bloated because of my insistence in tracking where they may have been reprinted; similarly, the reprints would be extended by the acknowledgments of original publication. I do not hold copies any longer of everything listed here. The claim I can make, however, is that each entry existed in a legally definable published format (including on the internet) that I once laid eyes on, if not actually possessed, except for a number of reviews whose non-publication arose from the editor’s backward orientation or the periodical’s inability to come out. When I realized that I would have to leave most of my collected materials behind to commence graduate studies abroad, I endeavored to list everything I had – a wise decision, since nearly the entirety of my possessions were either pilfered or damaged by the time I returned. My work as university faculty similarly inculcated in me the discipline of summarizing my output every yearend.

Pointedly missing from this list are three types of mimeographed material, some of which I was able to jot down, as well as news items generated in my capacity as journalism intern or reporter. The latter were contractually anonymized although my initials started appearing as taglines in some of the later published material; but the requirement of writing up to four reports a day, none of which were guaranteed to see print unless a desk editor happened to favor them, resonates in the most disagreeable way with me. Of the mimeo publications, one was legitimate but literally juvenile: my stint as editor-in-chief of the low-end student paper of my public elementary school (during the time when such institutions were markedly superior to private schools, which I had also attended). The other two types, where I first made use of pseudonyms, were juvenile in other senses: college-era fundamentalist-Christian newsletters and orthodox-Marxist underground propaganda, both types of which are, for better or worse, still around, and not much different from each other, if I may speak from experience.

To jump to half-decade marks, please click here for: 1980; 1985; 1990; 1995; 2000; 2005; 2010; 2015. To find an entry’s link in the blog, enter the title in the Search box in the footer (for the website version). Or track the source of the article using these means of identification: book titles (including anthologies and conference proceedings) in Books; journal and non-journal titles in Articles; non-journal periodicals after 2016 and independent statements in Remarks; and all other unclassifiable texts in Extras. If you’re searching for any number of commentaries on film, book, or stage titles, I recommend you look them up in Reviews instead, or in Auteurs & Authors if you prefer to search according to artist. For a tentative evaluation of these listings as data entries, I prepared a page titled Empiricals.

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1974

David, Jose Hernani S. “Facing the Drug Abuse Problem.” “Piece of Mind” column. Ang Aninag (July-September 1974): 12.

———. “Of Population Boom and Errata.” “Deliberations” column. Ang Aninag (October-December 1974): 3.

———. “Eva Fernandez.” “Camera On” feature. Ang Aninag (October-December 1974): 5.

———. “Animal Farm: A Fairy Story by George Orwell.” Book review. Ang Aninag. (October-December 1974): 6.

———. “Lidy Nacpil.” “Camera On” feature. Ang Aninag (Christmas 1974): 3.

———. “But for the Lovers by Wilfrido Nolledo” and “Magister Ludi (The Glass Bead Game) by Hermann Hesse, translated by Richard and Clara Winston.” Book reviews. Ang Aninag (October-December 1974): 4.

1975

David, Jose Hernani S. “Trivia.” “Deliberations” column. Ang Aninag (January-February 1975): 3.

1978

David, Joel. “A New Twist to an Old Game.” “Common People” section. Who? [weekly magazine] (May 20, 1978): 6-7.

David, J. Hernani S. “The Student Regent: Work to Do.” “Winning Editorials (Topic: ‘Student Regent, Tuition Fee Hike and Minimum Wage’)” feature. Philippine Collegian [University of the Philippines official weekly student newspaper] (June 16, 1978): 3.

———. “Changes We’d Like to See.” “Innovations” column, “based on the editor’s entry to the layout phase of this year’s editorial exams.” Philippine Collegian (June 16, 1978): 8, 6.

———. “Today’s Press Systems: Four Tunes Western Theorists Sing.” Book review of Four Theories of the Press by Fred S. Siebert, Theodore Peterson, and Wilbur Schramm. Philippine Collegian (June 23, 1978): 3, 6.

———. “Pressed Freedom.” Editorial. Philippine Collegian (June 23, 1978): 8.

———. “Question Time.” “Tugon” column. Philippine Collegian (July 12, 1978): 8.

———. “The Fire Cure.” “Tugon” column. Philippine Collegian (July 20, 1978): 8.

———. “Birds of Omen.” Film review of Pagputi ng Uwak, Pag-itim ng Tagak dir. Celso Ad. Castillo. Philippine Collegian (July 26, 1978): 3, 6. Anthologized in The Urian Anthology 1970-1979, ed. Nicanor G. Tiongson (Manila: Morato, 1983) 268-71.

———. “A Semestral Carol.” “Tugon” column. Philippine Collegian (August 9, 1978): 8.

———. “Low Flight.” “Tugon” column. Philippine Collegian (September 8, 1978): 8.

———. “Youths Stage September 21 Rally.” Interpretive report. Campus Journal [University of the Philippines Institute of Mass Communication semestral laboratory newspaper] (October 2, 1978): 1, 6.

———. “A Clockwork Crimson.” “Tugon” column. Philippine Collegian (October 4, 1978): 12, 10.

———. “Behind Bicutan.” “Tugon” column. Philippine Collegian (November 16, 1978): 8.

1979

David, J. Hernani S. “When Enough is Enough.” “Tugon” column. Philippine Collegian (January 25, 1979): 8.

———. “The Provisional Directorate of the Diliman Commune, Feb. 1-9, 1971: 9 Days that Shook the Campus.” Feature article. Philippine Collegian (February 2, 1979): 7. Revised and published in The Review (February 1981): 6-11.

———. “NPC Under Water.” “Tugon” column. Philippine Collegian (February 2, 1979): 12.

———. “Oil Mighty.” “Tugon” column. Philippine Collegian (February 22, 1979): 8.

———. “Winning Editorials: Student Participation in University Affairs.” Philippine Collegian (March 2, 1979): 7.

———. “Oil Mighty II.” “Tugon” column. Philippine Collegian (April 20, 1979): 4.

David, Jose Hernani Segovia. “The Events in the Diliman Campus on February 1-9, 1971: A Historical Study.” Undergraduate thesis for B.A. Journalism. Bridget Zubiri, adviser. University of the Philippines, April 1979.

David, Joel. “Focus on the BPI Economic Garden.” Feature article. Greenfields 9.11 (November 1979): 40-45; with sidebar “The Plant Propagators,” 44-45.

David, Jose Hernani S., and Miguel Y. Puzon. “Introducing Fiberglass Fishing Boats in the Philippines.” “Research Features” section. Fisheries Today [Fishery Industry Development Council quarterly magazine] (November 4, 1979): 49-50.

David, Jose Hernani S. “Valiant Try.” Film review of Aliw, dir. Ishmael Bernal. Who (submitted November 1979). Anthologized in The National Pastime: Contemporary Philippine Cinema (Pasig City: Anvil, 1990).

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1980

David, Jose Hernani S. “Malou Mangahas: Child of the Seventies.” “Campus” feature. Who [Who? renamed] (January 5, 1980): 32-33, 35.

———. “Rumpus at the International School.” “Campus” feature. Who (January 19, 1980): 1, 7. Original published as “At the International School: A Striking Story,” Philippine Collegian (January 23, 1980): 1, 7.

David, Joel. “A Festival to Forget.” “The Arts” feature, omnibus film review of 1979 Metro Manila Film Festival entries. Who (January 19, 1980): 40, 42.

David, Jose Hernani S. “At the International School: A Striking Story.” Interpretive report. Philippine Collegian (January 23, 1980): 1, 7.

———. “The World According to Aguila.” “Entertainment” feature, film review of Aguila, dir. Eddie Romero. Who (February 2, 1980): 44, 46. Anthologized in The National Pastime: Contemporary Philippine Cinema (Pasig City: Anvil, 1990) 20-23 and in The Urian Anthology 1980-1989, ed. Nicanor G. Tiongson (Quezon City: Tuviera, 2001) 142-45.

———. “A Clockwork Yellow.” “The Arts” feature, film review of The China Syndrome, dir. James Bridges. Who (February 22, 1980): 24-25, 42.

———. “The Night the Critics Gave Out Their Awards.” Interpretive report. Philippines Daily Express (March 4, 1980): 20-21.

———. “Why Aguila Was a Success at the Box-Office.” Interpretive report. Philippines Daily Express (March 6, 1980): 20-21.

———. “The World is a Newspaper.” Column. Tinig ng Plaridel [University of the Philippines Institute of Mass Communication official newspaper] (March 19, 1980): 8. Rpt. in Who (June 7, 1980): 42.

———. “Lighting Up the Countryside: Lesson in Rural Electrification.” Book review of Lighting Up the Countryside: The Story of Electric Cooperatives in the Philippines by Frank H. Denton. Daluyan [Development Academy of the Philippines bimonthly magazine] 80.1 (May-June 1980): 34- 39.

David, Joel. “Cartooning in the Philippines: A Win, Lose, and Draw Proposition.” “The Arts” feature, critical interviews of Willy Aquino, Pol Galvez, and Boy Togonon. Who (May 17, 1980): 27-29.

———. “Star-Building Pays.” Critical interviews of Dr. Rey de la Cruz, Jesse Ejercito, and Douglas Quijano. Times Journal (May 26, 1980): 21, 23.

David, Jose Hernani S. “The World is a Newspaper.” “Essay” feature. Who (June 7, 1980): 42. Originally published in Tinig ng Plaridel (March 19, 1980): 8.

———. “Second Thoughts on Kramer vs. Kramer.” Film review of Kramer vs. Kramer, dir. Robert Benton. Parade [Sunday supplement of Times Journal] (June 8, 1980): 5. Originally titled “Kramer vs. Women.”

———. “Star-Crossed.” Film review of Star Trek: The Motion Picture, dir. Robert Wise. Parade (June 15, 1980): 20.

———. “Palaban Puts Up a Decent Fight.” Film review of Palaban, dir. Eddie Romero. Times Journal (June 28, 1980): 23. Anthologized as “A Decent Fight” in The National Pastime 24-25.

———. “Rural Immersion for Career Executives.” Book review of The Indang Experience by Ledivina V. Cavino and Emma B. Vineza. Daluyan (July-August 1980): 46-48.

David, Joel. “In Bongga: Commercialism Triumphs Again.” Film review of Bongga Ka ’Day, dir. Maryo J. de los Reyes. Times Journal (August 1, 1980): 23.

David, Jose Hernani S. “Rural Organizations: In Search of Foolproof Answers.” Book review of Rural Organizations in the Philippines, ed. Marie S. Fernandez. Daluyan (November-December 1980): 36, 39.

David, Joel. “Just Another Brocka Film.” Film review of Angela Markado, dir. Lino Brocka. Times Journal (November 21, 1980): 28. Anthologized as “Just Another Exercise” in The National Pastime 175-78.

———. “Bernal’s Manila by Night Mangled.” Comparative report on Manila by Night (preview version) and City after Dark (censored version), dir. Ishmael Bernal. Times Journal (December 18, 1980): 25-26. Original published as “Manila by Night under the Knife: Those Scissors-Happy Censors Don’t Know What They’ve Missed,” Who (February 21, 1981): 28-29.

1981

David, Joel. “Local Cinema ’80: New Directions for a New Decade.” Yearend evaluation of Filipino films. The Review (January 1981): 13-17.

———. “Nine Days that Shook the Campus.” Feature article. The Review (February 1981): 6-11. Originally published in Philippine Collegian (February 2, 1979): 7; includes sidebar “A Loss Remembered,” feature on Pastor Mesina, Jr. as recounted by his parents.

———. “A Festival to Forget.” Interpretive report on Manila ’81 Event. The Review (February 1981): 51.

———. “Manila by Night Under the Knife: Those Scissors-Happy Censors Don’t Know What They’ve Missed.” Who (February 21, 1981): 28-29. Original of “Bernal’s Manila by Night Mangled,” Times Journal (December 18, 1980): 25-26.

———, transcriber and introducer. “A Review Exclusive: Manila by Night.” Original screenplay by Ishmael Bernal. The Review (March 1981): 23-41.

———. “Brocka’s Satire is Effective.” Film review of Kontrobersyal, dir. Lino Brocka. Times Journal (April 3, 1981): 21-22.

David, Joel, and Geselle Militante. “Student Activism through the Years.” Feature article. The Review (June 1981): 24-29. Includes as sidebar Roberto Z. Coloma, “The Continuing Myth.”

David, Joel. “The Value of Humility.” “Book shorts” review of Philippine Prehistory: An Anthropological Overview of the Beginnings of Filipino Society and Culture by F. Landa Jocano. The Review (June 1981): 61.

———. “Oversimplifying Class Conflicts.” “The Arts” film review of Burgis, dir. Lino Brocka. Who (August 1, 1981): 16.

———. “Our Critical Condition.” Fictional forum on Filipino film criticism. The Review (September 1981): 41-44. Derived from “How to Become a Film Critic,” Who (November 28, 1981): 27-29.

———. “Pinoy in Gangsterland.” Survey of Filipino gangster films. The Review (October 1981): 10-12.

———. “Hateful Love.” Film review of Endless Love, dir. Franco Zeffirelli. The Review (October 1981): 55-56. Originally titled “Brainless Love.”

———. “Sense (or Its Absence) in Censorship.” The Review (November-December 1981): 11-13.

———. “Exceptions.” Comparative film review of Kamakalawa, dir. Eddie Romero, and Kisapmata, dir. Mike de Leon. The Review (November-December 1981): 44-45. Anthologized in The National Pastime 28-31.

———. “How to Become a Film Critic.” “The Arts” feature. Who (November 28, 1981): 27-29. Original of “Our Critical Condition,” The Review (September 1981): 41-44.

1982

David, Joel. “Ragtime (USA), dir. Milos Forman.” Film review. The Review (February 1982): 13.

———. “Man of Iron (Poland), dir. Andrzej Wajda.” Film review. The Review (February 1982): 14-15.

———. “Insurgency in These Islands.” Feature article. The Review (March 1982): 28-31. Includes as sidebar “The 10-Point Program of the National Democratic Front,” rpt. from Southeast Asia Chronicle (May-June 1978).

———. “Holy Pain.” “Literary Folio” short story. Observer. [Sunday supplement of Times Journal, vice Parade] (May 16, 1982): 24-26. Anthologized in The Literary Apprentice 1981-1982 (Quezon City: UP Writers Club, 1982) 142-51.

———. “Waiting for Godard.” Film review of Batch ’81, dir. Mike de Leon. Who (June 16, 1982): 19-20. Anthologized in The National Pastime 32-34.

———. “Naked Debut.” Film review of Hubad na Gubat, dir. Lito Tiongson. The Review (August 1982): 43.

———. “Cinemasex.” Survey of Filipino sex films. Who (August 25, 1982): 20-22.

———. “Philippine Fisheries: A Fish-Eye View.” Feature article. The Review (September 1982): 23-25.

———. “Holy Pain.” Short story. The Literary Apprentice 1981-1982. University of the Philippines Writers Club anthology. Quezon City: UPWC, 1982. 142-51. Originally published in Observer (May 16, 1982): 24-26.

———. “Revolutionary from the Center.” The Review Corner interview with Nilo S. Tayag re the Daop Palad program. The Review (September 1982): 48.

———. “Big Hopes for Short Films.” The First Experimental Cinema of the Philippines’ Annual Short Film Festival [souvenir program] (November 16-21, 1982): 28-31. Rpt. Who (Nov. 24, 1982): 19-20.

1983

ALR Contributor. “Trends: A Fillip for Film Books.” Asiaweek [international weekly newsmagazine; in Literary Review section] (February 25, 1983): 46-47.

David, Joel. “In Defense of Oro.” Opening installment of comparative review of Oro, Plata, Mata, dir. Peque Gallaga, and Moral, dir. Marilou Diaz-Abaya, in Eddie Pacheco’s “Simply Divine” column. Sunday Special, supplement of Times Journal (May 1, 1983): 10. Originally titled “Transcendence” and anthologized in The National Pastime 106-09.

———. “Transcendence.” Concluding installment of comparative review of Oro, Plata, Mata, dir. Peque Gallaga, and Moral, dir. Marilou Diaz-Abaya, in Eddie Pacheco’s “Simply Divine” column. Sunday Special (May 8, 1983): 10. Anthologized in The National Pastime 106-09.

———. “Filipino Films Well-Received in Moscow.” Interview with Ishmael Bernal re Himala. Times Journal (July 10, 1983): 20, 19.

———. “Maestro Bandido: Refreshing Change, Precious Insights.” Film review of Maestro Bandido, dir. Reginald King. Times Mirror, afternoon newspaper of Times Journal (Aug. 15, 1983): 8.

———. “Repression and Rebellion.” Film review of Pedro Tunasan, dir. Celso Ad. Castillo. Jario Scenario, official monthly newsletter of the Experimental Cinema of the Philippines (September 1983): 4.

———. “An Everyday Tragedy.” Feature. Jario Scenario (September 1983): 3, 6.

———. “Dope Godfather: Petty, Deficient.” Film review of Dope Godfather, dir. Junn P. Cabreira. Times Mirror (September 13, 1983): 8.

———. “ECP: Indispensable to Movie Industry.” “Special Report on Film Industry” in Supplement section. Manila Evening Post, afternoon daily newspaper (September 28, 1983): 5.

———. “Pagputi: Birds of Omen.” “The New Cinema” section, film review of Pagputi ng Uwak, Pag-itim ng Tagak dir. Celso Ad. Castillo. The Urian Anthology 1970-1979, ed. Nicanor G. Tiongson (Manila: Morato, 1983) 268-71. Originally published in Philippine Collegian (July 26, 1978): 3, 6.

1984

David, Joel. “Perseverance in a Neglected Dimension.” Interview with soundperson Ramon Reyes. Diliman Review 32.2 (March-April 1984): 66-72. Includes sidebar “Partial Filmography” 69.

———. “Scenario.” Editor’s introduction. SineManila, maiden issue of Experimental Cinema of the Philippines film journal (July-September 1984): 1.

———, introducer and translator. “The Screenplay of ‘Ang Magpakailanman,’” Raymond “Goto” Red, screenwriter. SineManila (July-September 1984): 14-20. Rpt. without credit in Nick Deocampo, Short Film: Emergence of a New Philippine Cinema (Metro Manila: Communication Foundation for Asia, 1985) 143-48.

———. “Critics’ Quarterly Citations.” Report. SineManila (July-September 1984): 44.

———. “Manila Short Film Competition.” Report. SineManila (July-September 1984): 44.

———. “The Critic as Creator.” Interview with Pio de Castro III. Philippine Collegian (December 4, 1984): 4, 7.

Deloso, Rollie. “Review: Misteryo sa Tuwa.” Film review of Misteryo sa Tuwa, dir. Abbo Q. de la Cruz. Bulletin Today (December 28, 1984): 27.

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1985

David, Joel. “Historical Lessons.” Film review of Virgin Forest, dir. Peque Gallaga. Manila Standard (submitted 1985): unpublished. Anthologized in Millennial Traversals, Part I: Traversals within Cinema 60-61. Posted online.

———. “Major Bid.” Film review of Bulaklak sa City Jail, dir. Mario O’Hara. Tinig ng Plaridel (submitted 1985): unpublished. Anthologized in The National Pastime 100-02 and in The Urian Anthology 1980-1989 203-05.

———. “Bulaklak sa City Jail.” Excerpt of unpublished film review of Bulaklak sa City Jail, dir. Mario O’Hara. Ikasiyam na Gawad Urian, MPP souvenir program (March 15, 1985): n.p. Erroneously attributed to “Tinig, a UP publication.”

———. “Search Point.” Personal essay. Ang Aninag (October 1985): 4, 7. Originally titled “Searchpoint.”

1986

David, J. Hernani. “Censorship and Other Compromises.” New Day, weekend supplement of Business Day (September 15, 1986): 13. Anthologized in The National Pastime 40-41.

David, Joel. “Mike de Leon at His Best in Bilanggo sa Dilim.” Film review of Bilanggo sa Dilim, dir. Mike de Leon. New Day (September 22, 1986): 15. Includes sidebar “Mike de Leon Filmography” 15. Anthologized as “Return to Form” (without sidebar) in The National Pastime 35-37 and in The Urian Anthology 1980-1989 256-59.

———. “A Film Writer’s Experience.” Interview with Ricardo Lee. New Day (September 29, 1986): 13.

———. “The Fantasy World of Rey de la Cruz.” Interview. New Day (October 6, 1986): 12, 14.

———. “Underground, in the Heat of the Night.” Interpretive report on Filipino pornographic komiks. New Day (October 13, 1986): 17. Anthologized in The National Pastime 154-57.

———. “Triumph of 16mm. Film.” “Fantalk” column, film review of Damortis, dir. Briccio Santos. New Day (October 20, 1986): 13. Anthologized as “Triumph in 16mm.” in The National Pastime 71-74.

———. “The Business of Pleasure in ’Gapo.” Interpretive report on Olongapo City. New Day (October 27, 1986): 13-14.

———. “Where Have All Horror Films Gone?” Survey of Filipino horror films. New Day (November 3, 1986): 13. Anthologized as “Where Has All the Horror Gone?” in The National Pastime 50-52.

———. “School Lures Film Buffs to Pioneer UP Course.” New Day (November 10, 1986): 13.

———. “Local Cinema in Today’s Mass Media.” Philippines Communication Journal [quarterly publication of the University of the Philippines Institute of Mass Communication] 1 (December 1986): 69-71. Anthologized as “Film Since February 1986” in The National Pastime 120-23.

Legaspi, Jojo. “Epic Grandstanding.” Film review of The Mission, dir. Roland Joffe. National Midweek (December 10, 1986): 40(?).

1987

Legaspi, Jojo. “Exploring the World of Dreams.” Film review of Dreamscape, dir. Joseph Ruben. National Midweek (January 7, 1987): 49.

———. “Ten Years of the Metro Filmfest.” National Midweek (January 28, 1987): 39-40.

———. “Niño’s Comeback.” Film review of Kontra Bandido, dir. J. Erastheo Navoa. National Midweek (February 11, 1987): 41. Anthologized in The National Pastime 86-87.

———. “Waiting for a Renaissance.” 1986 yearend evaluation of Filipino films. National Midweek (February 11, 1987): 42-43.

———. “The Return of the Melodrama.” Film review of Kung Aagawin Mo ang Lahat sa Akin, dir. Eddie Garcia. National Midweek (March 18, 1987): 45. Anthologized as “Return of the Melodrama” in The National Pastime 132-33.

David, Joel. “Film Book Publishing.” Philippines Communication Journal 3 (June 1987): 76-79. Rpt. as “Film Books,” National Midweek (December 9, 1987): 34-35.

———. “Searching for Options.” Film review of Kid … Huwag Kang Susuko!, dir. Peque Gallaga. National Midweek (August 19, 1987): 37-38. Anthologized in The National Pastime 110-11.

———. “Mid-Year in Review.” 1987 mid-year evaluation of Filipino films. National Midweek (August 26, 1987): 41-42.

———. “O’Hara Strikes Again.” Film review of Tatlong Ina, Isang Anak, dir. Mario O’Hara. National Midweek (September 2, 1987): 40-41. Anthologized in The National Pastime 103-05.

———. “Film Education Comes of Age.” National Midweek (September 16, 1987): 31-33.

———. “Secret Love.” Film review of Mga Lihim ng Kalapati, dir. Celso Ad. Castillo. National Midweek (September 23, 1987): 34.

———. “Romero’s Flip-Flop.” Film review of Hari sa Hari, Lahi sa Lahi, dir. Eddie Romero for Philippine version and Hsiao Lang and Chou Lili for Chinese version. National Midweek (September 23, 1987): 35. Anthologized in The National Pastime 26-27.

———. “Gay Days.” Film review of Ako si Kiko, Ako si Kikay, dir. Mike Relon Makiling. National Midweek (September 30, 1987): 33-34. Anthologized as “Gross, Gaudy, & Gay” in The National Pastime 88-90.

———. “Classics for College Kids.” National Midweek (October 7, 1987): 32-33.

———. “Mellow Drama.” Film review of Paano Kung Wala Ka Na, dir. Mel Chionglo. National Midweek (October 14, 1987): 36. Anthologized in The National Pastime 134-35.

———. “Grave Burden.” Film review of Pasan Ko ang Daigdig, dir. Lino Brocka. National Midweek (October 21, 1987): 34.

———. “People Power & Cinema.” National Midweek (October 28, 1987): 36. Anthologized as “People-Power Cinema” in The National Pastime 124-26 and as “People Power and Cinema” in The Urian Anthology 1980-1989 56-59.

———. “Regal Fest.” 1987 Regal Films retrospective National Midweek (submitted November 1987): unpublished.

———. “Movie Worker.” Autobiographical account for cover feature on theme “Ordinary People.” National Midweek (November 4, 1987): 15-16.

———. “Bloody Fine.” Film review of The Untouchables, dir. Brian De Palma. National Midweek (November 11, 1987): 36, 44.

———. “Earthbound.” Film review of Pinulot Ka Lang sa Lupa, dir. Ishmael Bernal. National Midweek (November 18, 1987): 36.

———. “Child’s Play.” Film review of Takot Ako, Eh!, dir. Mario O’Hara. National Midweek (November 25, 1987): 34-35. Anthologized in The National Pastime 94-96.

———. “Preeminence of Film as Artistic Mass Medium.” Philippines Communication Journal 5 (December 1987): 43-48. Originally titled “Reflections on a National Pastime”; includes sidebar “Filmography of Titles Cited” 48.

———. “Home Sweet Home.” Theater review of Elsa Martinez Coscolluela’s Sa Tahanan ng Aking Ama, translated by Raul Regalado. National Midweek (December 2, 1987): 34-35. Anthologized in The National Pastime 158-60.

———. “Reactions to UP Film Major’s Letter.” “Feedback” section, addressed to “My dear Mr. UP Film Major.” National Midweek (December 2, 1987): 42-43.

———. “Film Books.” National Midweek (December 9, 1987): 34-35. Originally published as “Film Book Publishing” in Philippines Communication Journal 3 (June 1987): 76-79.

———. “Failed-Safe.” Film review of Walang Karugtong ang Nakaraan, dir. Leroy Salvador. National Midweek (December 16, 1987): 33. Anthologized in The National Pastime 136-37.

———. “The Devil to Pay.” Film review of The Witches of Eastwick, dir. George Miller. National Midweek (December 23, 1987): 35-36.

1988

David, Joel. “Perils of Politics.” Film review of A Dangerous Life, dir. Robert Markowitz. National Midweek (submitted 1988): unpublished. Anthologized in The National Pastime 78-80.

———. “A Festival to Forget.” 1987 Metro Manila Film Festival evaluation. Conjuncture [Institute for Popular Democracy publication] 1.4 (January 1988): 8.

———. “Chauvinist’s Nightmare.” Film review of Kumander Gringa, dir. Mike Relon Makiling. National Midweek (January 13, 1988): 33-34. Inside pages erroneously bear “1987” as year. Anthologized in The National Pastime 91-93 and in The Urian Anthology 1980-1989 136-39.

———. “The Curse of Good Intentions.” 1987 Metro Manila Film Festival evaluation. National Midweek (January 20, 1988): 29-31.

———. “Movie(?) of ’87.” Film review of Film Trilogy on the Theme of Poverty and Prostitution, dir. Rosa ng Maynila. National Midweek (January 27, 1988): 29-30. Anthologized as “Movie(?) of the Year” in The National Pastime 75-77 and in The Urian Anthology 1980-1989 260-63.

———. “Bad Takes for the Film Industry,” Conjuncture 1.5-6 (February-March 1988): 8.

———. “’87 in Review: Quo Vadis?” 1987 yearend evaluation of Filipino films. National Midweek (February 3, 1988): 30-31.

———. “Image-Building.” Film review of Huwag Mong Itanong Kung Bakit, dir. Eddie Garcia. National Midweek (February 3, 1988): 31-32.

———. “Down But Not Out.” Comparative film review of Nektar, dir. Francis “Jun” Posadas, and Tubusin Mo ng Dugo, dir. Pepe Marcos. National Midweek (February 17, 1988): 28-29. Anthologized in The National Pastime 56-58.

———. “Reversals.” Film review of Misis Mo, Misis Ko, dir. Carlos Siguion Reyna. National Midweek (March 2, 1988): 35-36. Anthologized in The National Pastime 138-40 and in The Urian Anthology 1980-1989 238-40.

———. “Renewal of Appreciation.” Film review of Manila by Night, dir. Ishmael Bernal. National Midweek (March 16, 1988): 4-5. Anthologized in The National Pastime 169-71.

———. “Moments of Truth.” Comparative film review of Anak ng Cabron, dir. Wilfredo Milan, and Afuang: Bounty Hunter, dir. Mike Relon Makiling. National Midweek (March 23, 1988): 29-30. Anthologized in The National Pastime 59-61.

———. “Form and Function.” Comparative film review of Silent Voice, dir. Mike Newell, and Full Metal Jacket, dir. Stanley Kubrick. National Midweek (April 6, 1988): 30-31.

———. “Komiks Without Pain.” Film review of Saan Nagtatago ang Pag-ibig?, dir. Eddie Garcia. National Midweek (April 13, 1988): 31.

———. “Balancing Acts.” Film review of Hati Tayo sa Magdamag, dir. Lupita A. Kashiwahara. National Midweek (April 27, 1988): 29-30.

———. “Slow Train to Thailand.” Interpretive report on contemporary Thai film scene. National Midweek (July 20, 1988): 20-22.

———. “Studious Studios.” Interpretive report on re-emergence of Filipino studio system. National Midweek (July 20, 1988): 30-31. Anthologized in The National Pastime 126-28.

———. “Progressions, Retrogressions.” Comparative film review of Isusumbong Kita sa Diyos, dir. Emmanuel H. Borlaza, Kapag Napagod ang Puso, dir. Maryo J. de los Reyes, and Nagbabagang Luha, dir. Ishmael Bernal. National Midweek (August 24, 1988): 31-32. Originally titled “Progressions” and anthologized in The National Pastime 141-43.

———. “Bioflicks.” Comparative film review of Operation: Get Victor Corpus, the Rebel Soldier, dir. Pablo Santiago, Balweg: The Rebel Priest, dir. Butch Perez, and Kumander Dante, dir. Ben (M-7) Yalung. National Midweek (October 26, 1988): 29-30. Anthologized in The National Pastime 62-64.

———. “Campout.” Comparative film review of Natutulog Pa ang Diyos, dir. Lino Brocka, Paano Tatakasan ang Bukas, dir. Emmanuel H. Borlaza, and Sa Puso Ko Hahalik ang Mundo, dir. Artemio Marquez. National Midweek (November 9, 1988): 33. Anthologized in The National Pastime 144-46.

———. “Causes for Cerebration.” Comparative film review of Tiyanak, dir. Peque Gallaga and Lorenzo Reyes, and Babaing Hampaslupa, dir. Mel Chionglo. National Midweek (December 21, 1988): 28-29. Anthologized in The National Pastime 53-55.

———. “Perils of Politics.” Unpublished film review of A Dangerous Life, dir. Robert Markowitz. Submitted to National Midweek, 1988. Anthologized in The National Pastime 78-80.

1989

David, Joel. “To Give Critical Support to Filmmakers.” Kultura. Quarterly journal of the Sentrong Pangkultura ng Pilipinas. 2.1 (1989): 52-56. Originally titled “Film Reviewing and Film Criticism” and anthologized as “Film Reviewing and Criticism” in The National Pastime 42-47.

———. “Filmfest Flimflam.” 1988 Metro Manila Film Festival evaluation. National Midweek (January 18, 1989): 8-9. Originally titled “Filmfest Flimflammery”; with cover citation and sidebar “MMFF Winners” 9.

———. “Local Cinema ’88.” 1988 yearend evaluation of Filipino films. National Midweek (January 25, 1989): 28-29.

———. “Film-Writing.” Book review of Ricardo Lee’s Si Tatang at mga Himala ng Ating Panahon. National Midweek (February 8, 1989): 27-28. Anthologized in The National Pastime 161-62. Excerpted in Ricky Lee, Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda (Quezon City: Writers Studio Foundation, 2009) 11.

———. “Roño’s Rondos.” Comparative film review of Itanong Mo sa Buwan and Si Baleleng at ang Gintong Sirena, dir. Chito Roño. National Midweek (March 1, 1989): 29-30. Anthologized as “Roño’s Rondo,” excluding Si Baleleng review, in The Urian Anthology 1980-1989 236-37.

———. “High-Flying.” Video review of Imelda: Paruparong Bakal, dir. Chito Roño. National Midweek (March 15, 1989): 32. Anthologized in The National Pastime 81-82.

———. “Macho Dancer: Text vs. Texture.” Cover story, film review of Macho Dancer, dir. Lino Brocka. Kultura 2.2 (1989): 26-33. Originally titled “Text vs. Texture” and anthologized in The National Pastime 179-84.

———. “Empire of the (Risen) Sun.” Cover topic, interpretive report on contemporary Japanese film scene. National Midweek (April 12, 1989): 3-7.

———. “An Awakening.” Film review of Pahiram ng Isang Umaga, dir. Ishmael Bernal. National Midweek (April 12, 1989): 32. Anthologized in The National Pastime 172-74.

———. “Short Subjects.” Comparative film review of Mga Kuwento ng Pag-ibig, dir. Jun Cabreira, Luciano Carlos, and Artemio Marquez, and 3 Mukha ng Pag-ibig, dir. Emmanuel H. Borlaza, Lino Brocka, and Leroy Salvador. National Midweek (May 10, 1989): 28-29. Anthologized in The National Pastime 68-70.

———. “Life after Life.” Comparative film review of Mississippi Burning, dir. Alan Parker, and They Live, dir. John Carpenter. National Midweek (June 21, 1989): 29-30.

David, Jose Hernani S. “Ethics First (Rather than Aesthetics).” The National Pastime 190-97. Originally read at the Aspects of Philippine Film panel of the Third International Philippine Studies Conference. Quezon City, 1989.

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1990

David, Joel. The National Pastime: Contemporary Philippine Cinema. Pasig City: Anvil, 1990.

———. “A Second Golden Age: An Informal History.” The National Pastime 1-17. Originally published in Kultura.

———. Reviews and essays. The National Pastime. Originally published in various print outlets.

——— [uncredited]. “After the Revolution.” Film review of Orapronobis, dir. Lino Brocka. National Midweek (January 10, 1990): 28-29. Error in missing credit acknowledged in “Self-Criticism Department” (January 17, 1990): 43. Anthologized in The National Pastime 185-89.

———. “From ‘Sister Stella L.’ to ‘Starzan.’” 1980s Philippine cinema in review. National Midweek (January 24, 1990): 14-16.

———. “Slugged Out.” Comparative film review of Imortal, dir. Eddie Garcia, and Ang Bukas Ay Akin, dir. Laurice Guillen. National Midweek (January 31, 1990): 30-31. Anthologized in The National Pastime 147-50.

———. “Carnival Cinema.” Exhibition review of Cinevision 2000’s “Adventures of America.” National Midweek (February 7, 1990): 28-29. Anthologized in Fields of Vision 102-05.

———. “…And the First Shall Be the Last.” Film review of The Last Temptation of Christ, dir. Martin Scorsese. National Midweek (March 14, 1990): 31.

———. “’80s Foreign Fare.” 1980s foreign cinema in review. National Midweek (March 28, 1990): 28-29.

———. “No End in Sight.” Film review of Kung Tapos Na ang Kailanman, dir. Lino Brocka. National Midweek (March 28, 1990): 29-30. Anthologized in Fields of Vision 62-65.

———. “Bienvenido Lumbera.” Interview (cover title “Critic in Academe). National Midweek (April 4, 1990): 20-22, 46.

———. “Levels of Independence.” Attempted definition of indie cinema. National Midweek (April 25, 1990): 29-30.

———. “Soldier Blues.” Film review of Casualties of War, dir. Brian De Palma. National Midweek (May 9, 1990): 29.

———. “Ma(so?)chismo.” Comparative film review of Barumbado, dir. Willy Milan, and Kasalanan ang Buhayin Ka, dir. Francisco “Jun” Posadas. National Midweek (May 23, 1990): 30. Anthologized in Fields of Vision 82-84.

———. “Firmament Occupation.” Discussion of star system. National Midweek (May 30, 1990): 29-30. Anthologized in Fields of Vision 114-16.

———. “I.O.U.” Film review of Kahit Singko Hindi Ko Babayaran ang Buhay Mo, dir. Jesus Jose. National Midweek (June 6, 1990): 31. Anthologized in Fields of Vision 85-87.

———. “Men & Myths.” Film review of Bala at Rosaryo, dir. Pepe Marcos. National Midweek (June 6, 1990): 31. Anthologized in Fields of Vision 80-82.

———. “Head Held High.” Film review of Gumapang Ka sa Lusak, dir. Lino Brocka. National Midweek (June 20, 1990): 28-29. Anthologized in Fields of Vision 65-68; and in The Urian Anthology 1990-1999, ed. Nicanor G. Tiongson (Quezon City: University of the Philippines Press, 2010) 148-51.

———. “Record-Breaking Blues.” Originally titled “Blues Hit Parade.” Discussion of blockbusters. National Midweek (June 27, 1990): 28. Anthologized in Fields of Vision 116-18.

———. “Film on Film.” Film review of Big Flick in the Sky, dir. Kenneth M. Angliongto. National Midweek (June 27, 1990): 29.

David, Joel, with Melanie Joy C. Garduño. “The 10 Best Filipino Films.” Cover story, titled “The 10 Best Filipino Films Ever Made.” National Midweek (July 4, 1990): 3-9. Anthologized as “Ten Best Filipino Films Up to 1990” in Fields of Vision 125-36.

David, Joel. “Gloria in Excessus.” Film review of Glory, dir. Edward Zwick. National Midweek (July 4, 1990): 30.

———. “Frontline.” Film review of Born on the Fourth of July, dir. Oliver Stone. National Midweek (August 22, 1990): 30.

———. “Cool Film.” Film review of Hot Summer, dir. Mel Chionglo. National Midweek (September 5, 1990): 29. Anthologized in Fields of Vision 51-53.

———. “Mudslung.” Comparative film review of Ibabaon Kita sa Lupa, dir. Toto Natividad, and Ayaw Matulog ng Gabi, dir. Carlo J. Caparas. National Midweek (September 19, 1990): 31. Anthologized in Fields of Vision 87-89.

———. “Demachofication.” Film review of Kristobal, dir. Francis “Jun” Posadas. National Midweek (September 26, 1990): 30. Anthologized in Fields of Vision 77-80.

———. “Worth the While.” Listing of “memorable” ’80s film scenes. National Midweek (September 26, 1990): 30-32. Anthologized in Fields of Vision 119-24.

———. “World’s Longest Footnote.” “From the author’s forthcoming Anvil Publishing volume, Contemporary Philippine Cinema: Reviews and Criticism [sic – title should read The National Pastime: Contemporary Philippine Cinema].” National Midweek (October 3, 1990): 30. Anthologized as “World’s Longest Prequel” in The National Pastime 198-99.

———. “Film Critics Speak.” “Prepared by Mike Feria, Patrick Flores, and the author as State of Criticism statement of the Young Critics Circle.” National Midweek (October 3, 1990): 32. Anthologized in Fields of Vision 80-82. Anthologized in Fields of Vision 107-09.

———. “Woman-Worthy.” Comparative film review of Kasalanan Ba’ng Sambahin Ka?, dir. Chito Roño, and Hahamakin Lahat, dir. Lino Brocka. National Midweek (October 17, 1990): 28-30. Anthologized in Fields of Vision 74-77.

———. “Classroom as Theater.” Discussion of film education policy. National Midweek (October 17, 1990): 31-32. Anthologized in Fields of Vision 105-07.

———. “Nothing Much about Ado.” Film review of Pido Dida (Sabay Tayo), dir. Tony Cruz. National Midweek (October 24, 1990): 28. Anthologized in The Urian Anthology 1990-1999, ed. Nicanor G. Tiongson (Quezon City: University of the Philippines Press, 2010) 136-37; and as “Family Affairs” in Fields of Vision 69-71.

———. “Updates.” Short discussions of the horror, sex, and action genres; melodrama; performers; formats; and media. National Midweek (October 24, 1990): 30. Anthologized in The National Pastime 65, 151, 97, 83, 163 resp.

———. “Movable Fists.” Comparative film review of Walang Awa Kung Pumatay, dir. Junn P. Cabreira, Iisa-Isahin Ko Kayo, Francis “Jun” Posadas, and Apoy sa Lupang Hinirang, dir. Mauro Gia. Samonte. National Midweek (November 28, 1990): 30. Anthologized in Fields of Vision 89-92.

———. “Sedulously Cebuano.” Film review of Eh … Kasi … Bisaya!, dir. Junn P. Cabreira. National Midweek (November 28, 1990): p. unkn. Anthologized in Fields of Vision 97-99.

———. “Film Reviewing and Criticism I,” “Film Reviewing and Criticism II,” & “Film Reviewing and Criticism III.” National Midweek (December 5, 12, & 26 [resp.], 1990): 29, 30, & 29-30 resp. Anthologized as “Film Reviewing and Criticism” in The National Pastime 42-47.

1991

David, Joel. “Sequacious and Second-Rate.” Comparative film review of Pido Dida 2 (Kasal Na), dir. Tony Cruz, and Anak ni Baby Ama, dir. Deo J. Fajardo Jr. National Midweek (submitted 1991): unpublished. Anthologized in Fields of Vision 71-74.

———. “Persistence of Vision.” Film review of Bakit Kay Tagal ng Sandali, dir. Chito Roño. National Midweek (submitted 1991): unpublished. Anthologized in Fields of Vision 47-51.

———. “No End in Sight.” Film review of Kung Tapos Na ang Kailanman, dir. Lino Brocka. National Midweek (submitted 1991): unpublished. Anthologized in Fields of Vision 62-65.

———. “Maryo J. and Mr. de los Reyes.” Comparative film review of My Other Woman and Underage Too, both dir. Maryo J. de los Reyes. National Midweek (submitted 1991): unpublished. Anthologized in Fields of Vision 44-47.

———. “Indigenous Ingenuity.” Film review of Andrea, Paano Ba ang Maging Isang Ina?, dir. Gil Portes. National Midweek (submitted 1991): unpublished. Anthologized in Fields of Vision 56-62.

———. “Directors-Editors.” Comparative film review of Kaaway ng Batas, dir. Pepe Marcos, and Angel Molave, dir. Augusto Salvador. National Midweek (submitted 1991): unpublished. Anthologized in Fields of Vision 41-44.

———. “Horse Yearender.” 1990 in review. National Midweek (February 27, 1991): 30.

———. “Class Clamorers.” Comparative film review of Too Young and Shake, Rattle & Roll II, dir. Peque Gallaga and Lore Reyes, and Biktima and Ama … Bakit Mo Ako Pinabayaan?, dir. Lino Brocka. National Midweek (February 13, 1991): 28-29. Anthologized in Fields of Vision 92-97.

———. “Great Philippine All-Time One-Shot Awards Ceremony.” National Midweek (February 20, 1991): 28-29. Anthologized as “All-Time One-Shot Awards Ceremony” in Fields of Vision 137-42.

———. “Three Careers.” Comparative film review of Umiyak Pati Langit, dir. Eduardo Palmos, Bago Matapos ang Lahat, dir. Joselito “Abbo” de la Cruz, and Ganito Ba ang Umibig?, dir. Laurice Guillen. National Midweek (March 27, 1991): 28-29. Anthologized in Fields of Vision 37-41.

1992

David, Joel. “Adaptation Comes of Age.” Opera review of Giacomo Puccini’s La Bohéme, dir. Rolando Tinio. Manila Standard (submitted 1992). Anthologized in Millennial Traversals, Part II: Expanded Perspectives 1-3. Posted online.

———. “Some Words on Film Awards.” Mediawatch. [N.d. 1992?]: [Pp. undetermined, 3 pp. + 2-p. sidebar titled “List of Film Awards for 1991 Productions].

———. “Black and Blue and Red.” Film review of Bayani, dir. Raymond Red. Manila Standard (July 1, 1992): 19.

1993

David, Jose Hernani S. “Fictions in Flux: Documentary Dimensions of Philippine Cinema.” Paper read at the Documenting Fictions: Documentary Dimensions of the Fiction Film conference sponsored by the Centre Universitaire de Luxembourg American Studies Center, Clark European Center in Luxembourg, Fondation Promomedia, Bibliotheque Nationale, Cinematheque Municipale, and the American Embassy. Luxembourg City, 1993.

———. “Queer Representation in Philippine Cinema.” Paper read at the Lesbian, Gay, Bisexual, and Transgender Community Center sponsored by the Gay Asian & Pacific Islander Men of New York. New York, 1993.

1994

David, Joel. Various entries for Philippine Film, vol. 8 of the CCP Encyclopedia of Philippine Art, ed. Nicanor G. Tiongson (Manila: Cultural Center of the Philippines, 1994): “Aksyon” (with Lynn Pareja) 82-83; “Animation” (with Lynn Pareja) 83-84; “Horror” (with Lynn Pareja) 90; “Komedi” (with Lynn Pareja) 90-91; “Musical” (with Lynn Pareja & Nicanor G. Tiongson) 92-93; “Acting” (with Justino Dormiendo) 96-97; “Cinematography” (with Nick Cruz) 105-07; “Distribution” (with Rosalie Matilac) 112-14; “Production” (with Nick Cruz & Rosalie Matilac) 124-28; “Sound Recording” (with Nick Cruz) 134-36; and “Studies and Training” (with Lynn Pareja) 136-37.

David, Joel. Various entries for Philippine Literature, vol. 9 of the CCP Encyclopedia of Philippine Art, ed. Nicanor G. Tiongson (Manila: Cultural Center of the Philippines, 1994): “Movie Times” 473; “Notes on Philippine Cinema” 475; “Readings in Philippine Cinema” 484-85; and “The Urian Anthology 1970-1979” 495.

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1995

David, Joel. Fields of Vision: Critical Applications in Recent Philippine Cinema. Quezon City: Ateneo de Manila University Press, 1995.

———. “The ‘New’ Cinema in Retrospect.” Fields of Vision 1-36. Anthologized in The Urian Anthology 1990-1999, ed. Nicanor G. Tiongson (Manila: University of the Philippines Press, 2010) 58-83.

1998

David, Joel. “A Question of Appositeness: Structuralism to Poststructuralism.” Wages of Cinema: Film in Philippine Perspective (Quezon City: University of the Philippines Press, 1998) 3-13.

———. “The Multiple-Character Film Format.” Wages of Cinema 14-25.

———. “Genre Pastiche in the Horror Film.” Wages of Cinema 26-37.

———. “Auteur Criticism: A Non-Recuperative Reappraisal.” Wages of Cinema 38-47. Originally read at the New York University Annual Student Conference (New York, 1994).

———. “A Cultural Policy Experience in Philippine Cinema.” Wages of Cinema 48-61. Originally read at the Socio-Politics of the Cinema of the Philippines panel at the Asian Cinema (Poetics & Politics) Annual Ohio University Film Conference (Athens, 1994).

———. “Viable Lessons From Another Third-World Model.” Wages of Cinema 65-79.

———. “Race as Discourse in Southeast Asia Film Ethnographies.” Wages of Cinema 80-91.

———. “Ideas in Philippine Film: A Critical Survey.” Wages of Cinema. 92-101. Originally read in altered form at the Pelikulang Pilipino: A Review of Contemporary Philippine Cinema forum at Columbia University, sponsored by Liga Filipina and Arkipelago (New York, 1994).

———. “Practice Makes Perfect: Alternative Philippine Cinema.” Wages of Cinema. 102-12. Originally read at the (In)Dependent Film Practice in a Third-World Setting panel of the Society for Cinema Studies Annual Conference (Syracuse, 1994).

———. “A History of the History of a History-To-Be.” Wages of Cinema. 113-28. Originally read at the PeregriNations: The Philippines as a Nation in Cinema panel of the Society for Cinema Studies Annual Conference (New York, 1995).

———. “Gender as Masquerade in the Vietnam-War Film.” Wages of Cinema 131-45. Originally read at the New York University Annual Student Conference (New York, 1995).

———. “Film in the Light of the ‘History’ of Sexuality.” Wages of Cinema 146-56.

———. “Pornography and Erotica: Boundaries in Dissolution.” Wages of Cinema 157-68.

———. “Womanliness as (Masculine) Masquerade in Psychoanalytic Film-Texts.” Wages of Cinema 169-79.

———. “Postcolonial Conundrum: Third-World Film in Perverse Perspective.” Wages of Cinema. 180-200. Originally read at the New York University Annual Student Conference (New York, 1996).

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1998

David, Joel. Wages of Cinema: Film in Philippine Perspective. Quezon City: University of the Philippines Press, 1998.

2000

David, Joel. “Philippine Film History as a Site of Postcolonial Discourse.” Geopolitics of the Visible: Essays on Philippine Film Cultures, ed. Rolando B. Tolentino (Quezon City: Ateneo de Manila University Press, 2000) 3-12.

2001

David, Joel. Reviews and essays. The Urian Anthology 1980-1989, ed. Nicanor G. Tiongson (Quezon City: Tuviera, 2001). Originally published in various print outlets.

2002

David, Jose Hernani Segovia. Primates in Paradise: The Multiple-Character Format in Philippine Film Practice (New York University, 2002 and Ann Arbor: University Microfilms International, 2002). UMI 3048810.

David, Joel. “Ten Best Films of All Time” contribution. Sight & Sound, British Film Institute magazine (September 2002): 29. Posted online.

2003

David, Joel. “A Certain Tendency: Europeanization as a Response to Americanization and Other Issues in the ‘Golden-Age’ Studio System.” Paper read at the Sangandaan: Arts and Media in Philippine-American Relations, 1899-2002 conference sponsored by the University of the Philippines and the Filipino American National Historical Society (Quezon City, 2003).

———. “Chosen Few: Minimal Multi-Character Patterns in Recent Filipino Films.” Paper read at the Freeze-Frame: New Issues in Philippine Cinema conference sponsored by the University of the Philippines Visayas Cebu College (Cebu City, 2003).

2004

David, Joel. “Sabel: Heaven in Mind.” Film review of Sabel, dir. Joel C. Lamangan. Philippine Star (July 11, 2004): E6. Posted online. Also posted online at Regalfilms.com. Rpt. as “They Don’t Make Films Like Sabel Anymore,” Philippine Daily Inquirer (July 13, 2004): A23.

———. “They Don’t Make Films Like Sabel Anymore.” Film review of Sabel, dir. Joel C. Lamangan. Philippine Daily Inquirer (July 13, 2004): A23. Also posted online at Inq7.net. Originally published as “Sabel: Heaven in Mind,” Philippine Star (July 11, 2004): E6.

———. “Literalized Communities: The Pinoy Milieu Movie’s Aesthetic and Social Dimensions.” Ramon Cojuangco Professorial Chair lecture read at the UP College of Mass Communication Faculty Colloquia (Quezon City, 2004).

———. “Multiple Choices, Multiple Voices: Critical Possibilities of the Milieu Movie.” Paper read at the 40th Communication Colloquium, Institute for Communication Arts & Technology, Hallym University (Chuncheon, Korea, 2004).

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2005

David, Joel. “Cutthroat Archipelago: Video Piracy in and around the Philippines.” Culture Industry and Cultural Capital: Transnational Media Consumption and the Korean New Wave in East Asia: Conference Proceedings, ed. Kim Shin-dong. Paper read at the Culture Industry and Cultural Capital: Transnational Media Consumption and the Korean New Wave in East Asia conference sponsored by the Institute for Communication Arts & Technology, Hallym University (Seoul, Korea, 2005).

———. “Introduction.” Ordinary People, Extraordinary Lives: A Folio by the Feature Writing Class, Fall Semester 2004-2005, School of Communication, Hallym University (Chuncheon: Hallym University, 2005) 3.

———. “Growing Old in New York (or Small World, Big Apple).” Personal essay. The Hallym Post 21 (May 2, 2005): 4.

———. “A Yearning for Tenderness: A Scenario for Korean Cinema.” Paper for “Waves from Korea and Japan in a Cross-Cultural Context” panel at the National, Transnational, and International: Asian Cinema in the Context of Globalization – Centennial Celebration of Chinese Cinema conference sponsored by the Shanghai University School of Film and TV Arts and Technology, Beijing University Department of Arts Studies, and (US) Asian Cinema Studies Society (Shanghai and Beijing, China, 2005).

2006

David, Joel. “Queer Shuttling: Korea – Manila – New York.” Queer Film and Video Festival Forum, Take Two: Critics Speak Out section. Ed. Chris Straayer and Thomas Waugh. GLQ: A Journal of Lesbian and Gay Studies 12.4 (2006): 614-17.

———. “Indochine and the Dynamics of Gender.” Proceedings of the Whither the Orient: Asians in Asian and Non-Asian Cinema Conference, Kimdaejung Convention Center, Gwangju, Korea, 28-29 October 2006, ed. Joel David (Seoul: Asia Culture Forum, 2006) 248-72.

———. “Indochine and the Politics of Gender.” Asian Journal of Women’s Studies 12.4 (Winter 2006): 61-93.

———. “Condemned Property: Film Piracy in the Philippines.” Paper read at The Film Scene: Cinema, the Arts, and Social Change conference sponsored by the Film Culture Project of the Department of Comparative Literature, Department of Music, and the Centre of Asian Studies, University of Hong Kong (Hong Kong, 2006).

2007

데이비드, 조엘. “필리핀의 냉전 영화정책” and “Cold-War Film Policy in the Philippines.” 동아시아 냉전문화의 역학: 1960~70년대 냉전기 동아시아 지역의 문화변동과 국민국가의 문화정치학 세미나, 성공회대학교 동아시아연구소, translator unknown (Seoul: Institute for East Asian Studies, SungKongHoe University, 2007) 74-86 and 186-99 resp. Paper read at the Dynamics of Cold War Culture in East Asia: Cultural Changes in the Region during the Cold War in the 1960s-70s and Cultural Politics of the Nation-State conference sponsored by the Institute for East Asian Studies, Sungkonghoe University (Seoul, 2007).

2008

David, Joel. “Awake in the Dark: Philippine Film During the Marcos Era.” Philippine Studies: Have We Gone Beyond St. Louis? ed. Priscelina Patajo Legasto (Quezon City: University of the Philippines Press, 2008) 227-43.

———. “The Cold-War and Marcos-Era Cinema in the Philippines.” Paper read at the 8th ASEAN Inter-University Conference on Social Development (Manila, 2008).

———. “Understanding Film.” Paper read at the University of the Philippines College of Mass Communication Faculty Colloquium (Quezon City, 2008).

———. “The Philippine Culture Industry (with Emphasis on Cinema).” Paper read at the Institute of Asian Studies Colloquium. SungKongHoe University (Seoul, 2008).

2009

David, Joel. “Translating Time: Cinema, the Fantastic, and Temporal Critique [by] Bliss Cua Lim, Durham: Duke University Press, 2009, 246+xiv pages.” Book review. Asian Journal of Women’s Studies 15.4 (Winter 2009): 124-32.

———. “Retrospective: Serbis Review.” Film review of Serbis, dir. Brillante Ma. Mendoza. Philippine Entertainment Portal (May 31, 2009). Posted online.

———. “A New Role for Korea in Asia.” Korea Times (June 2, 2009): 15. Posted online.

———. “Kim Dae-jung & the Aquinos.” Korea Times (August 24, 2009): 4. Posted online.

———. “Boses Is for the World.” Film review of Boses, dir. Ellen Ongkeko-Marfil. Philippine Daily Inquirer (October 16, 2009): F2. Posted online.

———. “Clueless Global Hybrid, Now Showing.” Film review of I Come with the Rain, dir. Tran Anh Hung. Pinoy Voices column. JungAng Daily (November 9, 2009): 11. Posted online.

———. “Heartbreak in Mindanao.” Pinoy Voices column. JungAng Daily (December 14, 2009): 11. Posted online.

———. [“Film-Writing.”] Excerpt of book review. Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda by Ricky Lee. (Quezon City: Writers Studio Foundation, 2009) 11. Originally in National Midweek (February 8, 1989): 27-28.

———. “Context: An Introduction.” Hulmahan/Huwaran Atbp.: The Film Writings of Johven Velasco, ed. Joel David (Quezon City: University of the Philippines Press, 2009) ix-xiv.

데이비드, 조엘. “냉전시기필리핀의영화정책.” 냉전 아시아의 문화풍경 2: 1960~1970년대, trans. 김수현 (Seoul: Institute for East Asian Studies, SungKongHoe University, 2009) 277-96.

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2010

David, Joel. “A Few Insights into our Asian Casanovas.” Pinoy Voices column. JungAng Daily (January 25, 2010): 11. Posted online.

———. “The Sins of the Fathers.” Viewpoints (formerly Pinoy Voices) column. JungAng Daily (April 12, 2010): 11. Posted online.

———. “2 Guys Watching Avatar.” Viewpoints (formerly Pinoy Voices) column. JungAng Daily (March 8, 2010): unpublished. Anthologized in Millennial Traversals, Part I: Traversals within Cinema 154-57. Posted online.

———. “Sighs and Whispers.” Film review of Biyaheng Lupa, dir. Armando Lao. Philippine Star (May 2, 2010): E2. Posted online.

David, Joel, and Ha Ju-Yong. “A Yearning for Tenderness in Korean Cinema.” Global Makeover: Media and Culture in Asia, ed. Danilo Araña Arao (Quezon City and Seoul: Development Center for Asia Africa Pacific and Asian Media and Culture Forum, 2010) 35-54.

David, Joel. “Orientalism and Classical Film Practice.” Global Makeover: Media and Culture in Asia, ed. Danilo Araña Arao (Quezon City and Seoul: Development Center for Asia Africa Pacific and Asian Media and Culture Forum, 2010) 139-54.

———. “Las edades de oro del cine Filipino: Una reevaluación crítica.” Cinema Filipinas: Historia, teoría y crítica fílmica (1999-2009), ed. Juan Guardiola ([Andalucía]: Juna de Andalucía, Consejería de Cultura Fundación El Legado Andalusí, [2010]) 37-48.

———. “The Golden Ages of Philippine Cinema: A Critical Reassessment.” Cinema Filipinas 217-24.

2011

David, Joel. “Primates in Paradise: Critical Possibilities of the Milieu Movie.” Kritika Kultura 17 (August 2011): 70-104. Posted online.

———. “Punch Tackles Fil-Korean’s Search for Mother.” Film review of Wandeugi, dir. Lee Han. ABS-CBNnews.com (November 28, 2011). Posted online. Rpt. in Chinese News of Las Vegas (November 28, 2011); Filipinos Abroad (November 27, 2011); H3 blog (November 28, 2011); MabuhayCity.com (November 28, 2011); Philippine Times of Southern Nevada (November 28, 2011); Saigon News of Las Vegas (November 28 2011); US News Las Vegas (November 28, 2011); US News Los Angeles (November 28, 2011) – all posted online.

2012

David, Joel. “The Dolphy Conundrum.” The FilAm (July 16, 2012). Posted online. Rpt. as “Kwentong Kapuso: The Dolphy ‘Riddle,’” GMA News Online (July 17, 2012), also posted online.

———. “Introduction.” Guest Editor’s introduction to Forum Kritika: A Closer Look at Manila by Night. Kritika Kultura 19 (August 2012): 6-13. Posted online.

———. “Film Plastics in Manila by Night.” Kritika Kultura 19 (August 2012): 36-69. Posted online.

———, transcription and notes. “Ishmael Bernal’s Manila by Night.” Screenplay, with transcription by Alfred A. Yuson. Kritika Kultura 19 (August 2012): 172-272. Posted online.

———. “The Marcos Dictatorship and the Irreparable Damage to a Family and the Filipino Experience.” Review of Subversive Lives: A Family Memoir of the Marcos Years, by Susan F. Quimpo & Nathan Gilbert Quimpo. Originally titled “Disorder & Constant Sorrow (A Review of Subversive Lives).” The FilAm (September 18, 2012). Posted online. Rpt. as “The Marcos Regime and Its Impact on the Pinoy Family,” GMA News Online (September 18, 2012), also posted online.

———. “Marilou Diaz-Abaya, 57: Rule Breaker, Risk Taker.” Obituary. Originally titled “The Carnal Moral of a Brutal Miracle.” The FilAm (October 12, 2012). Posted online. Rpt. as “Acclaimed Filmmaker Marilou Diaz-Abaya Was a Rule Breaker,” GMA News Online (October 12, 2012), also posted online.

———. “High Drama and Low Humor in Ricky Lee’s New Fiction about a Cross-Dressing Manananggal.” Review of Si Amapola sa 65 na Kabanata, by Ricky Lee. Originally titled “The Novel Pinoy Novel.” The FilAm (November 8, 2012). Posted online. Rpt. as “What Republicans Could Have Learned from Ricky Lee’s Amapola,” GMA News Online (November 9, 2012), also posted online.

———. “Thinking Straight: Queer Imaging in Lino Brocka’s Maynila (1975).” Plaridel 9.2 (August 2012): 21-40.

———. “Glimpses of Freedom: Independent Cinema in Southeast Asia [by] May Adadol Ingawanij & Benjamin McKay, eds, Ithaca: Cornell Southeast Asia Program Publications, 2012, viii+246 pp.” Book review. Southeast Asian Studies 1.3 (December 2012): 529-33. Posted online.

2013

David, Joel. “A Benediction We Deserve.” The FilAm (February 13, 2013). Posted online.

———. “High Five for Ninotchka Rosca’s Sanaysay Anthology.” Originally titled “High Five.” Review of Gang of 5: Tales, Cuentos, Sanaysay ([Los Angeles]: Mariposa Center [for Change], 2012). The FilAm (February 21, 2013). Posted online.

———. “Across the Korean Peninsula, Unease in the Morning Calm.” The FilAm (April 18, 2013). Posted online. Rpt. as “Kwentong Kapuso: Unease in the ‘Land of the Morning Calm,’” GMA News Online (April 19, 2013), also posted online.

———. “Tribute to Bangy Dioquino.” Amauteurish! (Delivered May 2013). Posted online on October 5, 2017.

———. “OFWs in Foreign Cinema: An Introduction.” Guest Editor’s introduction to Monograph Section. Kritika Kultura 21/22 (August 2013): 557-59. Posted online.

———. “Phantom in Paradise: A Philippine Presence in Hollywood Cinema.” Kritika Kultura 21/22 (August 2013): 560-83. Posted online.

———. “Pinoy Film Criticism: A Lover’s Polemic.” The Manila Review 3 (August 2013): 6-8 [n.b.: print edition is erroneously indicated as issue “1”]. Posted online.

———. “On the Job: On the Edge.” Originally titled “On the Edge.” Review of On the Job, dir. Erik Matti. The FilAm (September 12, 2013). Posted online.

———. “The OFW Finds Well-Deserved Recognition in Hollywood (Part 1).” Originally titled “A Desire Named Oscar,” first part. Including review of Ilo Ilo, dir. Anthony Chen. The FilAm (December 4, 2013). Posted online.

———. “Metro Manila and Transit: Ambitious, Impressive (Part 2).” Originally titled “A Desire Named Oscar,” second part. Reviews of Metro Manila, dir. Sean Ellis; and Transit, dir. Hannah Espia. The FilAm (December 4, 2013). Posted online.

2014

David, Joel. The National Pastime: Contemporary Philippine Cinema. Digital edition. Amauteurish, 2014.

———. Fields of Vision: Critical Applications in Recent Philippine Cinema. Digital edition. Amauteurish, 2014.

———. Wages of Cinema: Film in Philippine Perspective. Digital edition. Amauteurish, 2014.

———. “Pinoy Filmfests circa 2013.” The Manila Review 4 (February 2014): 29-32. Posted online.

———. “Phantom Limbs in the Body Politic: Filipinos in Foreign Cinema.” Plaridel 11.1 (February 2014): 35-60.

———. “Norte, a Four-Hour Ideological Tearjerker by Lav Diaz.” Originally titled “Beyond Borders.” Review of Norte, dir. Lav Diaz. The FilAm (March 12, 2014). Posted online.

———. “Sight & Sound ’02.” Inside account of the process of my submission to the decadal poll. Amauteurish! (May 30, 2014). Posted online.

———. “A National Artist We Deserve.” The FilAm (June 21, 2014). Posted online.

———. “Nora Aunor: A National Artist We Deserve.” Rappler (June 23, 2014). Posted online.

David, Joel, and Ha Ju-Yong. “A Revaluation of the Use of Trauma as an Approach to Understanding Contemporary Korean Cinema.” Asian Studies: Journal of Critical Perspectives on Asia 50.1 (2014): 16-50.

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2015

David, Joel. Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery. Original digital edition. Amauteurish, 2015.

———. Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery. Part I: Traversals within Cinema – special issue of UNITAS: Semi-Annual Peer-Reviewed International Journal of Advanced Research in Literature, Culture, and Society (May 2015). Posted online.

———. “On Nora Aunor and the Philippine Star System: An Introduction.” Guest Editor’s introduction. Kritika Kultura 25 (August 2015): 46-48. Posted online.

———. “Firmament Occupation: The Philippine Star System.” Kritika Kultura 25 (August 2015): 248-84. Posted online.

———. “Historical Film Depicts Antonio Luna’s Fall and Rise.” Originally titled “Antonio Luna’s Fall and Rise.” Review of Heneral Luna, dir. Jerrold Tarog. The FilAm (October 15, 2015). Posted online.

———. “Alien Abjection amid the Morning Calm: A Singular Reading of Horror Films from beyond Southeast Asia.” Plaridel: A Philippine Journal of Communication, Media, and Society 12.2 (August 2015): 201-23. Posted online.

———. “Intrigues, Maneuvers, Interventions: Screen Images of the Korean War and its Aftermath.” Keynote lecture. 4PKSS: Proceedings of the 4th Philippine Korean Studies Symposium (Quezon City: University of the Philippines Department of Linguistics, 2015): 25-49.

2016

David, Joel. Book Texts: A Pinoy Film Course, original digital edition (Amauteurish, 2016).

———. “Manay Revisits Manila by Night.” Interview with Bernardo Bernardo. Amauteurish! (January 26, 2016). Formerly posted online, now an Appendix in Manila by Night: A Queer Film Classic.

———. “Roads Less Traveled.” Review of Lakbay2Love, dir. Ellen Ongkeko-Marfil. Rappler (February 10, 2016). Posted online.

———. “Annual Filipino Film Production Chart.” Amauteurish! (February 25, 2016). Posted online.

———. Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery. Part II: Expanded Perspectives – special issue of UNITAS: Semi-Annual Peer-Reviewed International Journal of Advanced Research in Literature, Culture, and Society (May 2016). Posted online.

———. “How Pop Culture, Social Media Played a Role in Halalan 2016.” Commentary on the 2016 Philippine presidential election campaign. The FilAm (May 15, 2016). Posted online.

———. “Doy del Mundo on a Controversy over Maynila: Sa mga Kuko ng Liwanag.” Interview with Clodualdo del Mundo Jr. Amauteurish! (July 2, 2016). Posted online.

———. “In Ma’ Rosa, Cannes Best Actress Jaclyn Jose Plays a Meth Dealer with Eloquence, Warmth.” Originally titled “Ice with a Face.” Review of Ma’ Rosa, dir. Brillante Ma. Mendoza. The FilAm (July 14, 2016). Posted online.

———. “Searched For, But Not Missing.” Review of Ang Nawawala, dir. Marie Jamora. Amauteurish! (September 1, 2016). Posted online.

———. “Fallout over ‘A Lover’s Polemic’.” Amauteurish! (September 19, 2016). Posted online.

———. “Cold Word Wars: Philippine Film as a Critical Activity.” 2016 FACINE Gawad Lingap Sining Lecture, delivered October 18, 2016 at the Diego Rivera Theater, City College of San Francisco. Amauteurish! (October 19, 2016). Posted online.

———. “The Role of the Film Critic in Cultural Discourse.” Abridged version of “Cold Word Wars: Philippine Film as a Critical Activity.” 2016 FACINE Gawad Lingap Sining Lecture. The FilAm (October 23, 2016). Posted online.

———. “Grains and Flickers.” Remembering/Rethinking EDSA, eds. JPaul S. Manzanilla and Carolyn Hau (Mandaluyong City: Anvil, 2016): 172-87.

2017

David, Joel. Manila by Night: A Queer Film Classic. Queer Film Classics series, eds. Thomas Waugh & Matthew Hayes. Vancouver, BC: Arsenal Pulp Press, 2017.

David, Joel. Various entries for Film, vol. 6 of the Cultural Center of the Philippines Encyclopedia of Philippine Art, ed. Nicanor G. Tiongson (Manila: CCP & the Office of the Chancellor, University of the Philippines Diliman, 2017): “Aksyon” (with Lynn Pareja, updated by Mesandel Arguelles), 112-13; “Animation” (with Lynn Pareja, updated by Michael Kho Lim), 114-17; “Horror” (with Lynn Pareja, updated by Erika Carreon), 134-35; “Komedi” (with Lynn Pareja, updated by Mesandel Arguelles), 136-38; “Musical” (with Lynn Pareja & Nicanor G. Tiongson, updated by Johann Vladimir J. Espiritu), 139-40; “Acting in Film” (with Justino Dormiendo, updated by Johann Vladimir J. Espiritu), 146-47; “Cinematography” (with Nick Cruz, updated by Elvin Valerio and Clodualdo del Mundo Jr.), 161-64; “Distribution in Film” (with Rosalie Matilac, updated by Albert Almendralejo), 179-82; “Producing for Film” (with Nick Cruz & Rosalie Matilac, updated by Jose Javier Reyes, 196-99; “Sound Recording in Film” (with Nick Cruz, updated by Rica Arevalo), 210-11; and “Training and Education for Film” (with Lynn Pareja, updated by Johann Vladimir J. Espiritu), 213-14.

David, Joel. “Velasco, Johven.” Theater, vol. 9 of the Cultural Center of the Philippines Encyclopedia of Philippine Art, ed. Nicanor G. Tiongson (Manila: CCP & the Office of the Chancellor, University of the Philippines Diliman, 2017) 796.

———. “Contestable Nation-Space: Cinema, Cultural Politics, and Transnationalism in the Marcos-Brocka Philippines. By Rolando B. Tolentino. Quezon City: University of the Philippines Press, 2014. Pp. 267 + xii. ISBN-10: 971-5427359; ISBN-13: 978-9715427357.” Book review. International Journal of Asian Studies (January 2017): 112-15. Posted online.

———. “Vampariah as Subversive Aswang Film.” Originally titled “Peerless Vampire Killers.” Review of Vampariah, dir. Matthew Abaya. The FilAm (January 12, 2017). Posted online.

———. “Remembering the Forgotten War: Origins of the Korean War Film and Its Development during Hallyu.” Kritika Kultura 28 (February 2017): 112-46. Posted online.

호세 에르나니 S. 다비드. “녹슨 팔과 가려운 손가락; 두테르테 대통령의 마약과의 전쟁에 대한 문화적 시각.” 5회 국가폭력과 트라우마 국제회의. Trans. n.a. (Gwangju: Trauma Center, 2017) 103-12.

David, Joel. “Rusty Arms and Itchy Fingers: A Cultural Perspective on President Duterte’s War on Drugs.” The 5th International Conference on State Violence and Trauma. [As “Jose Hernani S. David”] (Gwangju: Trauma Center, 2017) 113-27.

———. “Seeds in the Garden of Letters: A Review of The End of National Cinema by Patrick F. Campos.” Humanities Diliman: A Philippine Journal of Humanities 14.2 (July-December 2017) 153-57. Posted online.

———. “Film May Be Dead, But Film Culture Is Alive and Well.” Review of Respeto, dir. Treb Monteras II. The FilAm (August 18, 2017). Posted online.

———. “Muzzled Bombardments: The Philippine Film Canon and Its Discontents.” Roundtable on the Filipino Film Canon. Plaridel: A Philippine Journal of Communication, Media, and Society 14.2 (November 2017): 221-31. Posted online.

———. “A Certain Tendency: Europeanization as a Response to Americanization in the Philippines’s ‘Golden Age’ Studio System.” UNITAS: Semi-Annual Peer-Reviewed International Journal of Advanced Research in Literature, Culture, and Society 90.2 (November 2017): 24-53. Posted online.

2018

David, Joel. “The Storyline of Ishmael Bernal’s Manila by Night (1980).” Originally drafted for Arsenal Pulp Press’s Manila by Night: A Queer Film Classic. Amauteurish! (February 9, 2018). Posted online.

———. “Parallel Growths.” Kolum Kritika on the 30th Anniversary. Kritika Kultura 30/31 (February-August 2018): 90-91. Posted online.

———. “Farewell Farewell, Bernardo Bernardo” “Toward the End, a Hopeful Outlook for the Philippines.” The FilAm (March 21, 2018). Posted online.

———. “Statement on the Availability of Filipino Films during the Internet Era.” Amauteurish! (April 15, 2018). Posted online.

———. “The Transnational Pastime: An Interview with Joel David.” Interviewed by Paul Douglas Grant. Plaridel: A Philippine Journal of Communication, Media, and Society 14.1 (June 2017): 135-45. Posted online.

———. “Amid the Nightmare of War, a Coming-of-Age.” Review of Balangiga: Howling Wilderness, dir. Khavn. The FilAm (July 16, 2018). Posted online.

———. “Queerness as Defiance in Manila by Night.” Lecture delivered during the launch of Angela Stuart-Santiago’s Pro Bernal, Anti Bio. Amauteurish! (August 7, 2018). Posted online.

———. “The Millennial Traversals of Millennial Traversals.” Lecture delivered during the launch of the University of Santo Tomas’s UNITAS website. Amauteurish! (August 16, 2018). Posted online.

———. “Signal Rock and a Hard Place.” Review of Signal Rock, dir. Chito Roño. Philippine Entertainment Portal (August 17, 2018). Posted online.

———. “Tears Go By.” Review of Ang Pamilyang Hindi Lumuluha, dir. Mes de Guzman. All Things Sharon (October 18, 2018). Posted online.

2019

David, Joel. Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery. Book Edition (single-volume, back-to-back). Quezon City: Ámauteurish Publishing, 2019.

———. “Theater, Film, & Everything in Between.” Introduction. Two Women as Specters of History: Lakambini & Indigo Child by Rody Vera. Ed. Ellen Ongkeko Marfil (Quezon City: Ateneo de Manila University Press, 2019): xiii-xxii.

———. “A Salute to Our Pinay Filmmakers.” Amauteurish! (March 26, 2019). Originally posted March 25, 2019, on Facebook.

———. “Manoy Takes His Leave.” Tribute to the late Eddie Garcia. The FilAm (July 23, 2019). Posted online.

———. “Di/Visibility: Marks of Bisexuality in Philippine Cinema.” Survey article. Journal of Bisexuality 19.3 (September 2019): 440-54. Posted online.

———. “The Barrettos and the Privilege of Behaving Badly.” On the latest saga in the long-running showbiz family scandal. The FilAm (October 28, 2019). Posted online.

———. “Showbiz Babylon: A Tribute-of-Sorts to the Barretto Sisters.” Expanded version of “The Barrettos and the Privilege of Behaving Badly,” published October 28, 2019, in The FilAm. Amauteurish! (October 29, 2019). Posted online.

———. “Comprehensive Pinas Film Biblio: Categorized.” Amauteurish! (December 4, 2019). Posted online.

———. “Comprehensive Pinas Film Biblio: Alphabetized.” Amauteurish! (December 4, 2019). Posted online.

2020

David, Joel, and Jo-Ann Q. Maglipon. SINÉ: The YES! List of 100 Films That Celebrate Philippine Cinema (Mandaluyong: Summit Media, 2020 forthcoming).

David, Joel. “Bringing Theater to the Home.” The PETA Milestone Book Project. Eds. Brenda Fajardo, CB Garrucho, Maribel Legarda, & Beng Cabangon (Quezon City: Philippine Educational Theater Association, 2020 forthcoming).

———. “Authoring Auteurs: A Bibliographical Essay.” In relation to the Comprehensive Pinas Film Biblio posted on December 4, 2019. Amauteurish! (January 18, 2020). Posted online.

———. “The Aunor Effect in Philippine Film Book Publications.” A spinoff of the bibliographical essay “Authoring Auteurs,” posted on January 18, 2020. Amauteurish! (January 28, 2020). Posted online.

David, Joel, and Joyce L. Arriola. “Film Criticism in the Philippines: Introduction to a Symposium.” UNITAS: Semi-Annual Peer-Reviewed International Journal of Advanced Research in Literature, Culture, and Society 93.1 (May 2020): 1-16. Posted online.

David, Joel. “Auteurs & Amateurs: Toward an Ethics of Film Criticism.” UNITAS: Semi-Annual Peer-Reviewed International Journal of Advanced Research in Literature, Culture, and Society 93.1 (May 2020): 17-36. Posted online.

———. “My Peque Gallaga Interview.” Commemoration of the recently departed filmmaker. Amauteurish! (May 9, 2020). Posted online.

———. “Peque’s Rage: A Retelling.” Abridgment of “My Peque Gallaga Interview,” printed in Amauteurish! on May 9, 2020. The FilAm (May 12, 2020). Posted online.

———. “Remembering Anita Linda: She Devoted Her Life So Completely to Her Craft that It Defined Her.” Tribute to the late film actress. ABS-CBN News Channel [ANCX, formerly ABS-CBNnews.com] (June 13, 2020). Posted online.

———. “Comprehensive Pinas Film Biblio: Reverse-Chronologized.” Amauteurish! (June 22, 2020). Posted online.

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Comprehensive Pinas Film Biblio: Categorized

Important: A listing of all the entries in all the categories, alphabetized by author, can be found here, while the entries in reverse-chronological order can be found here. To return to the landing page, click here. Any notes that follow each entry’s year of publication are annotations made by the author, which fall under copyright. Out-of-print books and chapters that I wrote or edited may be found in this blog’s Books section.

The following will take you to other categories after Local Anthologies (although entries in the last item will not appear in the other iterations of the bibliography):


Local Anthologies

Almario, Virgilio S., ed. 101 Filipino Icons. Quezon City: Adarna House, 2007.

Coronel, Sheila S., ed. From Loren to Marimar: The Philippine Media in the 1990s. Quezon City: Philippine Center for Investigative Journalism, 1999.

De la Torre, Visitacion “Chit” R. Cultural Icons of the Philippines. Makati City: Tower Book House, 2002.

Del Mundo, Clodualdo Jr., ed. Spirituality and the Filipino Film. Film and Faith series. Manila: Communication Foundation for Asia, 2010.

Del Mundo, Clodualdo Jr., and Jose Mari Magpayo, eds. Philippine Mass Media: A Book of Readings. Manila: Communication Foundation for Asia, 1986. Mario A. Hernando, “Against All Odds: The Story of the Filipino Film Industry (1978-1982)”; Bienvenido Lumbera, “Problems in Philippine Film History”; Eduardo Sazon, “Film Distribution and Exhibition.”

Feliciano, Gloria D., and Crispulo J. Icban Jr., eds. Philippine Mass Media in Perspective. Quezon City: Capitol, 1967. T.D. Agcaoili, “Movies.”

Guerrero, Rafael Ma., ed. Readings in Philippine Cinema. Manila: Experimental Cinema of the Philippines, 1983.

Guevara-Fernandez, Pacita, ed. Keeping the Flame Alive: Essays in the Humanities. Diamond Jubilee Publication. Quezon City: University of the Philippines Press, 1983. Behn Cervantes’s “Ganyan Lang Talaga Yan [That’s Just How It Is]” describes the Philippine situation as “a large market that can be redirected in its tastes and attitudes so that they [sic] can dictate what types of movies should be made.”

Kintanar, Thelma B., “and Associates.” The University of the Philippines Cultural Dictionary for Filipinos. Quezon City & Pasig City: University of the Philippines Press & Anvil Publishing, 1996. “Communication and Mass Media.”

Maglipon, Jo-Ann Q. Primed: Selected Stories 1972-1992. Reportage on an Archipelago series. Pasig City: Anvil Publishing, 1993. “MIFFed [Manila International Film Festival]”; “Free the Artist!”; “The Republic of the Philippines vs. Lino Brocka, et al.”; “Canuplin: The Little Tramp Time Left Behind”; “Erap [Joseph Estrada]”; “Phantoms of the Cinema”; “Starlight, Starbright”; “Mega Mother Lily [Monteverde]: Superstar for All Seasons.”

Manzanilla, JPaul S., and Caroline S. Hau, eds. Remembering/Rethinking EDSA. Mandaluyong City: Anvil Publishing, 2016. Joel David, “Grains & Flickers”; Patrick D. Flores, “A Cinema in Transition: Initial Incursions.”

Patajo-Legasto, Priscelina, ed. Filipiniana Reader: A Companion Anthology of Filipiniana Online. Quezon City: University of the Philippines Open University, 1998. Clodualdo del Mundo Jr., “Komiks: An Industry, a Potent Medium, Our National ‘Book,’ and Pablum of Art Appreciation” & “Philippine Television: A History of Politics and Commerce”; Patrick D. Flores, “Philippine Cinema and Society”; Bienvenido Lumbera, “Brocka, Bernal & Co.: The Arrival of New Filipino Cinema” & “Problems in Philippine Film History”; Soledad S. Reyes, “The Philippine Komiks”; Nicanor G. Tiongson, “Becoming Filipino: 1565-1898”; Rolando B. Tolentino, “‘Inangbayan’ (Mother-Nation) in Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Clutching a Knife [Malaya Films & Stephan Films], 1985) and Orapronobis (Fight for Us [Bernadette Associates International], 1989).”

———, ed. Philippine Studies: Have We Gone Beyond St. Louis? Quezon City: University of the Philippines Press, 2008. Joel David, “Awake in the Dark: Philippine Film during the Marcos Era”; Eleanor Sarah D. Reposar, “Carlo Vergara’s Zsazsa Zaturnnah and the Tradition of Subversion in Philippine Komiks”; Johven [as Jovenal] D. Velasco, “‘Feminized’ Heroes and ‘Masculinized’ Heroines: Changing Gender Roles in Contemporary Phiippine Cinema?”

Paz, Consuelo J., ed. Ginhawa, Kapalaran, Dalamhati: Essays on Well-being, Opportunity/Destiny, and Anguish. Quezon City: University of the Philippines Press, 2009. Patrick D. Flores, “Hanapbuhay sa mga Pelikula ni Nora Aunor [Occupation in the Films of Nora Aunor].”

Pertierra, Raul, and Eduardo F. Ugarte, eds. Cultures and Texts: Representations of Philippine Society. Quezon City: University of the Philippines Press, 1994.

Peterson, Andrea L., Gaspar A. Vibal, Christopher A. Datol, and Nicanor A. Lajom. Fifty Shades of Philippine Art: Philippine Cinematic Art. 50 Shades of Philippine Art series. Quezon City: Vibal, 2020.

Reyes, Soledad S., ed. Kritisismo: Mga Teorya at Antolohiya para sa Epektibong Pagtuturo ng Panitikan [Criticism: Theories and an Anthology for the Effective Teaching of Literature]. Pasig City: Anvil Publishing, 1992. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic].”

Tiongson, Nicanor G., ed. Broadcast Arts. Vol. 10 (of 12 vols.) of Cultural Center of the Philippines Encyclopedia of Philippine Art. 2nd edition. Manila: Cultural Center of the Philippines & the Office of the Chancellor, University of the Philippines Diliman, 2017. No equivalent volume in the 1st edition of the CCP Encyclopedia of Philippine Art.

———, ed. Film. Vol. 6 (of 12 vols.) of Cultural Center of the Philippines Encyclopedia of Philippine Art. 2nd edition. Manila: Cultural Center of the Philippines & the Office of the Chancellor, University of the Philippines Diliman, 2017. Equivalent volume of Philippine Film, vol. 8 in the 1st edition of the CCP Encyclopedia of Philippine Art.

———, ed. Philippine Film. Vol. 8 (of 10 vols.) of CCP [Cultural Center of the Philippines] Encyclopedia of Philippine Art. 1st edition. Manila: Sentrong Pangkultura ng Pilipinas, 1994. 2nd edition’s equivalent volume is titled Film.

———, ed. Tuklas Sining [Art Discovery]: Essays on the Philippine Arts. Manila: Sentrong Pangkultura ng Pilipinas, 1991.

———, ed. The Urian Anthology 1970-1979. Quezon City: Manuel L. Morato, 1983. Title page descriptor: “selected essays on tradition and innovation in the Filipino cinema of the 1970s by the Manunuri ng Pelikulang Pilipino: with about 550 photos and illustrations and a filmography of Philippine movies, 1970-1979.”

———, ed. The Urian Anthology 1980-1989. Manila: Antonio P. Tuviera, 2001. Includes filmography of 1980-89 Philippine film releases.

———, ed. The Urian Anthology 1990-1999. Quezon City: University of the Philippines Press, 2010. Includes filmography of 1990-99 Philippine film releases.

———, ed. The Urian Anthology 2000-2009: The Rise of the Philippine New Wave Indie Film. Quezon City: University of the Philippines Press, 2013. Includes filmography of 2000-10 Philippine film releases.

Tolentino, Rolando B., ed. Geopolitics of the Visible: Essays on Philippine Film Cultures. Quezon City: Ateneo de Manila University Press, 2000.

Tolentino, Rolando B., and Patrick F. Campos, Randy Jay C. Solis, and Choy S. Pangilinan, eds. Communication and Media Theories. Media and Communication Textbook Series. Quezon City: University of the Philippines Press, 2014. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic]”; Rolando B. Tolentino, “Masses, Power, and Gangsterism in the Films of Joseph ‘Erap’ Estrada”; Soledad Reyes, “Ang Mambabasa/Manonood, ang ‘Mass Media,’ at ang Paglikha ng Kahulugan [The Reader/Viewer, the ‘Mass Media,’ and the Production of Meaning]”; Patrick D. Flores, “Bodies of Work: Sexual Circulation in Philippine Cinema”; Eulalio R. Guieb III, “Worlding the Third World (O Kung Paanong Nagkadaigdig ang Ikatlong Daigdig sa mga Pelikula ni Kidlat Tahimik [Or How the Third World Became Worlded in the Films of Kidlat Tahimik].”

Tolentino, Rolando B., and Gary C. Devilles, eds. Kritikal na Espasyo ng Kulturang Popular [Critical Spaces of Popular Culture]. Quezon City: Ateneo de Manila University Press, 2015.

Tolentino, Rolando B., and Josefina M.C. Santos, eds. Media at Lipunan [Media and Society]. Media and Communication Textbook Series. Quezon City: University of the Philippines Press, 2014. Nicanor G. Tiongson, “The Politics of Film Censorship.”

Torres-Yu, Rosario, ed. Kilates: Panunuring Pampanitikan ng Pilipinas [Appraisal: Critical Literature of the Philippines]. Quezon City: University of the Philippines Press, 2006. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic].”

Yoneno-Reyes, Michiyo, ed. East Asian Popular Culture: Philippine Perspectives. Quezon City: University of the Philippines Asian Center, 2013.

Young Critics Circle[’s Film Desk]. Sampúng Taóng Sine [Ten Film Years]: Philippine Cinema 1990-1999. Manila: National Commission for Culture and the Arts, 2002.

———. Sining ng Sineng Filipino [Art of the Filipino Film]. Aklat Sanyata series. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 2009.

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Non-Filipino Publications
(with chapter/s or section/s on Philippine cinema)

Aitken, Ian, and Camille Deprez, eds. The Colonial Documentary Film in South and South-East Asia. Edinburgh: Edinburgh University Press, 2016. José B. Capino, “Figures of Empire: American Documentaries in the Philippines.”

Aitken, Stuart C., and Leo E. Zonn, eds. Place, Power, Situation and Spectacle: A Geography of Film. Lanham, MD: Rowman & Littlefield, 1994. Gerald M. Macdonald’s “A Mapping of Cinematic Places: Icons, Ideology, and the Power of (Mis)Representation” provides an assessment of Kidlat Tahimik’s Mababangong Bangungot [Perfumed Nightmare] (Zoetrope Studios, 1977).

Armes, Roy. Third World Film Making and the West. Berkeley: University of California Press, 1987.

Barker, Joshua, Erik Harris, and Johan Lindquist, eds. Figures of Southeast Asian Modernity. Honolulu: University of Hawai’i Press, 2014. José B. Capino, “Domestic Helper.”

Barrow, Sarah, Sabine Haenni, and John White, eds. The Routledge Encyclopedia of Films. Abingdon, Oxon: Routledge, 2014. José B. Capino, “Manila: In the Claws of Neon / Maynila: Sa mga Kuko ng Liwanag[, dir. Lino Brocka (Cinema Artists, 1975)].”

Baumgärtel, Tilman, ed. A Reader on International Media Piracy: Pirate Essays. MediaMatters series. Amsterdam: Amsterdam University Press, 2015. Tilman Baumgärtel, “The Triumph of the Pirates: Books, Letters, Movies, and Vegan Candy – Not a Conclusion.”

———, ed. Southeast Asian Independent Cinema. Hong Kong: Hong Kong University Press, 2012. Tilman Baumgärtel, “The Downside of Digital: A German Media Critic Plays Devil’s Advocate.”

Cheung, Esther M.K., Gina Marchetti, and Tan See-Kam, eds. Hong Kong Screenscapes: From the New Wave to the Digital Frontier. Hong Kong: Hong Kong University Press, 2011. Roger Garcia, John Woo, & Jessica Hagedorn’s “Alternative Perspectives/Alternative Cinemas: Modern Films and the Hong Kong Experimental Scene” comprises “a discussion of a representative program of experimental films by three filmmakers – Jim Shum, Comyn Mo, and [Filipino] Raymond Red, all produced in Hong Kong and Manila in the 1980s under Garcia’s Modern Films Productions company, and shown at the Hollywood/Hong Kong at the Borders: Alternative Perspectives, Alternative Cinema symposium in April 2004” (chapter description in Oxford Index).

Ciecko, Anne Tereska, ed. Contemporary Asian Cinema: Popular Culture in a Global Frame. Asian Cinema series. New York: Berg, 2006. José B. Capino, “Philippines: Cinema and Its Hybridity (Or You’re Nothing but a Second-Rate, Trying Hard Copycat).”

Downing, John, ed. Film & Politics in the Third World. New York: Autonomedia, 1986. Luis Francia, “Philippine Cinema: The Struggle against Repression.”

Feng, Peter X., ed. Screening Asian Americans. New Brunswick: Rutgers University Press, 2002. Rolando B. Tolentino, “Identity and Difference in ‘Filipino/a American’ Media Arts.”

Fujiwara, Chris, ed. The Little Black Book [of] Movies: Over a Century of the Greatest Films, Stars, Scenes, Speeches and Events that Rocked the Movie World. London: Cassell Illustrated, 2007. “Part expert selection of [1,000] seminal moments, part glorious celebration of 100 years of cinema” (product description); includes contributions by Nick Deocampo and Noel Vera.

Gever, Martha, John Greyson, and Pratibha Parmar, eds. Queer Looks: Perspectives on Lesbian and Gay Film and Video. New York: Routledge, 1993. Nick Deocampo, “Homosexuality as Dissent / Cinema as Subversion: Articulating Gay Consciousness in the Philippines.”

Grossman, Andrew, ed. Queer Asian Cinema: Shadows in the Shade. New York: Harrington Park Press, 2000. Co-published simultaneously as Journal of Homosexuality’s vol. 39, nos. 3-4 issues; Rolando B. Tolentino, “Transvestites and Transgressions: Panggagaya [Mimicry] in Philippine Gay Cinema.”

Guneratne, Antony R., and Wimal Dissanayake, eds. Rethinking Third Cinema. New York: Routledge, 2003. Sumita S. Chakravarty’s “The Erotics of History: Gender and Transgression in the New Asian Cinema” closes with a discussion of Ishmael Bernal’s Himala [Miracle] (Experimental Cinema of the Philippines, 1982) as an example of the “relationship between eroticism and spirituality, [exploring] its implications for Filipino constructions of history and identity.”

Hanna, Monica, and Rebecca A. Sheehan, eds. Border Cinema: Reimagining Identity through Aesthetics. New Brunswick: Rutgers University Press, 2019. José B. Capino, “Filipinos at the Border: Migrant Workers in Transnational Philippine Cinema.”

Holmlund, Chris, ed. American Cinema of the 1990s. New Brunswick: Rutgers University Press, 2008. José B. Capino, “Cinema and the Usable Past.”

Ingawanij, May Adadol, and Benjamin McKay, eds. Glimpses of Freedom: Independent Cinema in Southeast Asia. Ithaca, NY: Cornell Southeast Asia Program Publications, 2012. Tilman Baumgärtel, “The Piracy Generation: Media Piracy and Independent Film in Southeast Asia”; Eloisa May P. Hernandez, “The Beginnings of Digital Cinema in Southeast Asia”; Alexis A. Tioseco, “Like the Body and the Soul: Independence and Aesthetics in Contemporary Philippine Cinema”; John Torres, “Piracy Boom Boom.”

Jameson, Fredric. The Geopolitical Aesthetic: Cinema and Space in the World System. Perspectives series. Bloomington: Indiana University Press, 1992. “Art Naïf and the Admixture of Worlds” is an appreciation of Kidlat Tahimik’s Mababangong Bangungot [Perfumed Nightmare] (Zoetrope Studios, 1977).

Lehman, Peter, ed. Pornography and Culture. New Brunswick: Rutgers University Press, 2006. José B. Capino, “Asian College Girls and Oriental Men with Bamboo Poles: Reading Asian Pornography.”

Lent, John A. The Asian Film Industry. Texas Film Studies Series. Austin: University of Texas Press, 1990. “Philippines” (case study).

———, ed. Broadcasting in Asia and the Pacific: A Continental Survey of Radio and Television. International and Comparative Broadcasting series. Philadelphia: Temple University Press, 1978.

Manalansan, Martin F., and Augusto F. Espiritu, eds. Filipino Studies: Palimpsests of Nation and Diaspora. New York: New York University Press, 2016. Robert Diaz’s “Redressive Nationalisms, Queer Victimhood, and Japanese Duress” discusses the claims of Walter Dempster Jr. a.k.a. [Walterina] Markova: Comfort Gay [male enslaved for sex work by the Japanese Imperial Army during World War II], dir. Gil Portes (RVQ Productions, 2000).

Marchetti, Gina, and Tan See Kam, eds. Hong Kong Film, Hollywood and the New Global Cinema. London: Routledge, 2007. Bliss Cua Lim, “Generic Ghosts: Remaking the New ‘Asian Horror Film.’”

Miller, Toby, ed. The Routledge Companion to Global Popular Culture. New York: Routledge, 2015. Talitha Espiritu, “Performing Native Identities: Human Displays and Indigenous Activism in Marcos’s Philippines.”

Parks, Lisa, and Shanti Kumar, eds. Planet TV: A Global Television Studies Reader. New York: New York University Press, 2002. José B. Capino, “Soothsayers, Politicians, Lesbian Scribes: The Philippine Movie Talk Show.”

Rodell, Paul A. Culture and Customs of the Philippines. Culture and Customs of Asia series. Westport, CT: Greenwood Press, 2002. “Festivals, Theater, Film, Media, and Other Entertainment.”

Shiel, Mark and Tony Fitzmaurice, eds. Cinema and the City: Film and Urban Societies in a Global Context. Oxford: Blackwell Publishers, 2001. Rolando B. Tolentino, “Cityscape: The Capital Infrastructuring and Technologization of Manila.”

Shohat, Ella, and Robert Stam, eds. Multiculturalism, Postcoloniality, and Transnational Media. Rutgers Depth of Field Series. New Brunswick: Rutgers University Press, 2003. Talitha Espiritu, “Multiculturalism, Dictatorship, and Cinema Vanguards: Philippine and Brazilian Analogies.”

Tam Kwok-kan, Wimal Dissanayake, and Terry Siu-han Yip, eds. Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. Hong Kong: Chinese University Press, 2002. Rolando B. Tolentino, “Subcontracting Imagination and Imageries of Bodies and Nations: The Philippines in Contemporary Transnational Asia Pacific Cinemas.”

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Manuals & Reports

Andres, Tomas D. How to Enjoy a Film Intelligently for Value Education. [Manila]: Our Lady of Manaoag Publishers, 1987.

ASEAN Country Reports on Film. Manila: Office of Media Affairs [of the] National Media Production Center, 1983. “A project of the Working Group on Film of the [Association of Southeast Asian Nations] Committee on Culture and Information” (self-description); includes “The Film Industry in the Philippines.”

A Campaign for Public Decency and Civic Morality. Manila: Santo Tomas, 1912.

Cultural Center of the Philippines in Cooperation with the Centennial Commission. The CCP Centennial Honors for the Arts. Manila: CCP, 1999. Includes entries for Nora Aunor, Daisy H. Avellana, Ishmael Bernal, Salvador F. Bernal, Amelia L. Bonifacio, Ryan Cayabyab, Benjamin H. Cervantes, Manuel Conde, Ernani J. Cuenco, Mike de Leon, Narcisa B. de Leon, et al.

Cultural Center of the Philippines Library. Union Catalog on Philippine Culture: Film. CCP Library Research Guide Series no. 4. Manila: Cultural Center of the Philippines Library, 1990.

Del Mundo, Clodualdo Jr. Writing for Film. [Manila]: Communication Foundation for Asia, 1981.

Deocampo, Nick, ed. Sinegabay: A Film Study Guide. Pasig City: Anvil Publishing, 2008.

Directory of Filipino Women in Radio, TV & Film Media. [Manila]: National Commission on the Role of Filipino Women, National Printing Office, and Philippine Information Agency, 1992.

Export Trade Promotion, Philippines Bureau of. A Profile on Motion Pictures. Product Profile series. [Manila]: Product Research and Strategy Group, Bureau of Export Trade Promotion, Department of Trade & Industry, 1989.

Fernandez, Ricardo V., ed. Film Directory of the Philippines. [Manila: Philippine Motion Pictures Producers Association?], 1978.

Ferrer, Noel D. Mag-Artista Ka! Mga Dapat Mong Malaman Para Sumikat sa Showbiz sa Tamang Paraan, sa Tamang Panahon [Be a Star! What You Should Learn to Get Famous in Showbiz in the Right Way, at the Right Time]. Mandaluyong City: Anvil Publishing, 2015. Filipino version of Sisikat Din Ako!

———. Sisikat Din Ako! [I’ll Also Get Famous!] Your Guide to Making Your Mark in Show Business. Mandaluyong City: Anvil Publishing, 2015. English version of Mag-Artista Ka!

Film Development Council of the Philippines. Philippine Film Catalogue. Pasig City: Film Development Council of the Philippines, [2007].

Gutierrez-Ang, Jaime. Tanglaw Introduction to Film: An Outcomes-Based Text Manual in Film Aesthetics, Appreciation, Theory and Criticism for the Filipino Student. Manila: Mindshapers, 2014.

Intellectual Property Code of the Philippines and Related Laws: With Movie and Television Review and Classification Board (PD 1986), Videogram Regulatory Board (PD 1987), Children’s Television Act of 1997 and Others. Manila: Central Book Supply, 1998.

Internal Revenue, Philippines Bureau of. Cinematographic Film Regulations: Administrative Order No. 50. Manila: Bureau of Internal Revenue, 1918.

Kenny, James, and Isabel Enriquez Kenny. Making Documentaries & News Features in the Philippines. Pasig City: Anvil Publishing, 1996.

Lacaba, Jose F., ed. The Films of ASEAN. Quezon City: Association of Southeast Asian Nations Committee on Culture and Information, 2000. Clodualdo del Mundo Jr., “Philippines.”

———. Showbiz Lengua: Chika and Chismax about Chuvachuchu [Showbiz Lingo: Small Talk and Gossip about Everything]. Pasig City: Anvil Publishing, 2010. A “compilation of 68 columns that [the author] wrote for YES! Magazine from 2003 to 2009” (Jose F. Lacaba, Ka Pete blog, November 2010).

Lee, Ricky. Trip to Quiapo: Scriptwriting Manual. Quezon City: Bagong Likha Publishing, 1998.

Lim, Jonah Añonuevo. Creative Imaging: An Introduction to Film. [Dumaguete City]: Jonah Lim, 1998.

Makabenta, Yen, ed. Book of the Philippines. Manila: Research and Analysis Center for Communications and Aardvark Associates, 1976. Includes biographies for Nora Aunor, Lamberto V. Avellana, et al.

Movie and Television Review and Classification Board. Implementing Rules and Regulations Pursuant to Section 3(a) of Presidential Decree No. 1986: The Movie and Television Review and Classification Board (MTRCB). Quezon City: Office of the President, Republic of the Philippines, 1997.

National Commission for Culture and the Arts. Bilang Filipinas: A Primer on Philippine Cultural Statistics. Manila: NCCA, 2017.

Orellana, Ricky. Mowelfund Film Institute Catalog. Quezon City: [Movie Workers Welfare Fund] Film Institute, 2001.

Pichay, Nicolas B. A Guide to the Intellectual Property Code of the Philippines: Understanding the Law, Empowering the Artist. Pasig City: Anvil Publishing, 2010.

Presidential Decree No. 1986 Creating the Movie & Television Review and Classification Board and Implementing Rules and Regulations, 2004. [Manila]: MTRCB, [2004].

Silver Book: A Movie Directory of the Philippines. [City & publisher unkn.], 1949.

Sulong Pilipina! Sulong Pilipinas! [Forward Filipina! Forward Philippines!] A Compilation of Filipino Women Centennial Awardees. Manila: Women Sector [of the] National Centennial Commission, 1999. Includes Liwayway A. Arceo, Fides S. Asensio, Nora Aunor, Daisy H. Avellana, Susana C. de Guzman, Narcisa B. de Leon, et al.

Tolentino, Rolando B. Keywords: Essays on Philippine Media Cultures and Neocolonialisms. Quezon City: Ateneo de Manila University Press, 2016.

Trzcinski, Kevin, and Owen Hughes. Philippines Media Yearbook. Hong Kong: Cornerstone Associates Ltd., 1996.

United States Business and Defense Services Administration’s Scientific, Motion Picture, and Photographic Products Division. Motion Pictures Abroad: Philippines. Washington, DC: US Government Printing Office, 1958.

Way, Eugene Irving. Motion Pictures in Japan, Philippine Islands, Netherland East Indies, Siam, British Malaya, and French Indo-China. Trade Information Bulletin No. 634, series of the United States Bureau of Foreign and Domestic Commerce. Washington, DC: Government Publishing Office, 1929.

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Screenplays, Teleplays, Novelizations, Accounts

Baltazar, Dwein. Exes Baggage. Quezon City: ABS-CBN Publishing, 2018. Screenplay of Exes Baggage, dir. Dan Villegas (Black Sheep, 2018).

Bernal, Ishmael. Manila by Night. Screenplay of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980). See Joel David, A Closer Look at Manila by Night, in Studies, Festschrifts, & Special Journal Issues.

Bernard, Carlo, and Doug Miro. The Great Raid. [City & publisher unkn.], 2001. Screenplay of The Great Raid, dir. John Dahl (Miramax, Marty Katz Productions, and Lawrence Bender Productions, 2005).

Bernardo, Sigrid Andrea. Kita Kita [I See You]: The Novel. Pasig City: VRJ Books, 2018. Novelization of Kita Kita, dir. Sigrid Andrea Bernardo (Spring Films, 2017).

Bonifacio, Bobby Jr., and Juvy G. Galamiton. Hospicio [Hospice]: The Original Screenplay. Quezon City: ABS-CBN Publishing, 2018. Screenplay of Hospicio, dir. Bobby Bonifacio Jr. (Cinema One & Project 8 Corner San Joaquin Projects, 2018).

Cabahug, Eric. Deadma Walking [Superciliously Walking]. Pasig City: VRJ Books, 2017. Novelization of Deadma Walking, dir. Julius Alfonso (T-Rex Entertainment Productions, 2017); “dedma,” a contraction of “dead malice” (a transliteration of “patay malisya”), refers to feigning ignorance.

Cais, Ethelinda. Mr. and Mrs. Cruz: The Novel. Pasig City: VRJ Books, 2018. Novelization of Mr. and Mrs. Cruz, dir. Sigrid Andrea Bernardo (IdeaFirst Co. & Viva Films, 2018).

Cajayon, Gene, John Manal Castro, and Dawn Bohulano Mabalon. The Debut: The Making of a Filipino American Film. Chicago: Tulitos, 2001. Regarding The Debut, dir. Gene Cajayon (5 Card Productions, Celestial Pictures, Center for Asian American Media, National Asian American Telecommunications Association, Visual Communication, 2000).

Chuaunsu, Jen, and Katherine Labayen. Isa Pa, With Feelings [Once More, with Feelings]: The Original Screenplay. Quezon City: ABS-CBN Publishing, 2019. Screenplay of Isa Pa, With Feelings, dir. Prime Cruz (Black Sheep & APT Entertainment, 2019). Includes “interviews with cast and crew, and exclusive content inside” (cover description).

Coppola, Eleanor. Notes: On the Making of Apocalypse Now. 1979. London: Faber and Faber, 1995. Regarding Apocalypse Now, dir. Francis Ford Coppola (American Zoetrope, 1979).

Cowie, Peter. TheApocalypse Now Book. 2000. Boston, Mass.: Da Capo Press, 2001. “The making of Francis Ford Coppola’s epic [American Zoetrope, 1979], based on unprecedented access to his private archives,… with 80 photographs, and exclusive detailed descriptions of material restored by Coppola for Apocalypse Now Redux (2001)” [cover description].

David, Adam, Carljoe Javier, Noel Pascual, and Mervin Malonzo. Shake Rattle & Roll: Kahindik-hindik na Klasikong Katatakutan [Terrifying Horror Classics]. Quezon City: ABS-CBN Publishing, 2016. Based on Shake, Rattle & Roll II, dir. Peque Gallaga & Lore Reyes (Regal Films, 1990).

Del Mundo, Clodualdo Jr. Maynila: Sa mga Kuko ng Liwanag [Manila: In the Claws of Neon], ’Merika [with Gil Jose Quito], at Alyas Raha Matanda [with Herky del Mundo]: Tatlong Dulang Pampelikula [Three Screenplays]. Manila: De La Salle University Press, 1992. Screenplays of Maynila: Sa mga Kuko ng Liwanag, dir. Lino Brocka (Cinema Artists, 1975); and ’Merika, dir. Gil Portes (Adrian Films, 1984).

Del Mundo, Clodualdo Jr., and Mike de Leon. Rizal [and] Bayaning 3rd World [3rd World Hero]: Dalawang Dulang Pampelikula [Two Screenplays]. Manila: De La Salle University Press, 2000. Screenplays of Rizal, dir. Mike de Leon (unfinished); and Bayaning 3rd World, dir. Mike de Leon (Cinema Artists, 2000).

Deocampo, Nick. Beyond the Mainstream: The Films of Nick Deocampo. Ed. Lolita R. Lacuesta. Pasig City: Anvil Publishing, 1997. Production notes and essays on short filmmaking, plus the screenplays of the following short films by the author: “Oliver” (Deocampo, 1983); “Children of the Regime” (Deocampo, 1985); “Revolutions Happen Like Refrains in a Song” (Deocampo, 1987); “Ynang-Bayan [Mother-Country]: To Be a Woman Is to Live in a Time of War” (Deocampo, 1991); “Memories of Old Manila” ([Movie Workers Welfare Fund] Film Institute, 1993); “Isaak” (Metro Manila Film Festival Executive Committee, 1994); and “Sex Warriors and the Samurai” (Deocampo, 1995).

Dimaranan, Irma V. Naglalayag [Silent Passage]. Quezon City: University of the Philippines Press, 2006. Screenplay of Naglalayag, dir. Maryo J. de los Reyes (Angora Films, 2004).

Elly, Queen. Vince & Kath series. 7 volumes, with vols. 6 & 7 titled Vince & Kath & James. Quezon City: ABS-CBN Publishing, 2016. Origin of and takeoff from Vince & Kath & James, dir. Theodore Boborol (Star Cinema, 2016). Originally a “textserye” (“social serye” on the book covers) appearing on Facebook, comprising exchanges among the characters, with the later books bearing individual titles: Book 2, Remember; Book 3, Promise; Book 4, Walang Titibag [None Can Destroy]; Book 5, Cheer and Var (Kath & Vince’s respective terms of endearment); Book 6, The Reunion; and Book 7, The Finale. (Per Roumella Nina L. Monge, in an email exchange, “books 5 & 6 were developed alongside the creation of the film.”)

Flores, Pao. She’s the One: The Novel. Quezon City: ABS-CBN Publishing, 2018. Novelization of She’s the One, dir. Mae Czarina Cruz (ABS-CBN Film Productions & Star Cinema, 2013).

Gacoscos, Blaise C. Just a Stranger. Pasig City: VRJ Books, 2019. Novelization of Just a Stranger, dir. Jason Paul Laxamana (Viva Films, 2019).

Garcia, Fanny A., and Armando Lao, eds. Pitong Teleplay [Seven Teleplays]. Pasig City: Anvil Publishing, 1995. TV scripts by Ricky Lee, Armando Lao, Lualhati Bautista, Jose F. Bartolome, Rosalie Matilac, Dado C. Lumibao, and Fanny A. Garcia.

Gomez, Jerome. Batch ’81: The Making of a Mike de Leon Film. Singapore: Asian Film Archive, 2017. Regarding Batch ’81, dir. Mike de Leon (MVP Pictures, 1982).

Goyo: Ang Batang Heneral [The Young General]: The History Behind the Movie. Mandaluyong City: Anvil Publishing, 2018. Regarding Goyo: Ang Batang Heneral, dir. Jerrold Tarog (TBA Studios, Artikulo Uno Productions, & Globe Studios, 2018); containing “an interview with Isagani Giron” (cover description).

Hau, Caroline S., Isabelita O. Reyes, and Katrina Tuvera, eds. Querida [Paramour]: An Anthology. Mandaluyong City: Anvil Publishing, 2013. Ricky [as Ricardo] Lee, Raquel Villavicencio, & Ishmael Bernal, Relasyon [Affair], screenplay of the film, dir. Ishmael Bernal (Regal Films, 1982).

Icabandi, Arlo. Double Twisting Double Back: The Novel. Quezon City: ABS-CBN Publishing, 2018. Novelization of Double Twisting Double Back, dir. Joseph Abello (Cinema One Originals, #TeamMSB, & Black Maria Pictures, 2018).

Jadaone, Antoinette. Alone/Together. Quezon City: ABS-CBN Publishing, 2019. Screenplay of Alone/Together, dir. Antoinette Jadaone (Black Sheep & Project 8 Corner San Joaquin Projects, 2019).

Jimenez, Ruby Rosa A., ed. Heneral Luna: The History Behind The Movie. Mandaluyong City: Anvil Publishing, 2015. Regarding Heneral Luna, dir. Jerrold Tarog (Artikulo Uno Productions, 2015), based on “an interview with Dr. Vivencio R. Jose, author of The Rise and Fall of Antonio Luna” (cover text).

Lacap, Iris. Barcelona: A Love Untold. Quezon City: ABS-CBN Publishing, 2019. Novelization of Barcelona: A Love Untold, dir. Olivia M. Lamasan (ABS-CBN Film Productions & Star Cinema, 2016).

———. Crazy Beautiful You: The Novel. Quezon City: ABS-CBN Publishing, 2017. Novelization of Crazy Beautiful You, dir. Mae Czarina Cruz [as Mae Cruz-Alviar] (ABS-CBN Film Productions & Star Cinema, 2015).

Lacuesta, Angelo Rodriguez, ed. Contra Mundum [Against the World]: On the Film Restoration of Nick Joaquin’s A Portrait of the Artist as Filipino. [Quezon City]: Miguel P. de Leon Publishing, 2015. Regarding A Portrait of the Artist as Filipino, dir. Lamberto V. Avellana (Diadem Productions & Cinema Artists Philippines, 1965). See Girlie Rodis (ed.), Ang Larawan [The Portrait]: From Stage to Screen, for the text of the play.

Lapus, John. Pang MMK [For (the television program) Maalaala Mo Kaya / Would You Remember]: The Original Screenplay. Quezon City: ABS-CBN Publishing, 2018. Screenplay of Pang MMK, dir. John Lapus (Cinema One Originals, 2018).

Lasar, Charmaine. Hello, Love, Goodbye: The Novel. Quezon City: ABS-CBN Publishing, 2019. Novelization of Hello, Love, Goodbye, dir. Cathy Garcia-Molina (Star Cinema, 2019).

———. The Hows of Us: The Novel. Quezon City: ABS-CBN Publishing, 2018. Novelization of The Hows of Us, dir. Cathy Garcia-Molina (ABS-CBN Film Productions & Star Cinema, 2018).

Laurel, Pedro C. Jr., Ramonfelipe A. Sarmiento, and Rody [as Rodolfo C.] Vera. Tatlong Dulang Pampelikula [Three Screenplays]. Quezon City: University of the Philippines Press, 2003. Pedro C. Laurel Jr., “Ang Diego at Gabriela: Lagablab sa Ilocos [The (story of) Diego and Gabriela: Firestorm in Ilocos]”; Ramonfelipe A. Sarmiento, “Batingaw [Chime]”; Rody [as Rodolfo C.] Vera, “Senyor Pascual.”

Laxamana, Jason Paul. 100 Tula Para Kay Stella [100 Poems for Stella]. Pasig City: VRJ Books, 2017. Novelization of 100 Tula Para Kay Stella, dir. Jason Paul Laxamana (Viva Films, 2017).

Leavold, Andrew. The Search for Weng Weng. Melbourne: LedaTape Organisation, 2017. On the filming of The Search for Weng Weng documentary, dir. Andrew Leavold (Death Rides a Red Horse & Turkeyshoot Productions, 2013).

Lee, Ricky [as Ricardo Lee]. Brutal/Salome. [Quezon City]: Cine Gang, 1981. Back-to-back screenplays of Brutal, dir. Marilou Diaz-Abaya (Bancom Audiovision, 1980); and Salome, dir. Laurice Guillen (Bancom Audiovision, 1981). The script of Salome was reprinted and translated in a foreign edition in 1993.

——— [as Ricardo Lee]. Bukas … May Pangarap [Tomorrow … There’ll Be a Dream]. [Quezon City: Markenprint, 1984]. Screenplay of Bukas … May Pangarap, dir. Gil Portes (Tri Films, 1984).

——— [as Ricardo Lee]. Moral. [Quezon City]: Seven-Star Productions, 1982. Screenplay of Moral, dir. Marilou Diaz-Abaya (Seven Stars Productions, 1982).

——— [as Ricardo Lee]. Salome: A Filipino Filmscript by Ricardo Lee. Trans. Rofel G. Brion. Madison: Center for Southeast Asian Studies, University of Wisconsin, Madison, 1993. Screenplay of Salome, dir. Laurice Guillen (Bancom Audiovision, 1981). Originally published untranslated in 1981.

———. Sa Puso ng Himala [In the Heart of Miracle]. Quezon City: Philippine Writers Studio Foundation, 2012. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), production notes, interviews.

——— [as Ricardo Lee]. Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda [Old Man and the Miracles of Our Time: Collection of Writings]. Quezon City: Bagong Likha Publications, 1988. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), reviews of other films, and interview articles; reprinted in 2009.

———. Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda [Old Man and the Miracles of Our Time: Collection of Writings]. Special edition. Quezon City: Writers Studio Foundation, 2009. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), reviews of other films, and interview articles; reprinted [as Ricardo Lee] from 1988.

Lee, Ricky [as Ricardo Lee], Raquel Villavicencio, & Ishmael Bernal. Relasyon [Affair], screenplay of the film, dir. Ishmael Bernal (Regal Films, 1982). See Caroline S. Hau, Isabelita O. Reyes, and Katrina Tuvera, eds., Querida [Paramour]: An Anthology.

Lim, Jeanne. Tradisyon: Two Screenplays. Tubao Book Series of the Davao Writers Guild. Manila: National Commission for Culture and the Arts, 2009.

Lim, Noel F., Joey Agbayani, and David Hontiveros. Hotel Purgatorio. Los Angeles: Dizzy Emu Publishing, 2020. Unproduced filmscript.

Malanum, Ash M. Unforgettable. Pasig City: VRJ Books, 2019. Novelization of Unforgettable, dirs. Perci Intalan & Jun Robles Lana (Viva Films & Ideafirst Co., 2019).

Mella-Salvador, Shaira, Raymond Lee, and Laurice Guillen. Tanging Yaman [A Change of Heart], the Film Book: Screenplay. Pasig City: Anvil Publishing, ABS-CBN Consumer Products & Star Cinema, 2001. Screenplay of Tanging Yaman, dir. Laurice Guillen (Star Cinema, 2001).

Mique, Benedict. MOMOL Nights: The Original Screenplay. Quezon City: ABS-CBN Publishing, 2019. Screenplay of MOMOL Nights, dir. Benedict Mique (Dreamscape Digital & Lonewolf Films, 2019); MOMOL is the anagram for “make-out make-out lang” or engaging in “merely” non-penetrative sexual activity.

Noriega, Bienvenido M. Jr. Soltero [Bachelor]. Trans. Rolando S. Tinio. Quezon City: New Day Publishers, 1985. Screenplay of Soltero, dir. Pio de Castro III (Experimental Cinema of the Philippines, 1984).

Pichay, Nicolas B. Maxie: Book & Lyrics by Nicolas B. Pichay, Adapted from the Screenplay of Michiko Yamamoto. Manila: University of Santo Tomas Publishing House, 2017. Based on Ang Pagdadalaga ni Maximo Oliveros [The Blossoming of Maximo Oliveros], dir. Aureaus Solito (Cinemalaya & UFO Pictures, 2005).

Pulido, Rod. The Flip Side: A Filipino American Comedy. Chicago: Tulitos, 2002. Screenplay of The Flip Side, dir. Rod Pulido (Pure Pinoy, 2001).

Reyes, Edgardo M. Mga Uod at Rosas [Caterpillars and Roses]. Quezon City: C & E Publishing, 2010. Novelization of Mga Uod at Rosas, dir. Romy V. Suzara (Ian Film Productions, 1982).

Reyes, Emmanuel A. Malikhaing Pelikula: Mga Sanaysay Tungkol sa Pelikulang Pilipino [Creative Film: Essays on Philippine Cinema]. Makati: Media Plus, 1996. Includes the screenplays of Dreaming Filipinos (Manny Reyes Productions, 1991) and Suwapings [The Laughing Barrio] (Safari Films, 1994), both directed by the author [as Manny Reyes].

Rivera, Frank G., and Mars Ravelo. Frank G. Rivera’s Darna, Etc.: Screenplays Based on Characters Created by Mars Ravelo. Manila: University of Santo Tomas Publishing House, 2003. Adaptations by Frank G. Rivera of Mars Ravelo stories, including two produced films: Darna, dir. Joel Lamangan (Viva Films, 1991); and Dyesebel, dir. Emmanuel H. Borlaza (Viva Films, 1995; co-written with Borlaza).

Rodis, Girlie, ed. Ang Larawan [The Portrait]: From Stage to Screen. Mandaluyong City: Anvil Publishing, 2017. Includes (among others) the screenplay by Alemberg Ang, Loy Arcenas, Ryan Cayabyab, Waya Gallardo, Celeste Legaspi, Dennis Marasigan, Girlie Rodis, & Rolando Tinio of Ang Larawan, dir. Loy Arcenas (Culturtain Musicat Productions, 2017).

Sayles, John. Amigo [Friend]: Screenplay. Culver City, CA: Anarchist’s Convention Films, 2009. Screenplay of Amigo, dir. John Sayles (Anarchist’s Convention Films, 2010); paywalled access available online via John Sayles Blog.

Sevilla, Juan Miguel. One More Chance. Quezon City: ABS-CBN Publishing, 2015. Novelization of One More Chance, dir. Cathy Garcia-Molina (ABS-CBN Film Productions & Star Cinema, 2007).

Sycip, Rinka. Miss Granny. Pasig City: VRJ Books, 2018. Screenplay of Miss Granny, dir. Joyce Bernal (Viva Films & N2 Productions, 2018), remake of Soo-sang-han geun-yeo, dir. Dong-hyuk Hwang (Yeinplus Entertainment & CJ Entertainment, 2014); also “with lots of scenes not found in the movie, and several photos from the movie itself” (Viva Books website).

Travers, Steven. Coppola’s Monster Film: The Making of Apocalypse Now. Jefferson, NC: McFarland, 2016. Regarding Apocalypse Now, dir. Francis Ford Coppola (American Zoetrope, 1979).

Vera, Rody. Two Women as Specters of History: Lakambini [Noblewoman] and Indigo Child. Ed. Ellen Ongkeko-Marfil. Quezon City: Ateneo de Manila University Press, 2019. Screenplays of Lakambini, dir. Ellen Ongkeko-Marfil & Jeffrey Jeturian (unfinished); and Indigo Child, dir. Ellen Ongkeko-Marfil (Erasto Films, 2017).

Villamor, Irene Emma. Meet Me in St. Gallen. Pasig City: VRJ Books, 2018. Screenplay of Meet Me in St. Gallen, dir. Irene Emma Villamor (Spring Films & Viva Films, 2018).

———. Sid & Aya (Not A Love Story). Pasig City: VRJ Books, 2018. Screenplay of Sid & Aya (Not A Love Story), dir. Irene Emma Villamor (Viva Films & N2 Productions, 2018).

Viva Films. Miracle in Cell No. 7. Pasig City: VRJ Books, 2019. Regarding the production of Miracle in Cell No. 7, dir. Nuel C. Naval (Viva Films, 2019), remake of 7-beon-bang-ui seon-mul, dir. Hwan-kyung Lee (Fineworks & CL Entertainment, 2013).

Yap, Darryl. Jowable [Lover Material]. Pasig City: VRJ Books, 2019. Novelization of #Jowable, dir. Darryl Yap (Viva Films & VinCentiments, 2019). Based on videos first posted on Facebook.

Yutaka Abe, and Hitō Hakengun. Dawn of Freedom: A Toho Super Production. [Manila: Eiga Haikyūsha, 1943.] Commemorative volume for Dawn of Freedom, dirs. Abe Yutaka and Gerardo de Leon (Eiga Haikyūsha & Toho, 1944).

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Reviews & Criticism
(single-author anthologies)

Bolisay, Richard. Break It to Me Gently: Essays on Filipino Film. Makati City: Everything’s Fine, 2019. Compiled primarily from author’s blog, Lilok Pelikula.

Campos, Patrick F. The End of National Cinema: Filipino Film at the Turn of the Century. Quezon City: University of the Philippines Press, 2016.

Cruz, Isagani R. Movie Times. Manila: National Book Store, 1984.

David, Joel. Book Texts: A Pinoy Film Course. Original digital edition. Quezon City: Amauteurish Publishing, 2016. A collection drawn from previous book publications, available exclusively at the Ámauteurish! website.

———. Fields of Vision: Critical Applications in Recent Philippine Cinema. Book edition. Quezon City: Ateneo de Manila University Press, 1995. Revised & updated for a digital edition in 2014.

———. Fields of Vision: Critical Applications in Recent Philippine Cinema. Digital edition. Quezon City: Amauteurish Publishing, 2014. Revision & update of the 1995 book edition, available at the Ámauteurish! website.

———. Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery. Book edition. Quezon City: Amauteurish Publishing, 2019. Also available online as editions of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society: Part 1 (Traversals within Cinema) in vol. 88, no. 1 (May 2015) and Part 2 (Expanded Perspectives) in vol. 89, no. 1 (May 2016). More information at the Ámauteurish! website.

———. The National Pastime: Contemporary Philippine Cinema. Book edition. Pasig City: Anvil Publishing, 1990. Revised & updated for a digital edition in 2014.

———. The National Pastime: Contemporary Philippine Cinema. Digital edition. Quezon City: Amauteurish Publishing, 2014. Revision & update of the 1990 book edition, available at the Ámauteurish! website.

———. Wages of Cinema: Film in Philippine Perspective. Book edition. Quezon City: University of the Philippines Press, 1998. Revised & updated for a digital edition in 2014.

———. Wages of Cinema: Film in Philippine Perspective. Digital edition. Quezon City: Amauteurish Publishing, 2014. Revision & update of the 1998 book edition, available at the Ámauteurish! website.

Deyto, Epoy. Krisis at Pelikula: Mga Paunang Tala tungkol sa mga Imahe at Eksena sa Panahon ng Digma [Crisis and Film: Preliminary Notes about Images and Scenes during a Time of War]. Pasig City: TollidBilly & Shonenbat Collective, 2018. Available at the author’s Missing Codec blog.

———. The Years of Permanent Midnight and Other Unedited Essays. 2018. Pasig City: TollidBilly & Shonenbat Collective, 2020. Available at the author’s Missing Codec blog; new issue includes an additional essay.

Flores, Patrick D. Sites of Review: Critical Practice in Media. San Pablo City: Oraciones, 1996.

Garcellano, Edel E. First Person, Plural: Essays. Quezon City: Edel E. Garcellano, 1987.

———. Interventions. Manila: Polytechnic University of the Philippines Press, 1998.

———. Knife’s Edge: Selected Essays. Ed. Caroline S. Hau. Quezon City: University of the Philippines Press, 2001.

Goquingco, Leonor Orosa. Curtain Call: Selected Reviews, 1957-2000. Quezon City: University of the Philippines Press, 2001. Includes reviews of performances of film actor Nora Aunor at the Philippine Educational Theater Association.

Guillermo, Alice. Frisson: The Collected Criticism of Alice Guillermo. Ed. Patrick D. Flores & Roberto G. Paulino. Quezon City: Philippine Contemporary Art Network, 2019. “The Walking Tall Syndrome”; “National Identity and the Artist”; “The Many Faces of Censorship”; “Rejecting the Anti-Women in Art and Media”; “Book-Burning in the 20th Century,” on the censorship of the Isip Pinoy [Pinoy Mentality] TV program. Available at the Philippine Contemporary Art Network website.

———. Images of Change: Essays and Reviews. Quezon City: Kalikasan Press, 1988.

Lumbera, Bienvenido. Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan [Purview: Glancing and Critiquing a Changing Culture and Society]. Quezon City: Linangan ng Kamalayang Makabansa, 1987.

———. Re-Viewing Filipino Cinema. Mandaluyong City: Anvil Publishing, 2011. Includes articles previously published in Revaluation (1984 & 1997).

———. Revaluation: Essays on Philippine Literature, Cinema and Popular Culture. [Quezon City]: Index, 1984. Reprinted as Revaluation 1997.

———. Revaluation 1997: Essays on Philippine Literature, Cinema and Popular Culture. Manila: University of Santo Tomas Publishing House, 1997. Reprint of 1984 edition with additional 22 articles and interview.

———. Writing the Nation / Pag-akda ng Bansa. Quezon City: University of the Philippines Press, 2000. Revision of several previously anthologized film articles.

Reyes, Emmanuel A. Notes on Philippine Cinema. Manila: De La Salle University Press, 1989. Includes an interview conducted for the documentary Vic Silayan: An Actor Remembers, dir. Manny Reyes (Manny Reyes, 1984).

Tobias, Mel. One Hundred Acclaimed Tagalog Movies: Sineng Mundo [Film World], Best of Philippine Cinema. Vancouver: Peanut Butter Publishing, 1998.

Velasco, Johven. Huwaran/Hulmahan Atbp. [Model/Mold Etc.]: The Film Writings of Johven Velasco. Ed. Joel David. Quezon City: University of the Philippines Press, 2009.

Vera, Noel. Critic after Dark: A Review of Philippine Cinema. Singapore: BigO Books, 2005.

Zafra, Jessica. Twisted Flicks. Pasig City: Anvil Publishing, 2003.

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Histories

Almajose, Kathy, and JV Ramos. Kakaibang Tingin, Kakaibang Titig [Different Look, Different Gaze]: An Appreciation of the Golden Period in Philippine Cinema. [Batangas City]: La Abuela Publishing House, 2013.

Balce, Nerissa. Body Parts of Empire: Visual Abjection, Filipino Images, and the American Archive. Ann Arbor: University of Michigan Press, 2016.

Baluyut, Pearlie Rose S. Institutions and Icons of Patronage: Arts and Culture in the Philippines during the Marcos Years, 1965-1986. Manila: University of Santo Tomas Publishing House, 2012.

Baumgärtel, Tilman, ed. Kino-Sine: Philippine-German Cinema Relations. Makati City: Goethe-Institut Manila, 2007.

Brody, David. Visualizing American Empire: Orientalism and Imperialism in the Philippines. Chicago: University of Chicago Press, 2010. “Strange Travelogues: Charles Longfellow in the Orient” is about the son of Henry Wadsworth Longfellow; against his father’s wishes, he toured Asian countries, settled in the Philippines, transformed his appearance, and accumulated souvenirs & photographs (in effect, an archive) of himself and his environment.

Constantino, Renato. Synthetic Culture and Development. Quezon City: Foundation for Nationalist Studies, 1984. Only direct mention of cinema in the nationalist author’s texts (from Patrick D. Flores’s findings), aside from his introduction (as publisher) to Bienvenido Lumbera’s Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan (1987).

Constantino, Ronald K., and Ricardo F. Lo, eds. The Golden Years: Memorable Tagalog Movie Ads 1946-1956 (From the Collection of Danny Dolor). Manila: Danny Dolor, 1994.

Cruz, Denise. Transpacific Femininities: The Making of the Modern Filipina. Durham: Duke University Press, 2012. “Transpacific Femininities, Multimedia Archives, and the Global Marketplace” discusses the figure of Imelda Marcos via David Byrne & Fatboy Slim’s musical Here Lies Love: A Song Cycle about Imelda Marcos & Estrella Cumpas (Nonesuch Records & Todomundo, 2010), and describes how the deluxe edition’s DVD makes use of images from “footage of late 1970s and early 1980s club scenes [and] news clips of violence and revolt during the martial law years,” as well as scenes from Iginuhit ng Tadhana [Determined by Destiny]: The Ferdinand E. Marcos Story, dir. Conrado Conde, Jose de Villa, & Mar S. Torres (777 Films & Sampaguita Pictures, 1965).

Day, Tony, and Maya H.T. Liem, eds. Cultures at War: The Cold War and Cultural Expression in Southeast Asia. Studies on Southeast Asia No. 51. Ithaca, NY: Southeast Asia Program Publications, 2010. Francisco Benitez, “Filming Philippine Modernity During the Cold War: The Case of Lamberto [V.] Avellana.”

De la Cruz, Khavn, Dodo Dayao, and Mabie Alagbate. Philippine New Wave: This Is Not a Film Movement. Quezon City: Noel D. Ferrer, MovFest, and Instamatic Writings, 2010.

De Vega, Guillermo. Film and Freedom: Movie Censorship in the Philippines. Manila: De Vega, 1975. Includes reviews of Tubog sa Ginto [Dipped in Gold], dir. Lino Brocka (Lea Productions, 1970); and Kung Bakit Dugo ang Kulay ng Gabi [Why Blood Is the Color of Night], dir. Celso Ad. Castillo (AA Productions, 1973).

Del Mundo, Clodualdo Jr., ed. Making Waves: 10 Years of Cinemalaya [Philippine Independent Film Festival]. Mandaluyong City: Anvil Publishing, 2014.

———. Native Resistance: Philippine Cinema and Colonialism, 1898-1941. Manila: De La Salle University Press, 1998.

Deocampo, Nick. Cine: Spanish Influences on Early Cinema in the Philippines. Vol. 1 of Reflections on One Hundred Years of Cinema in the Philippines series. Manila: Cinema Values Reorientation Program, National Commission for Culture and the Arts, 2007. Succeeded by Film (2011) and Eiga (2016).

———. El Cortometraje: Surgimiento de un nuevo cine filipino. Trans. Mark Garner & Matxalen Goiria. Bilbao: Certámen Internacional del Cine Documental y Cortometraje, 1986. Spanish translation of Short Film (1985).

———, ed. Early Cinema in Asia. Bloomington: Indiana University Press, 2017.

———. Eiga: Cinema in the Philippines during World War II. Vol. 3 of Reflections on One Hundred Years of Cinema in the Philippines series. Mandaluyong City: Anvil Publishing, 2016. Preceded by Cine (2007) and Film (2011).

———. Film: American Influences on Philippine Cinema. Vol. 2 of Reflections on One Hundred Years of Cinema in the Philippines series. Mandaluyong City: Anvil Publishing, 2011. Preceded by Cine (2007) and succeeded by Eiga (2016).

———. Films from a “Lost” Cinema: A Brief History of Cebuano Films. Quezon City: [Movie Workers Welfare Fund] Film Institute, 2005.

———, ed. Lost Films of Asia. Pasig City: Anvil Publishing, 2006.

———. Short Film: Emergence of a New Philippine Cinema. Ed. Alfred A. Yuson. Manila: Communication Foundation for Asia, 1985. Translated to Spanish as El Cortometraje (1986).

Enriquez, Elizabeth L. Appropriation of Colonial Broadcasting: A History of Early Radio in the Philippines, 1922-1946. Quezon City: University of the Philippines Press, 2008.

Espiritu, Talitha. Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime. Ohio University Research in International Studies Southeast Asia Series No. 132. Athens: Ohio University Press, 2017. “National Discipline and the Cinema”; “The New Politics, Lino Brocka, and People Power”; “The Force of National Allegory.”

Fantauzzo, Laurel. The First Impulse. Mandaluyong City: Anvil Publishing, 2017. On the unsolved September 2009 murder case of film critics Alexis Tioseco and his Slovenian partner Nika Bohinc.

Francisco, Butch. Eat Bulaga: Ang Unang Tatlong Dekada [Lunchtime Surprise: The First Three Decades]. Pasig City: TAPE, 2010. On the still-running daily noontime TV program that first aired in 1979.

Goodman, Grant K., ed. Japanese Cultural Policies in Southeast Asia During World War II. New York: MacMillan, 1991. Motoe Terami-Wada, “The Japanese Propaganda Corps in the Philippines: Laying the Foundation.”

Grant, Paul Douglas, and Misha Boris Anissimov. Lilas [Film]: An Illustrated History of the Golden Ages of Cebuano Cinema. Cebu City: University of San Carlos Press, 2016.

Guardiola, Juan. El imaginario colonial: Fotografia en Filipinas durante el periodo Español 1860-1898 [The Colonial Imaginary: Photography in the Philippines during the Spanish Period 1860-1898]. Barcelona: Casa Asia, [2006].

Halili, Servando D. Jr. Iconography of the New Empire: Race and Gender Images and the American Colonization of the Philippines. Quezon City: University of the Philippines Press, 2006.

Hau, Caroline S. Necessary Fictions: Philippine Literature and the Nation, 1946-1980. Quezon City: Ateneo de Manila University Press, 2000. “Alien Nation” discusses the characters of Quiroga in José Rizal’s Noli Me Tángere [Touch Me Not] (1887), Ah Tek in Edgardo M. Reyes’s Sa mga Kuko ng Liwanag [In the Claws of Neon] (1967), and Wei-fung in Ricardo Lee’s short story “Huwag, Huwag Mong Kukuwentuhan ang Batang si Wei Fung [Don’t, Don’t Tell Stories to Young Wei Fung]” (1969) – works and/or authors associated with films; Necessary Fictions is complemented by another text by the same author, titled On the Subject of the Nation: Filipino Writings from the Margins, 1981-2004 (2004).

Hedman, Eva-Lotta E., and John T. Sidel. Philippine Politics and Society in the Twentieth Century: Colonial Legacies, Postcolonial Trajectories. Politics in Asia series. London: Routledge, 2000. Discusses the “mockery of mimicry” in the films of Joey de Leon and Rene Requiestas.

Hernandez, Eloisa May P. Digital Cinema in the Philippines, 1999-2009. Quezon City: University of the Philippines Press, 2014.

Holt, Elizabeth Mary. Colonizing Filipinas: Nineteenth-Century Representations of the Philippines in Western Historiography. Quezon City: Ateneo de Manila University Press, 2002. “History as Visual Spectacle”; “Filipinas and Photography.”

Infante, J. Eddie. Inside Philippine Movies, 1970-1990: Essays for Students of Philippine Cinema. Quezon City: Ateneo de Manila University Press, 1991.

Kasaysayan at Pelikula [History and Film]: 100 Years of Cinema in the Philippines. Manila: National Centennial Commission, Presidential Management Staff, and Movie and Television Review and Classification Board, 1998.

Kramer, Paul A. The Blood of Government: Race, Empire, the United States, and the Philippines. Chapel Hill: University of North Carolina Press, 2006. Includes accounts of Dean C. Worcester’s activities and banning in the Philippines of the newsreel coverage of the heavyweight championship fight between Jack Johnson and James J. Jeffries, where Johnson (a black man) defeated his white contender.

Lumbera, Bienvenido. Pelikula: An Essay on the Philippine Film. [Manila]: Sentrong Pangkultura ng Pilipinas, 1989. Later expanded in the Tuklas Sining [Art Discovery] series by Lumbera, Agustin Sotto, and Nestor U. Torre.

———. Pelikula: An Essay on the Philippine Film, 1961-1992. Tuklas Sining [Art Discovery] series. [Manila]: Sentrong Pangkultura ng Pilipinas, 1992. Continuation of Agustin Sotto’s Pelikula: An Essay on the Philippine Film, 1897-1960 and supplemented by Nestor U. Torre’s Pelikula: An Essay on Philippine Film, Touchstones of Excellence.

Mijares, Primitivo. The Conjugal Dictatorship of Ferdinand and Imelda Marcos. San Francisco: Union Square Publications, 1976. “The Loves of Marcos,” on Ferdinand Marcos’s predilection for movie stars, having married a beauty queen and aspiring film performer. Revised & annotated in 2017.

———. The Conjugal Dictatorship of Ferdinand and Imelda Marcos: Revised and Annotated. Quezon City: Bughaw, 2017. Original published in 1976.

Perdon, Renato. Footnotes to Philippine History. Manila: Manila Prints, 2008. Includes a citation of Himala [Miracle], dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), in discussing religious belief.

Quirino, Joe. Don Jose [Nepomuceno] and the Early Philippine Cinema. History of the Philippine Cinema series no. 1. Quezon City: Phoenix Publishing House, 1983. First in the author’s projected 3-volume history series; no other volumes followed.

Rafael, Vicente L. White Love and Other Events in Filipino History. American Encounters/Global Interactions series. Durham: Duke University Press, 2000. “Patronage, Pornography, and Youth: Ideology and Spectatorship during the Early Marcos Years.”

Rice, Mark. Dean Worcester’s Fantasy Islands: Photography, Film, and the Colonial Philippines. Ann Arbor: University of Michigan Press, 2014.

Rotea, Hermie. Marcos’ Lovey Dovie. Los Angeles: Liberty Publishing, 1983. On the affair between then-President Ferdinand E. Marcos and Dovie Beams, leading lady of Maharlika, dir. Jerr Hopper (Roadshow Films International & Solar Films, 1970).

Salumbides, Vicente. Motion Pictures in the Philippines. Manila: V.S., 1952.

Sklar, Robert. Movie-Made America: A Cultural History of American Movies. Revised and updated. New York: Vintage Books, 1994. First published as Movie-Made America: A Social History of the American Movie (New York: Random House, 1975); Sklar observed that “because whenever wars were in progress the US government would pressure Hollywood to assist in the war effort, ‘echoes and shadows’ of the Viet Nam conflict could only be provided” via the Blood-Island film cycle initiated by Gerardo de Leon’s Terror Is a Man, a.k.a. Creature from Blood Island (Lynn-Romero Productions & Premiere Productions, 1959), a takeoff from H.G. Wells’s The Island of Doctor Moreau (1896) (from Joel David, “Phantom Limbs in the Body Politic,” Plaridel, vol. 11, no. 1, February 2014).

Sotto, Agustin. Pelikula: An Essay on the Philippine Film, 1897-1960. Tuklas Sining [Art Discovery] series. [Manila]: Sentrong Pangkultura ng Pilipinas, 1992. Continued in Bienvenido Lumbera’s Pelikula: An Essay on the Philippine Film, 1961-1992 and supplemented by Nestor U. Torre’s Pelikula: An Essay on Philippine Film, Touchstones of Excellence.

Thompson, Kristin. Exporting Entertainment: America in the World Film Market, 1907-34. London: British Film Institute Publishing, 1985. Describes how the Philippines, as the sole US colony, became the regional center for distribution of Hollywood film prints – which were flawed or easily damaged, since the Orient was regarded as a “junk” market: “90% of the prints from American exchanges were worn almost beyond being showable, with splices, torn sprockets, ends and titles missing” (per an exhibitor’s account).

Torre, Nestor U. Pelikula: An Essay on Philippine Film, Touchstones of Excellence. Tuklas Sining [Art Discovery] series. [Manila]: Sentrong Pangkultura ng Pilipinas, 1994. Supplementary to Agustin Sotto’s and Bienvenido Lumbera’s 1992 Pelikula accounts.

Torres, Cristina Evangelista. The Americanization of Manila: 1898-1921. Quezon City: University of the Philippines Press, 2010. Includes accounts of Dean C. Worcester’s activities.

Vasudev, Aruna, Latika Padgaonkar, and Rashmi Doraiswamy, eds. Being & Becoming: The Cinemas of Asia. New Delhi: MacMillan, 2002. Clodualdo del Mundo Jr., “Philippines: Liver & Alive (1990s-2001)”; Luis H. Francia, “Side-stepping History: Beginnings to 1980s.”

Vergara, Benito M. Displaying Filipinos: Photography and Colonialism in Early 20th Century Philippines. Quezon City: University of the Philippines Press, 1995.

Yeatter, Bryan L. Cinema of the Philippines: A History and Filmography, 1897-2005. Jefferson, NC: McFarland, 2007.

Yu-Jose, Lydia N., ed. The Past, Love, Money and Much More: Philippines-Japan Relations since the End of the Second World War. Quezon City: Ateneo de Manila University Press, 2008. Tito Genova Valiente, “The Japanese in the Filipino Cinematic Space.”

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Studies, Festschrifts, & Special Journal Issues

Africa, Antonio P. Expressions of Tagalog Imaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939-1959). UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, vol. 89, no. 2. Manila: University of Santo Tomas, 2016.

Arao, Danilo, ed. Media and Communication Discourse. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 6, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2009. Jose Gutierrez III, “Images of the Mother in Lino Brocka Films: 1970-1991.”

Avecilla, Victor, and Josefina Santos, eds. Media and Freedom. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 4, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2007. Armida Vallejo Santiago, “The Liberative Role of Discourse in Articulating Women’s Issues and Concerns in Filipino Melodramatic Films from 1990 to 2000”; Leticia Tojos, “Empowering Marginalized Filipinos Through Participatory Video Production.”

Bayot, David Jonathan Y., ed. Inter/Sections: Isagani R. Cruz and Friends. Pasig City: Anvil Publishing, 2010. “A festival of writings by mentors, colleagues, friends, and students – writing in honor of [film & literary critic] Isagani R. Cruz” (David Jonathan Y. Bayot).

Campos, Patrick F., ed. Media and Communication Discourse. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 13, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2016. Joyce Arriola, “Visual Artists as Literary Artists: Fantasy and Folklore in 1950s Komiks-to-Film Adaptations.”

Chua, Jonathan, Rosario Cruz-Lucero, and Rolando B. Tolentino, eds. A Reader in Philippine Film: History and Criticism (Essays in Honor of [film & culture critic] Nicanor G. Tiongson). Quezon City: University of the Philippines Press, 2017.

David, Joel, ed. A Closer Look at Manila by Night. Forum of Kritika Kultura, no. 19. Quezon City: Department of English [of the] Ateneo de Manila University, 2012. A study of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980); includes the screenplay by Ishmael Bernal, transcribed by Joel David and translated to English by Alfred A. Yuson.

———, ed. [Overseas Filipino Workers] in Foreign Cinema. Monograph of Kritika Kultura, nos. 21 & 22. Quezon City: Department of English [of the] Ateneo de Manila University, 2014.

———, ed. On Nora Aunor and the Philippine Star System. Forum of Kritika Kultura, no. 25. Quezon City: Department of English [of the] Ateneo de Manila University, 2015.

David, Joel, and Joyce Arriola, eds. Film Criticism in the Philippines. Special issue of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, vol. 93, no. 1. Manila: University of Santo Tomas, 2020.

David, Joel, and Violeda A. Umali, eds. Media and the Diaspora. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 11, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2014. Louie Jon A. Sánchez, “Koreanovelas, Teleseryes, and the ‘Diasporization’ of the Filipino/the Philippines”; Joel David, “Phantom Limbs in the Body Politic: Filipinos in Foreign Cinema”; Andrew Leavold, “Bamboo Gods and Bionic Boys: A Brief History of the Philippines’ B Films.”

David, Rina, and Pennie Azarcon de la Cruz. Towards Our Own Image: An Alternative Philippine Report on Women and Media. PWRC Pamphlet Series no. 1. [Manila]: Philippine Women’s Research Collective, 1985. Continued in Wilhelmina S. Orozco’s Towards Our Own Image.

Encanto, Georgina, ed. Media and History. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 3, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2006. Michael Hawkins, “The Colonial Past in the Postcolonial Present: Eddie Romero’s Cavalry Command [Cirio H. Santiago Film Organization & Premiere Productions, 1958]”; Joyce Arriola, “The Impact of United States Colonization on the Rizalian Tradition in Cinema and Literature: A View of the Popular Arts as Postcolonial Historiography.”

Enriquez, Elizabeth L., ed. Media and Gender Identity. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 10, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2013. Rommel B. Rodriguez, “Representasyon ng Pagkalalaki sa Pelikulang Bakbakan ni FPJ [Representation of Masculinity in the Action Film of Fernando Poe Jr.].”

Film in South East Asia: Views from the Region (Essays on Film in 10 South East Asia – Pacific Countries). Hanoi: South East Asia – Pacific Audio Visual Archive Association, 2001.

Ha Ju-yong, ed. Hallyu in and for Asia. Forum of Kritika Kultura, no. 28. Quezon City: Department of English [of the] Ateneo de Manila University, 2017. Joel David, “Remembering the Forgotten War: Origins of the Korean War Film and Its Development during Hallyu”; Maria Luisa Torres Reyes, “Multicultural Bildungsroman: Coming of Age between Han and Sana.”

Jacobo, Jaya, ed. Nora [Aunor]. Special issue of Bikol Studies: Perspectives & Advocacies, issue no. 1. Naga City: Ateneo de Naga University, 2020.

Momblanco, Maria Carmencita A. “Philippine Motion Pictures, 1908-1958: A Checklist of the First Fifty Years.” Master’s thesis, 2 vols. University of the Philippines, 1979.

Ner, Sonia P., Louise Arianne C. Ferriols, and Angelo J. Aguinaldo. Filming in the Philippines. [Pasig City]: Film Development Council of the Philippines, [2018].

Olgado, Benedict Salazar, ed. Cinema and the Archives in the Philippines. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 15, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2018. Bliss Cua Lim, “Fragility, Perseverance, and Survival in State-Run Philippine Archives”; Bernadette Rose Alba Patino, “From Colonial Policy to National Treasure: Tracing the Making of Audiovisual Heritage in the Philippines”; Rosemarie O. Roque, “Artsibo at Sineng Bayan: Pagpapanatili ng Kolektibong Alaala at Patuloy na Kolektibong Pagsalungat sa Kasinungalingan at Panunupil [Archive and National Cinema: Preserving Collective Memory and the Continuing Collective Resistance against Lies and Repression]”; Nick Deocampo, “Envisioning a Rhizomic Audio-Visual Archiving for the Future.”

Orozco, Wilhelmina S. Towards Our Own Image: An Alternative Philippine Report on Women and Media. PWRC Pamphlet Series no. 2. [Manila]: Philippine Women’s Research Collective, 1985. Continued from Rina David and Pennie Azarcon de la Cruz’s Towards Our Own Image.

Pasadilla, Gloria O., ed. The Global Challenge in Services Trade: A Look at Philippine Competitiveness. Makati City: Philippine Institute for Development Studies and German Technical Cooperation, 2006. Gloria O. Pasadilla and Angelina M. Lantin, “Audiovisual Services Sector: Can the Philippines Follow ‘Bollywood’?”

Philippine LGBT-Related Films, Including: Masahista [Masseur, dir. Brillante Mendoza (Gee Films Productions International & Centerstage Productions, 2005)], Aishite Imasu 1941: Mahal Kita [I Love You, dir. Joel Lamangan (Regal Films, 2004)], Miguel/Michelle [dir. Gil Portes (Forefront Films, 1998)], Macho Dancer [dir. Lino Brocka (Award Films, Special People Productions & Viva Films, 1988)], Ang Lalaki sa Buhay ni Selya [The Man in Selya’s Life, dir. Carlos Siguion-Reyna (Reyna Films & Star Pacific Cinema, 1987)], The Blossoming of Maximo Oliveros [dir. Aureaus Solito (Cinemalaya & UFO Pictures, 2005)], Paper Dolls (film) [dir. Tomer Heymann (Claudius Films, L.M. Media, Heymann Brothers Films, & The Film Sales Co., 2006)], Twilight Dancers [dir. Mel Chionglo (Centerstage Productions, 2006)], Burlesk King [dir. Mel Chionglo (Seiko Films, 1999)], Markova: Comfort Gay [dir. Gil Portes (RVQ Productions, 2000)]. [Toronto: Hephaestus Books, 2011.]

Portus, Lourdes M., ed. Communication and Media Studies in Asia. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 7, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2010. Taeyun Yu, “Eastern Gunslingers: Andrew Cunanan and Seung-Hui Cho in Western Media Imaginary.”

Promkhuntong, Wikanda, and Bertha Chin, eds. Fandom and Cinephilia in Southeast Asia. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 16, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2019. Richard Bolisay, “‘Yes, You Belong to Me!’ Reflections on the JaDine [James Reid & Nadine Lustre] Love Team Fandom in the Age of Twitter and in the Context of Filipino Fan Culture”; Leticia Tojos, “Empowering Marginalized Filipinos Through Participatory Video Production.”

Santiago, Arminda Vallejo, ed. Youth and Media. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 8, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2011. Jongsuk Ham, “Fluid Identities in the Structure of Cyberspace: A Comparison of Philippine and Korean Experiences”; Pamela Marie Cruz, “Ang Karanasan ng Nakaraan sa Gunitang Viswal: Pagsusuri sa mga Pelikulang Romantiko sa Baguio [The Past Experienced via Visual Recollection: Critique of Romantic Films (set in) Baguio].”

Sarmenta, Severino R. Jr., ed. Movies that Matter: A Festschrift in Honor of [film critic & professor] Nicasio D. Cruz, S.J. [Quezon City]: Office of Research and Publications, Loyola Schools, Ateneo de Manila University, 2008.

Sollano, Francis, and Jose Mari B. Cuartero, eds. Interdisciplinarity in the Philippine Academia: Theory, History, and Challenges. Forum of Kritika Kultura, nos. 33 & 34. Quezon City: Department of English [of the] Ateneo de Manila University, 2020. Louie Jon A. Sánchez, “Ilang Eksplorasyon sa Pag-Aaral ng Kulturang Popular sa Filipinas [Some Explorations in the Study of Popular Culture in the Philippines].”

Tiongson, Nicanor G., ed. Media and Folklore. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 6, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2009. Patrick F. Campos, “The Fantasy-Adventure Films as Contemporary Epics, 2000-2007”; Alvin Yapan, “Nang Mauso ang Pagpapantasya: Isang Pag-aaral sa Estado ng Kababalaghan sa Telebisyon [When Fantasizing Was in Vogue: A Study on the State of Wonderment on Television].”

———, ed. Media and History. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 10, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2013. José S. Buenconsejo, “Orientalism in the Narrative, Music and Myth of the Amok in the 1937 Film Zamboanga [dir. Eduardo de Castro, prod. Filippine Productions]”; Ma. Rina Locsin, “A Brief History of the Baguio Sine.”

Tiongson, Nicanor G., and Violeda A. Umali, eds. Critical Voice in Media Studies. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 1, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2004. José B. Capino, “Prosthetic Hysteria: Staging the Cold War in Filipino/American Docudrama”; Johven [as Jovenal] Velasco, “Filipino Film Melodrama of the Late 1950s: Two Case Studies of Accommodation of Hollywood Genre Models”; Anne Marie G. de Guzman, “Philippine Experimental Film Practice: Influences and Directions through the Films of Roxlee.”

Tolentino, Rolando B., ed. Media and Popular Culture. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 2, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2005. Emil Flores, “The Concept of the Superhero in Filipino Films.”

———, ed. Queer Media and Representations. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 9, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2012. Joel David, “Thinking Straight: Queer Imaging in Lino Brocka’s Maynila[: Sa mga Kuko ng Liwanag / Manila: In the Claws of Neon, dir. Lino Brocka, prod. Cinema Artists] (1975)”; J. Neil C. Garcia, “Postcolonial Camp: Hybridity and Performative Inversions in Zsazsa Zaturnnah [Ze Moveeh, dir. Joel Lamangan, prod. Regal Films, Regal Multimedia, & Ignite Entertainment (2006)].”

United States Information Agency Office of Research. Audience Reaction to IMV Films. Series E-7-76. [Washington, DC]: USIA Office of Research, 1976. Audience tests in the Philippines, Colombia, and Lebanon.

Virrey, Teodoro. Ang Pelikulang Tagalog… [The Tagalog Movie…]. Publications of the Institute of National Language, vol. 4, no. 11. Manila: Bureau of Printing, 1938.

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Auteurist Materials & Memoirs

Avellana, Daisy Hontiveros. The Drama of It: A Life on Film and Theater. Pasig City: Anvil Publishing, 2009. Stage & film performer’s memoir of her life with Lamberto V. Avellana.

Bailey, Cameron, Frederic Maire, Piers Handling, Sergio Wolf, Wieland Speck, Kim Dong-Ho, Marco Muller, Michel Ouedraogo, and Li Cheuk-to. The Future of Film: 100 New Directors. Take 100 series. London: Phaidon Press Ltd., 2010. Each of ten film festival directors – representing Locarno, Toronto, Buenos Aires, Berlin, Pusan, Venice, Ouagadougou (Burkina Faso), and Hong Kong – selected ten of “the world’s most exceptional emerging film directors” along with a representative recent film from each one (from the Library of Congress’s publisher description); includes Philippine filmmakers Raya Martin with Maicling Pelicula nañg Ysañg Indio Nacional [A Short Film About the Indio Nacional] (Atopic films & The Hubert Bals Fund of the Rotterdam Festival, 2005), Brillante Mendoza with Masahista [The Masseur] (Gee Films International & Centerstage Productions, 2005), Pepe Diokno with Engkwentro [Clash] (Cinemalaya Foundation, 2009), and Auraeus Solito with Ang Pagdadalaga ni Maximo Oliveros [The Blossoming of Maximo Oliveros] (Cinemalaya Foundation & UFO Pictures, 2005).

Bandhauer, Andrea, and Michelle Royer, eds. Stars in World Cinema: Screen Icons and Star Systems Across Cultures. London: I.B. Tauris & Co., 2015. Bliss Cua Lim, “Sharon’s Noranian Turn: Stardom, Race, and Language in Philippine Cinema” discusses Sharon Cuneta’s successful replication of Nora Aunor’s early rags-to-riches-via-singing film persona.

Bautista, Mark. Beyond the Mark. Pasig City: VRJ Books, 2018. Singer, actor, & model’s coming-out narrative.

Bernal, Ishmael, Jorge Arago, and Angela Stuart Santiago. Pro Bernal Anti Bio. Manila: ABS-CBN Publishing, 2017. Biography of Ishmael Bernal, authorizing Jorge Arago, completed by Angela Stuart Santiago.

Buensalido, Joy, and Abe Florendo. 100 Women of the Philippines: Celebrating Filipino Womanhood in the New Millennium. Makati City: Buensalido & Associates, 1999. Including Ophelia Alcantara-Dimalanta, Zeneida Amador, Nora Aunor, Marilou Diaz-Abaya, Laurice Guillen, Lea Salonga, Vilma Santos, Sharon Cuneta, Regine Velasquez, Monique Wilson, et al.

Capino, José B. Martial Law Melodrama: Lino Brocka’s Cinema Politics. Berkeley: University of California Press, 2020.

Carballo, Bibsy M. Filipino Directors Up Close: The Golden Ages of Philippine Cinema, 1950-2010. Pasig City: Anvil Publishing, 2010.

Carpio, Rustica C. Shuttling through Stage and Screen. Manila: Far Eastern University Publications, 2008. Veteran performer’s memoir.

Castillo, Celso Ad. Celso Ad. Castillo: An Autobiography & His Craft. [Manila]: CELCAS Film Entertainment, 2013.

Coenen, Michael. The Apocalypse of Marlon Brando: Death and Retribution in the Philippine Jungle. St. Paul, MN: Ex Nihilo Media, 2019. Fiction “inspired by real events” (back cover), specifically the making of Francis [Ford] Coppola’s Apocalypse Now (1979).

Cordero-Fernando, Gilda, and M.G. Chaves. Pinoy Pop Culture. [Manila]: Bench/Suyen Corp., G.C. Fernando, and M.G. Chaves, 2001.

De Guzman, Nestor, ed. Si Nora Aunor sa mga Noranian: Mga Paggunita at Pagtatapat [Nora Aunor to the Noranians: Remembrances and Confessions]. Quezon City: Milflores Publishing, 2005.

Del Mundo, Clodualdo Jr., and Shirley Lua, eds. Direk [Director]: Essays on Filipino Filmmakers. Critical Voices series. Eastbourne, East Sussex: Sussex Academic Press, 2019.

Deramas, Wenn V. Direk 2 da Poynt [Direct(or) to the Point]. Pasig City: VRJ Books, 2016. Written and published autobiography, posthumously launched.

Devera, Jojo. Si Elwood, Pelikula, Atbp. [Elwood, Film, Etc.]. Quezon City: Jojo Devera, 2011. A study of Elwood Perez as filmmaker.

Deza, Alfonso B. Mythopoeic Poe: Understanding the Masa as Audience through the Films of Fernando Poe Jr. Manila: Great Books Publications, 2006.

Dizon, Christianne, ed. Team Real: Your All-Access Pass into James Reid & Nadine Lustre’s World. Pasig City: VRJ Books, 2017.

Fabie, Celine Beatrice. Mona Lisa: A Portrait from the Memoirs of a Grandmother. Parañaque City: Mona Lisa Publication, [2013]. On the globally renowned film performer.

Fabros, David. Piolo, Believing: A Pictorial Biography of Piolo Pascual. Quezon City: Vibal Foundation, 2007. On the contemporary producer & actor.

Fajardo, Deo J. Robin Padilla: Bad Boy ng Showbiz [Bad Boy of Showbiz]. [Manila]: Concept Society, 1993. On the controversial lifestyle of a member of the respected Padilla clan.

Fernandez, Manuel B., and Ronald K. Constantino. A Tribute to the Movie Queen Carmen Rosales: Ang Tangi Kong Pag-ibig [My Only Love]. Makati City: DLD Publishing, 2013.

Fernandez, Marie P. My Life with My Brother Rudy Fernandez. [City unkn.]: Marie P. Fernandez, 2008. On the late action star, son of film director Gregorio Fernandez.

Gamboa, Jose T. Brocka: The Filmmaker without Fear. Modern Heroes for the Filipino Youth series. Makati City: Bookmark, 2013. On Filipino director Lino Brocka.

Garcia, Jessie B. Claudia Zobel: An Untold Story. Iloilo City: [publisher unkn.], 1984. On the short life of the sex-film star.

———. A Movie Album Quizbook. Iloilo City: Erehwon Books & Magazines, 2004.

———. Queen Vi: An Intimate Biography. Bacolod City: Jessie B. Garcia, 1984. On film star Vilma Santos; allegedly unauthorized and pulled from distribution after initial sales.

———. Showbiz Uncensored. [Iloilo City]: Moviola Publishing House, [1995].

———. Stars in the Raw. Bacolod City: [publisher unkn.], 1982.

Gracio, Jerry B. Bagay Tayo [We’re Compatible]. Pasay City: Visprint, 2018. On the scriptwriter’s professional experience and intense personal relationship with Raymond Reña, nicknamed “Pitbull”; accompanied by a simultaneously published book of poetry titled Hindi Bagay [Incompatible].

Hernando, Mario A., ed. Lino Brocka: The Artist and His Times. Manila: Sentrong Pangkultura ng Pilipinas, 1993.

Infante, J. Eddie. All the Stars in the Sky: An Autobiography. Manila: Front Page Newsmakers, 1978. On the actor and director Eddie Infante, whose heyday was during the First Golden Age of the 1950s.

Jimenez, Baby K. Ang True Story ni Guy, Ikalawang Aklat [The True Story of Guy, Volume Two]. Quezon City: Mass Media Promotions, 1983. On film actor Nora Aunor; in 2 vols.

———. Ang True Story ni Guy, Unang Aklat [The True Story of Guy, Volume One]. Quezon City: Mass Media Promotions, 1983. On film actor Nora Aunor; in 2 vols.

Joaquin, Nick [as Quijano de Manila]. Amalia Fuentes and Other Etchings. [Manila]: National Book Store, 1977.

——— [as Quijano de Manila]. Gloria Diaz and Other Delineations. [Manila]: National Book Store, 1977.

——— [as Quijano de Manila]. Joseph Estrada and Other Sketches. [Manila]: National Book Store, 1977.

——— [as Quijano de Manila]. Nora Aunor and Other Profiles. [Manila]: National Book Store, 1977.

——— [as Quijano de Manila]. Ronnie Poe and Other Silhouettes. [Manila]: National Book Store, 1977. “Ronnie Poe” is the nickname of actor, director, and producer Fernando Poe Jr.

Kabristante, George Vail. Gabby [Concepcion]. Quezon City: Jingle Clan Publications, 1982. On the then-emerging teen star.

Kalaw-Tirol, Lorna. Above the Crowd. Pasig City: Anvil Publishing, 2000. More showbiz-focused than Public Faces, Private Lives.

———. Public Faces, Private Lives. Pasig City: Anvil Publishing, 2000. Emphasizes less prominent celebrities than Above the Crowd.

Kapur, Jyotsna, and Keith B. Wagner, eds. Neoliberalism and Global Cinema: Capital, Culture, and Marxist Critique. New York: Routledge, 2011. Bliss Cua Lim, “Gambling on Life and Death: Neoliberal Rationality and the Films of Jeffrey Jeturian.”

Kim Youna, ed. Women and the Media in Asia: The Precarious Self. London: Palgrave Macmillan, 2012. Bliss Cua Lim, “Fandom, Consumption and Collectivity in the Philippine New Cinema: Nora and the Noranians.”

King, Jenny. Great & Famous Filipinos. [Cainta, Rizal]: Worldlink Marketing Corp., 2002. Includes a number of pop-culture figures.

Lanot, Marra PL. Darna & Other Idols. Mandaluyong City: Anvil Publishing, 2012. Feature articles on Ryan Agoncillo, Gina Alajar, Lualhati Bautista, Ryan Cayabyab, Lucy & Richard Gomez, Marian Rivera, Rosanna Roces, Vilma Santos & Ralph Recto, Ali Sotto, et al.

———. Deja Vu & Other Essays. Quezon City: University of the Philippines Press, 1999.

———. The Trouble with Nick [Joaquin] & Other Profiles. Philippine Writers series. Quezon City: University of the Philippines Press, 1999. Includes “That Gal Named Guy” (nickname of film actor Nora Aunor).

Lo, Ricardo F. Conversations Pa More. Pasig City: VRJ Books, 2016. Sequel of Conversations with Ricky Lo (2001).

———. Conversations with Ricky Lo. Mandaluyong City: Anvil Publishing, 2001. Followed by Conversations Pa More (2016).

———. Star Studded. Makati City: Virtusio Books, 1995.

Martinez, Jose Reyes, ed. Nora Aunor: Tagumpay sa Bawat Awit [Triumph in Every Song]. Sitsiritsit Special No. 1. Quezon City: Asia-Pacific Publications, 1971. “Book-length fully illustrated biography” featuring various topics plus “her songs, with guitar chords” (cover description).

McCarthy, Todd, and Charles Flynn. Kings of the B’s: Working within the Hollywood System. New York: E.P. Dutton, 1975. “Eddie Romero.”

Mendoza, Maine. Yup, I Am that Girl. Pasig City: Summit Publishing Co., 2017. On the comedian, host, and viral internet personality.

Mercado, Monina A., ed. Doña Sisang and Filipino Movies. [Quezon City]: Vera-Reyes, 1977. Articles on Narcisa Buencamino de Leon (founder of LVN Pictures), her professional principles, and the films she produced; includes a filmography of LVN productions from 1939 to 1961.

The National Artists of the Philippines. Manila: Cultural Center of the Philippines & Anvil Publishing, 1998. 1972-97 coverage, followed by The National Artists of the Philippines 1999-2003 (2003). Lena S. Pareja, “Lamberto V. Avellana (Theater/Film, 1976): An Innate Love for Truth and Beauty”; Amadis Ma. Guerrero, “Gerardo de Leon (Film, 1982): Views from the Master Filmmaker”; Ramil Digal Gulle, “Rolando S. Tinio (Theater/Literature, 1997): The Song of Rolando: Creative Genius.” The entry “Lino Brocka (Film/Broadcast Arts, 1997): Human Being, Artist, Filipino” contains the following tagline credits: the Ramon Magsaysay Awards Foundation program brochure (September 1985), Mario A. Hernando, and Marilou Diaz-Abaya.

The National Artists of the Philippines 1999-2003. Manila: Cultural Center of the Philippines & Anvil Publishing, 2003. Preceded by National Artists of the Philippines (1998). Justino Dormiendo, “Ishmael Bernal (Film, 2001): The Finest Poet of Philippine Cinema”; Lena S. Pareja, “Eddie Romero (Film, 2003): World-Class Filmmaker.”

Nepales, Ruben. My Filipino Connection: The Philippines in Hollywood. Mandaluyong City: Anvil Publishing, 2013. Includes articles on Bernardo Bernardo, Vanessa Hudgens, Jake Zyrus [as Charice Pempengco], Darren Criss, Bessie Badilla, Matthew Libatique, Ramona Diaz, Mikey Bustos, et al.

Ocampo, Ambeth. Bonifacio’s Bolo. Pasig City: Anvil Publishing, 1995. Includes “The Nora Aunor Mystique.”

Orengo, Oscar Fernández. 44 cineastas Filipinos / 44 Filipino Filmmakers / 44 mga Sineastang Pilipino. [Manila]: Instituto Cervantes de Manila, 2011.

Orteza, Bibeth. Dolphy: Hindi Ko Ito Narating Mag-isa [I Did Not Attain This by Myself]. Quezon City: Kaizz Ventures, 2008. Authorized biography of actor-producer Rodolfo Vera Quizon, a.k.a. Dolphy.

The Philippine Screen Golden Book Album ng mga Artista [Album of Actors]: Favorite Movie Stars with Autographed Fotos. [Manila: Philippine Screen Publishing Co., 1952.]

Pilapil, Pilar V. The Woman without a Face: The Life Story of Pilar Pilapil. Pasig City: Pilar Pilapil Foundation, 2006. Autobiography of the beauty queen and actor.

Protacio, Romeo M. Romualdo. Balik Tanaw [Recollection]: The Filipino Movie Stars of Yesteryears. [San Diego]: Asian Journal San Diego, [2010].

Quinton, Rustum G. Ang Tunay na Kasaysayan ni Nora Aunor, Superstar [The True History of Nora Aunor, Superstar]. Manila: RMD&A Publishing, 1972.

Ramsey, Sansu. Elizabeth Ramsey: Queen of Philippine Rock n’ Roll. Scotts Valley, CA: CreateSpace Independent Publishing Platform, 2017. Authorized biography of the late multimedia entertainer, of Jamaican and Spanish descent, by her daughter.

Renske, David. Cirio H. Santiago: Unbekannter Meister des B-Films [Unknown Master of B-Films]. Birkenfeld, Germany: Creepy*Images, 2020. “Unlike our other publications this book is very text-heavy and therefore in German language only! But we are already discussing the release of an English version as well” (Creepy*Images website announcement).

Robledo, Aniceto. Artist Becomes Delegate of God (Artistang Naging Alagad ng Diyos): Completely Authorized and Illustrated Biography of Msgr. Aniceto Robledo. Quezon City: Fidimica Enterprises, 1972. Religious testimonial of film actor Aniceto Robledo, known for Ang Lumang Simbahan [The Old Church], dir. Jose Nepomuceno (Malayan Movies, 1928).

Rodriguez, Simon Godfrey, Nina Macaraig-Gamboa, and Wylzter Gutierrez. Legacy. Modern Heroes for the Filipino Youth series. Makati City: Bookmark & Studio Graphics Corp., 2015. On film & theater director Lamberto V. Avellana.

Sala, Letty T., and Felipe L. Reyes, eds. Glimpses: Essays, Letters, Memoirs (A Selection from the Writing Class from February to April, 2009). “Book concept” and foreword by Monina Allarey Mercado. Quezon City: Gabriel Books, 2009. A chapter by Michelle Gallaga comprises essays on her family, including her parents, producer-scriptwriter Madeleine Gallaga and director Peque Gallaga.

Screenwriters Guild of the Philippines. Artista sa Pelikula ’85 / Actors’ Yearbook ’85. [Manila]: Fil-Asia Graphics, 1986.

Siguion-Reyna, Armida, and Nelson A. Navarro. Armida. Quezon City: ABS-CBN Publishing, 2015. Comprising “The Unfinished Memoirs” by Armida Siguion-Reyna; and “Armida Siguion-Reyna: The Singer and the Song” by Nelson A. Navarro.

Silverio, Julio F. Sulyap sa Buhay ng mga Artistang Pilipino [Glimpse into the Life of Philippine Movie Actors]. Manila: National Book Store, 1973.

Tiongson, Nicanor G. The Cinema of Manuel Conde. Manila: University of Santo Tomas Publishing House, 2008. On the director, producer, and actor a.k.a. Juan Urbano, including a filmography of his productions.

Tobias, Mel. Life Letters: Stories of a Wanderer. Vancouver: New Hogarath Press, 2003.

———. Memoirs of an Asian Moviegoer. Hong Kong: South China Morning Post, 1982.

Tolentino, Rolando B. Contestable Nation-Space: Cinema, Cultural Politics, and Transnationalism in the Marcos-Brocka Philippines. Quezon City: University of the Philippines Press, 2014. On the anti-dictatorship activism of Lino Brocka during the regime of Ferdinand E. Marcos.

———. Richard Gomez at ang Mito ng Pagkalalake, Sharon Cuneta at ang Perpetwal na Birhen at Iba Pang Sanaysay ukol sa Bida sa Pelikula Bilang Kultural na Texto [Richard Gomez and the Myth of Masculinity, Sharon Cuneta and the Perpetual Virgin and Other Essays about Movie Stars as Cultural Texts]. Pasig City: Anvil Publishing, 2000.

———. Vaginal Economy: Cinema and Sexuality in the Post-Marcos, Post-Brocka Philippines. Durham: Duke University Press, 2011.

Vego, Herbert L. Getting to Know Nora. Manila: Herbert L. Vego, 1973. On film actor Nora Aunor, published “with permission from Philippines Daily Express” (cover text).

Velarde, Emmie G. All-Star Cast. Quezon City: Cine Gang, 1981.

———. Show Biz, Seriously: A Collection of Essays and Feature Articles. Manila: University of Santo Tomas Publishing House, 2011.

Villasanta, Boy [as Julianito “Boy” Villasanta]. Tio Ticong: Pelikula at Pulitika (Vicente Salumbides) [Uncle Ticong: Film and Politics (of) Vicente Salumbides]. Manila: University of Santo Tomas Publishing House, 2002.

Zyrus, Jake. I Am Jake. Mandaluyong City: Anvil Publishing, 2018. Transition account of the former Charice Pempengco.

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Cultural Studies & Political Economy

Alatas, Syed Hussein. The Myth of the Lazy Native: A Study of the Image of the Malays, Filipinos and Javanese from the 16th to the 20th Century and Its Function in the Ideology of Colonial Capitalism. London: Frank Cass, 1977.

Arriola, Joyce L. Pelikulang Komiks [Comics Films]: Toward a Theory of Filipino Film Adaptation. Quezon City: University of the Philippines Press, 2019.

———. Postmodern Filming of Literature: Sources, Contexts, and Adaptations. Manila: University of Santo Tomas Publishing House, 2006.

Beller, Jonathan. Acquiring Eyes: Philippine Visuality, Nationalist Struggle, and the World-Media System. Quezon City: Ateneo de Manila University Press, 2006. “Directing the Real: Orapronobis [Fight for Us, dir. Lino Brocka (Bernadette Associates International, 1989)] against Philippine Totalitarianism (2000)”; “Third Cinema in a Global Frame: Curacha[: Ang Babaeng Walang Pahinga / A Woman without Rest, dir. Chito Roño (Regal Films, 1998)], Yahoo! and Manila by Night [dir. Ishmael Bernal (Regal Films, 1980)].”

Cabagnot, Edward delos Santos. Martin Heidegger’s Being and Time and Manuel Silos’s Biyaya ng Lupa [Blessings of the Land]. Media and Communication series. Quezon City: University of the Philippines Press, 2018. A study of the 1927 Seit und Zeit text (in English translation) vis-à-vis Biyaya ng Lupa, dir. Manuel Silos (LVN Pictures, 1959).

Capino, José B. Dream Factories of a Former Colony: American Fantasies, Philippine Cinema. Minneapolis: University of Minnesota Press, 2010.

Cielo, Carlo. White AF. [Pasig City]: Shonenbat Collective, 2019. A “loose account of the current ‘whiteness’ in Pinoy politics and culture” (product self-description); available at Shonenbat Collective on Facebook.

David, Joel. Manila by Night: A Queer Film Classic. Queer Film Classics series, eds. Thomas Waugh & Matthew Hays. Vancouver: Arsenal Pulp Press, 2017. A study of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980).

De la Paz, Cecilia S., and Patrick D. Flores. Sining at Lipunan [Art and Society]. Aklat Sanyata series. Quezon City: Sentro ng Wikang Filipino – Diliman, 2014. 2nd edition of Patrick D. Flores & Cecilia S. de la Paz’s Sining at Lipunan (1997).

Del Rosario, Simeon G. The Subversive Impact: Sakada [Plantation Laborer] of Behn Cervantes (A Critique). Quezon City: Simeon G. del Rosario, 1976. A study of Sakada, dir. Behn Cervantes (Sagisag Films, 1976).

Flores, Patrick D., and Cecilia Sta. Maria de la Paz. Sining at Lipunan [Art and Society]. Aklat Sanyata series. Quezon City: Sentro ng Wikang Filipino – Diliman, 1997. 2nd edition (2014) is listed as de la Paz & Flores.

Garcia, J. Neil C. Philippine Gay Culture: Binabae to Bakla, Silahis to MSM [Invert to Gay, Bisexual to Men Who Have Sex with Men]. Quezon City: University of the Philippines Press, 2008. Reprint of Philippine Gay Culture, the Last Thirty Years: Binabae to Bakla, Silahis to MSM (1996). Mentions problematic depictions of queer sexualities in Philippine commercial cinema.

———. The Postcolonial Perverse: Critiques of Contemporary Philippine Culture, Volume 1. Quezon City: University of the Philippines Press, 2014. Table of Contents contains the heading “Volume One: The Postcolonial”; includes “Philippine Cinema: The State of the Art.”

Gutierrez, Ben Paul B., ed. Cases on Arts and Culture Management in the Philippine Setting. Quezon City: University of the Philippines Press, 2003. Manuel C. Dioquino Jr., “E-mail Conversations with Keith [Sicat] and Sari [Dalena]” (married film directors).

Hau, Caroline S. The Chinese Question: Ethnicity, Nation, and Region in and Beyond the Philippines. Quezon City: Ateneo de Manila University Press, 2014. Includes discussions of the works of scriptwriter Ricardo Lee and producer Lily Monteverde (particularly Regal Films’ Mano Po [Your Blessing, Please] series), as well as of Armando Garces’s Dragnet (1973, scripted by Lee), Eddie Romero’s Ganito Kami Noon … Paano Kayo Ngayon? [As We Were] (1976), and Mark Meily’s Crying Ladies (2003).

Hosillos, Lucila V. Movies in a Third World Country. Third World Studies Dependency series no. 15. [Quezon City]: Third World Studies Program [of the] University of the Philippines College of Arts and Sciences, 1978.

Isaac, Allan Punzalan. American Tropics: Articulating Filipino America. Critical American Studies Series. Minneapolis: University of Minnesota Press, 2006. Includes discussions of Philippines-set mid-century Hollywood productions as well as of Andrew Cunanan, subject of several films & TV specials as the spree killer whose last victim was Gianni Versace.

Keppy, Peter. Tales of Southeast Asia’s Jazz Age: Filipinos, Indonesians and Popular Culture, 1920-1936. Singapore: National University of Singapore Press, 2019.

Kwon Dong Hwan. Westernized Visual Representation of Jesus and the Construction of Religious Meanings: A Reception Analysis of The Jesus Film (1979) among the Mangyan Tribes. Asbury Theological Seminary Series in Christian Revitalization Studies. Lexington, KY: Emeth Press, 2015. Study of The Jesus Film, dirs. John Krish & Peter Sykes (Inspirational Films & The Genesis Project, 1979).

Lico, Gerard. Edifice Complex: Power, Myth, and Marcos State Architecture. Quezon City: Ateneo de Manila University Press, 2003. “The Cultural Center of the Philippines Complex,” with emphasis on the catastrophic construction history of the Manila Film Center.

Lim, Bliss Cua. Translating Time: Cinema, the Fantastic, and Temporal Critique. Durham: Duke University Press, 2009. The book “interweaves scholarship on visuality with postcolonial historiography” (Duke University Press website) and discusses horror samples including Itim [The Rites of May], dir. Mike de Leon (Cinema Artists, 1976); Haplos [Caress], dir. Antonio Jose Perez (Mirick Films International, 1982); and Aswang [Viscera Sucker], dir. Peque Gallaga & Lore Reyes (Regal Films, 1992).

Lim, Michael Kho. Philippine Cinema and the Cultural Economy of Distribution. Cham, Switzerland: Palgrave Macmillan, 2019.

Martin, Fran, Peter A. Jackson, Mark McLelland, and Audrey Yue, eds. AsiaPacifiQueer: Rethinking Genders and Sexualities. Urbana: University of Illinois Press, 2008. Ronald Baytan, “Bading na Bading [Really Queer]: Evolving Identities in Philippine Cinema.”

Orsal, Cesar D. Movie Queen: Pagbuo ng Mito at Kapangyarihang Kultural ng Babae sa Lipunan [Formation of the Myth and Cultural Dominance of Women in Society]. Quezon City: New Day Publishers, 2007.

Pascual, Chuckberry J. Pagpasok sa Eksena: Ang Sinehan sa Panitikan at Pag-aaral ng Piling Sinehan sa Recto [Scene Entrance: The Movie House in Literature and the Study of Selected Theaters along Recto (Avenue)]. Quezon City: University of the Philippines Press, 2016.

Pertierra, Raul. The Anthropology of New Media in the Philippines. Quezon City: Institute of Philippine Culture, Ateneo de Manila University, 2010.

Remoto, Danton. Rampa: Mga Sanaysay [Sashay: Essays]. Pasig City: Anvil Publishing, 2008. Includes discourses on Freddie Aguilar, Nora Aunor, Ishmael Bernal, Darna, Joel Lamangan, Manila by Night [dir. Ishmael Bernal (Regal Films, 1980)], and Miss Saigon.

Reyes, Soledad S. From Darna to Zsazsa Zaturnnah: Desire and Fantasy (Essays on Literature and Popular Culture). Pasig City: Anvil Publishing, 2009. Includes studies on komiks-to-film crossovers including the title texts.

———. Pagbasa ng Panitikan at Kulturang Popular: Piling Sanaysay, 1976-1996 [Reading Literature and Popular Culture: Selected Essays, 1976-1996]. Quezon City: Ateneo de Manila University Press, 1997.

Salazar, Zeus A., Agustin Sotto, and Prospero Reyes Covar. Unang Pagtingin sa Pelikulang Bakbakan: Tatlong Sanaysay [A First Glance at the Action Film: Three Essays]. Manila: Sentrong Pangkultura ng Pilipinas, 1989.

San Juan, E. Jr. From Globalization to National Liberation: Essays of Three Decades. Quezon City: University of the Philippines Press, 2008. “Allegories of National Liberation” discusses Savage Acts and Fairs – possibly Savage Acts, dir. Pennee Bender, Joshua Brown, and Andrea Ades Vasquez (American Social History Productions, 1995) – as well as Lino Brocka’s opposition to Imelda Marcos’s edifice complex; similar passages appear in a number of earlier books by the author.

Sotto, Agustin, and Marilou Diaz-Abaya. Political and Social Issues in Philippine Film: Two Perspectives. Political and Social Change Working Paper Series, No. 12. Canberra: Department of Political and Social Change, Division of Politics and International Relations, Research School of Pacific and Asian Studies, Australian National University, [1995].

Tadiar, Neferti X.M. [as Neferti Xina M. Tadiar]. Fantasy-Production: Sexual Economies and Other Philippine Consequences for the New World Order. Hong Kong: Hong Kong University Press, 2004. “Himala, Miracle [dir. Ishmael Bernal (Regal Films, 1980)]: The Heretical Potential of Nora Aunor’s Star Power.”

———. Things Fall Away: Philippine Historical Experience and the Makings of Globalization. Post-Contemporary Interventions series. Durham: Duke University Press, 2009. Mentions Nora Aunor and the career boost given by her performance in The Flor Contemplacion Story, dir. Joel Lamangan (Viva Films, 1995); discusses Sharon Cuneta’s stature as “arguably the most popular female movie star in the Philippines today”; and erroneously ascribes the “Second Golden Age” concept to an essay by Bienvenido Lumbera.

Tolentino, Rolando B. Si Darna, ang Mahal na Birhen ng Peñafrancia, si Pepsi Paloma [Darna, the Blessed Virgin of Peñafrancia, (and) Pepsi Paloma]. Kulturang Popular Series No. 3. Pasig City: Anvil Publishing, 2004.

———. Indie Cinema at mga Sanaysay sa Topograpiya ng Pelikula ng Filipinas [Indie Cinema and Essays on the Topography of Philippine Cinema]. Manila: University of Santo Tomas Publishing House, 2016.

———. National/Transnational: Subject Formation and Media in and on the Philippines. Quezon City: Ateneo de Manila University Press, 2001. “‘Inangbayan’ (Mother-Nation) in Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Clutching a Knife [Malaya Films & Stephan Films], 1985) and Orapronobis (Fight for Us [Bernadette Associates International], 1989)”; “Issues of the ‘Filipino/a’ in Asia-Pacific American Media Arts”; “Kidlat Tahimik in the Rhetoric of First World Theory”; “Subcontracting Imagination and Imageries of Bodies and Nations.”

———. Paghahanap ng Virtual na Identidad [The Search for Virtual Identity]. Kulturang Popular Series No. 5. Pasig City: Anvil Publishing, 2004.

———. Sipat Kultura: Tungo sa Mapagpalayang Pagbabasa, Pag-aaral at Pagtuturo ng Panitikan [Culture View: Toward the Liberative Reading, Study and Teaching of Literature]. Quezon City: Ateneo de Manila University Press, 2007.

Villasanta, Boy. Exposé: Peryodismong Pampelikula sa Pilipinas [Movie Journalism in the Philippines]. Manila: University of Santo Tomas Publishing House, 2007.

———. Seksinema. San Pedro, Laguna: World Publishing, 2009.

Yapan, Alvin, and Glenda Oris, eds. Burador [Draft]. Quezon City: Ateneo de Manila University Press, 2010. Classical & contemporary studies on Philippine popular culture.

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Conference Proceedings & Film/Festival Brochures

Aguila, Almond Pilar, Danilo Araña Arao, Alfonso Deza, Lourdes Portus, and Fernando Paragas, eds. Proceedings of the 8th ASEAN [Association of Southeast Asian Nations] Inter-University Conference on Social Development. CD-ROM format. Quezon City: University of the Philippines, Union Network International – Asia and Pacific, Free Trade Alliance, & National University of Singapore, 2008. Sheryl Rose M. Andes, “A Peek at the Winners of the Most Gender-Sensitive Film Awards of the Metro Manila Film Festival”; David R. Corpuz, “Subverting Zsa-Zsa Zaturnnah: A Critique of the Original Graphic Novel and Stage and Film Adaptations of Ang Kagila-gilalas na Pakikipagsapalaran ni Zsa-Zsa Zaturnnah [The Spectacular Adventures of Zsa-Zsa Zaturnnah]”; Joel David, “The Cold War and Marcos-Era Cinema in the Philippines”; Jongsuk Ham, “Online Games and Gender Issues in South Korea and the Philippines”; Roy Nicolas R. Molon Jr., “Women in a Better Light”; Danny Yu, “Gun-Toting Orientals: Global and Local Media Coverage of Andrew Cunanan and Cho Seung Hui.”

AMAUAN Filipino American Multi-Arts Center and Anthology Film Archives. Films by Lino Brocka: A Retrospective, November 14 [to] December 2, 1990, American Film Archives. AMAUAN Notebook series 7.1. New York: AMAUAN Filipino American Multi-Arts Center, 1990.

Arao, Danilo, ed. Global Makeover: Media and Culture in Asia. Seoul & Quezon City: Asian Media and Culture Forum & Development Center for Asia Africa Pacific, 2010. Conference proceedings, including Patrick F. Campos, “The New Fantasy-Adventure Film as Contemporary Epic, 2000-2007”; Joel David, “Orientalism and Classical Film Practice”; and Shirley Palileo-Evidente, “The Alternative Metaphor in Metaphors: Discursive ‘Readings’ on Language, Symbols, and Enculturation in Philippine Cinema and other Media.”

Barte, Gina V., ed. Panahon ng Hapon: Sining sa Digmaan, Digmaan sa Sining [The Japanese Period: Art in War, War in Art]. Studies on Philippine Art and Society, 1942-1945 series. Manila: Sentrong Pangkultura ng Pilipinas, 1992. Exhibition & conference publication, including Agustin Sotto, “War and the Aftermath in Philipine Cinema”; and Motoe Terami-Wada, “Strategy in Culture: Cultural Policy and Propaganda in the Philippines, 1942-1945.”

David, Joel, ed. Proceedings of the Whither the Orient: Asians in Asian and Non-Asian Cinema Conference, Kimdaejung Convention Center, Gwangju, Korea, 28-29 October 2006. Seoul: Asia Culture Forum, 2006.

De Guzman, Nestor, and Albert M. Sunga, eds. Nora Aunor: Through the Years…. San Juan City: Ace Entertainment, 2004. Commemorative volume for the Through the Years concert.

De la Cruz, Enrique B., and Pearlie Rose S. Baluyut, eds. Confrontations, Crossings, and Convergence: Photographs of the Philippines and the United States, 1898-1998. Los Angeles: Asian American Studies Center Press, 1998. A “companion to the photographic display [titled] Confrontations, Crossings and Convergence, on exhibit at UCLA’s Fowler Museum from August 19, 1998 to January 3, 1999[, as] curated by Enrique B. de la Cruz and Pearlie Rose Baluyut of UCLA’s Asian American Studies Center and art history department respectively, and Rico Reyes, an innovative, San Francisco-based artist” (from Augusto Fauni Espiritu’s review in the Journal of Asian American Studies).

Dhar, Nirmal. Bhin Desher Cinema [Cinema from Foreign Countries]. Howrah, India: Sahajpaath Publishers, 2019. In Bengali, for the Cinema Federation’s International Film Festival; 101 movies from countries outside India, including Posas [Shackled], dir. Lawrence Fajardo (Quantum Films & Cinemalaya Foundation, 2012).

Diamond Anniversary of Philippine Cinema. Brochure for the 43rd awards ceremony of the Filipino Academy of Movie Arts and Sciences. Manila: [Movie Workers Welfare Fund], 1994. Includes a filmography of Philippine productions from the beginning to 1993 prepared by Lynn Pareja; significant for being the first published listing of Filipino movies made during the 1960s.

Diaz-Abaya, Marilou. José Rizal. Quezon City: University of the Philippines College of Mass Communication, 1999. Commemorative volume for José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).

Film Academy of the Philippines. Filmography of Filipino Films, 1982. [Manila]: Film Academy of the Philippines, [1983]. Launch publication for what has been subsequently called the Luna Awards, first held in 1984.

Film Blockbusters from the Philippines. [Manila]: Manila International Film Festival, [1981]. “Dry run” for the regular MIFF, to be held starting the next year.

The First Experimental Cinema of the Philippines Annual Short Film Festival: November 16-21, 1982, Manila Film Center, [Cultural Center of the Philippines] Complex. Manila: ECP, 1982.

Focus on Filipino Films: A Sampling, 1951-1982. Manila: Manila International Film Festival, [1983]. Brochure for a special module selected by the Filipino Film Screening Committee and presented during the second MIFF edition, accompanied by freshly struck positive prints subtitled in English & French.

Guardiola, Juan, ed. Cinema Filipinas: Historia, teoría y crítica fílmica (1999-2009) [Philippine Cinema: History, Theory, and Film Criticism (1999-2009)]. [Andalucía]: Juna de Andalucía, Consejería de Cultura Fundación El Legado Andalusí, [2010]. Retrospective volume, with English translations.

Hanan, David, ed. Film in South East Asia: Views from the Region. Hanoi: Southeast Asia-Pacific Audiovisual Archive Association, 2001. Agustin Sotto, “Philippines: A Brief History of Philippine Cinema.”

Higgins, Steve. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: Museum of Modern Art, 2006. Features Bona, dir. Lino Brocka (NV Productions, 1980).

Ishizaka Kenji, ed. Philippine Film Festival: Fiesta of the Filmmakers. Introducing Southeast Asian Cinema series no. 3. Tokyo: Masaru Inoue, 1991.

———, ed. Symposium on Gerardo de Leon. Tokyo: Japan Foundation & [Association of Southeast Asian Nations] Culture Center, 1995.

Kim Young-woo, ed. Centennial Anniversary of the Philippine Cinema: Cinema, as a Response to the Nation. Busan: Busan International Film Festival, 2018. Retrospective volume, with Korean translations.

Lico, Gerard. Pa(ng)labas: Architecture + Cinema – Projection of Filipino Space in Film. Manila: National Commission for Culture and the Arts, 2009.

Loriga, Renato. Autohystoria: Visioni postcoloniali del nuovo cinema filippino [Postcolonial Visions of the New Filipino Cinema]. Studi postcoloniali di cinema e media series no. 4. Canterano, RM: Aracne editrice, 2016. A study of Autohystoria, dir. Raya Martin (Cinematografica, 2007).

Pelikula at Lipunan [Film and Society]: Festival of Filipino Film Classics and Short Films. [Quezon City]: National Commission for Culture and the Arts Cinema Committee, Film Academy of the Philippines, and Movie Workers Welfare Fund, 1994.

Reyes, Soledad S., ed. Reading Popular Culture. Quezon City: Office of Research and Publications [of the] Ateneo de Manila University, 1991. Papers presented at the First National Conference on Popular Culture at the Ateneo de Manila University on November 17-19, 1988; includes Ruth Elynia Mabanglo, “Mula sa Altar nina Huli at Maria Clara: Imahen ng Babae sa Ilang Dramang Pilipino [From the Altar of (José Rizal characters) Huli and Maria Clara: Images of Women in Selected Philippine Dramas]”; and Soledad S. Reyes, “Women on Television.”

San Juan, Edgar, Son-hwa Yi, Aramch’an Yi, and Hye-jong Mok. Kidlat Tahimik. JIFF ch’ongso series. [Jeonju]: Jeonju International Film Festival, 2011. On film director Kidlat Tahimik.

Shaw, Angel Velasco, and Luis H. Francia, eds. Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999. New York: New York University Press, 2002. In conjunction with an exhibit titled Vestiges of War, “a project of Asian/Pacific/American Studies Program and Institute, New York University”; includes Nick Deocampo, “Imperialist Fictions: The Filipino in the Imperialist Imaginary.”

Solomon R. Guggenheim Museum. Empire and Memory: Repercussions and Evocations of the 1899 Philippine-American War. [New York: Solomon R. Guggenheim Museum, 1999.]

Varnedoe, Kirk, Paola Antonelli, and Joshua Siege, eds. Modern Contemporary: Art Since 1980 at MOMA. New York: Museum of Modern Art, 2000. Features Bona, dir. Lino Brocka (NV Productions, 1980).

Forthcoming Titles[1]

Bernardo, Bernardo. Myth Pa Po Ako! [I’m Still a Myth!]. Publisher TBA, 2020.

Co, Teddy. Diary of a Movie Junkie: The Secret History of Cinema in the Philippines. Publisher TBA, 2025.

David, Joel. Genders and Sexualities in Asian Cinemas. Forum of Kritika Kultura, no. 39. Quezon City: Department of English [of the] Ateneo de Manila University, 2022.

David, Joel, and Jo-Ann Q. Maglipon. Sine: 100+ Films That Celebrate Philippine Cinema (pre-revised title). Mandaluyong City: Summit Media, 2020.

Gonzalez, Vernadette Vicuña. Empire’s Mistress, Starring Isabel Rosario Cooper. Durham: Duke University Press, 2021. On movie actress Elizabeth Cooper, nicknamed Dimples, famed for the first onscreen kiss in Jose Nepomuceno’s Ang Tatlong Hambog [The Three Braggarts] (1926), who later became the cohabitational partner of General Douglas MacArthur.

Henares, Ivan Anthony, Kyno Aquino, and Lia Pangilinan. Kapampangan Ku: Encyclopedia of Kapampangan Biographies. Angeles City: Center for Kapampangan Studies & Holy Angel University Press, 2020. Tikoy Aguiluz, apl.de.ap, Carlo Catu, Joel David, Ryzza Mae Dizon, Dolphy, Sarah Geronimo, Cherie Gil, Lito Lapid, Ferdinand Lapuz, Jason Paul Laxamana, Cecile Licad, Melanie Marquez, Coco Martin, Brillante Mendoza, Elwood Perez, Rosa Rosal, Lea Salonga, Nicanor Tiongson, Vilma Santos, Robby Tantingco, et al.

Leavold, Andrew. Aloha Little Manila. Makati City: Archivo 1984, 2021. On the distribution of Filipino releases in Hawai’i, California, and Guam.

Lee, Ricky. Trip to Quiapo, Part 2. Publisher TBA, 2021. Sequel to the 1998 scriptwriting manual.

———. Untitled anthology of screenplays. Publisher TBA, 2021.

———. Untitled biography of Nora Aunor. Publisher TBA, 2021.

———. Untitled memoir. Publisher TBA, 2021.

Sánchez, Louie Jon Agustin. Book based on “Ang Drama ng Ating Búhay: Isang Kasaysayang Pangkultura ng Teleserye sa Filipinas Hanggang 2016 [The Drama of Our Lives: A Cultural History of Television Serials in the Philippines Until 2016],” doctoral dissertation (De La Salle University, 2018). Publisher TBA, 2021.

Note

[1] Kindly apprise the blog author of any additions, modifications, or deletions in the final (Forthcoming) category listings via the Ámauteurish! Contact page.

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Comprehensive Pinas Film Biblio: Alphabetized

Important: To see these entries grouped by category, click here; for the entries in reverse-chronological order can be found here. To return to the landing page, click here. Any notes that follow each entry’s year of publication are annotations made by the author, which fall under copyright. Out-of-print books and chapters that I wrote or edited may be found in this blog’s Books section. For list of authors beyond A: B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, Y, Z.

A

Africa, Antonio P. Expressions of Tagalog Imaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939-1959). UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, vol. 89, no. 2. Manila: University of Santo Tomas, 2016.

Aguila, Almond Pilar, Danilo Araña Arao, Alfonso Deza, Lourdes Portus, and Fernando Paragas, eds. Proceedings of the 8th ASEAN [Association of Southeast Asian Nations] Inter-University Conference on Social Development. CD-ROM format. Quezon City: University of the Philippines, Union Network International – Asia and Pacific, Free Trade Alliance, & National University of Singapore, 2008. Sheryl Rose M. Andes, “A Peek at the Winners of the Most Gender-Sensitive Film Awards of the Metro Manila Film Festival”; David R. Corpuz, “Subverting Zsa-Zsa Zaturnnah: A Critique of the Original Graphic Novel and Stage and Film Adaptations of Ang Kagila-gilalas na Pakikipagsapalaran ni Zsa-Zsa Zaturnnah [The Spectacular Adventures of Zsa-Zsa Zaturnnah]”; Joel David, “The Cold War and Marcos-Era Cinema in the Philippines”; Jongsuk Ham, “Online Games and Gender Issues in South Korea and the Philippines”; Roy Nicolas R. Molon Jr., “Women in a Better Light”; Danny Yu, “Gun-Toting Orientals: Global and Local Media Coverage of Andrew Cunanan and Cho Seung Hui.”

Aitken, Ian, and Camille Deprez, eds. The Colonial Documentary Film in South and South-East Asia. Edinburgh: Edinburgh University Press, 2016. José B. Capino, “Figures of Empire: American Documentaries in the Philippines.”

Aitken, Stuart C., and Leo E. Zonn, eds. Place, Power, Situation and Spectacle: A Geography of Film. Lanham, MD: Rowman & Littlefield, 1994. Gerald M. Macdonald’s “A Mapping of Cinematic Places: Icons, Ideology, and the Power of (Mis)Representation” provides an assessment of Kidlat Tahimik’s Mababangong Bangungot [Perfumed Nightmare] (Zoetrope Studios, 1977).

Alatas, Syed Hussein. The Myth of the Lazy Native: A Study of the Image of the Malays, Filipinos and Javanese from the 16th to the 20th Century and Its Function in the Ideology of Colonial Capitalism. London: Frank Cass, 1977.

Almajose, Kathy, and JV Ramos. Kakaibang Tingin, Kakaibang Titig [Different Look, Different Gaze]: An Appreciation of the Golden Period in Philippine Cinema. [Batangas City]: La Abuela Publishing House, 2013.

Almario, Virgilio S., ed. 101 Filipino Icons. Quezon City: Adarna House, 2007.

AMAUAN Filipino American Multi-Arts Center and Anthology Film Archives. Films by Lino Brocka: A Retrospective, November 14 [to] December 2, 1990, American Film Archives. AMAUAN Notebook series 7.1. New York: AMAUAN Filipino American Multi-Arts Center, 1990.

Andres, Tomas D. How to Enjoy a Film Intelligently for Value Education. [Manila]: Our Lady of Manaoag Publishers, 1987.

Arao, Danilo, ed. Global Makeover: Media and Culture in Asia. Seoul & Quezon City: Asian Media and Culture Forum & Development Center for Asia Africa Pacific, 2010. Conference proceedings, including Patrick F. Campos, “The New Fantasy-Adventure Film as Contemporary Epic, 2000-2007”; Joel David, “Orientalism and Classical Film Practice”; and Shirley Palileo-Evidente, “The Alternative Metaphor in Metaphors: Discursive ‘Readings’ on Language, Symbols, and Enculturation in Philippine Cinema and other Media.”

———, ed. Media and Communication Discourse. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 6, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2009. Jose Gutierrez III, “Images of the Mother in Lino Brocka Films: 1970-1991.”

Armes, Roy. Third World Film Making and the West. Berkeley: University of California Press, 1987.

Arriola, Joyce L. Pelikulang Komiks [Comics Films]: Toward a Theory of Filipino Film Adaptation. Quezon City: University of the Philippines Press, 2019.

———. Postmodern Filming of Literature: Sources, Contexts, and Adaptations. Manila: University of Santo Tomas Publishing House, 2006.

ASEAN Country Reports on Film. Manila: Office of Media Affairs [of the] National Media Production Center, 1983. “A project of the Working Group on Film of the [Association of Southeast Asian Nations] Committee on Culture and Information” (self-description); includes “The Film Industry in the Philippines.”

Avecilla, Victor, and Josefina Santos, eds. Media and Freedom. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 4, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2007. Armida Vallejo Santiago, “The Liberative Role of Discourse in Articulating Women’s Issues and Concerns in Filipino Melodramatic Films from 1990 to 2000”; Leticia Tojos, “Empowering Marginalized Filipinos Through Participatory Video Production.”

Avellana, Daisy Hontiveros. The Drama of It: A Life on Film and Theater. Pasig City: Anvil Publishing, 2009. Stage & film performer’s memoir of her life with Lamberto V. Avellana.

B

Bailey, Cameron, Frederic Maire, Piers Handling, Sergio Wolf, Wieland Speck, Kim Dong-Ho, Marco Muller, Michel Ouedraogo, and Li Cheuk-to. The Future of Film: 100 New Directors. Take 100 series. London: Phaidon Press Ltd., 2010. Each of ten film festival directors – representing Locarno, Toronto, Buenos Aires, Berlin, Pusan, Venice, Ouagadougou (Burkina Faso), and Hong Kong – selected ten of “the world’s most exceptional emerging film directors” along with a representative recent film from each one (from the Library of Congress’s publisher description); includes Philippine filmmakers Raya Martin with Maicling Pelicula nañg Ysañg Indio Nacional [A Short Film About the Indio Nacional] (Atopic films & The Hubert Bals Fund of the Rotterdam Festival, 2005), Brillante Mendoza with Masahista [The Masseur] (Gee Films International & Centerstage Productions, 2005), Pepe Diokno with Engkwentro [Clash] (Cinemalaya Foundation, 2009), and Auraeus Solito with Ang Pagdadalaga ni Maximo Oliveros [The Blossoming of Maximo Oliveros] (Cinemalaya Foundation & UFO Pictures, 2005).

Balce, Nerissa. Body Parts of Empire: Visual Abjection, Filipino Images, and the American Archive. Ann Arbor: University of Michigan Press, 2016.

Baltazar, Dwein. Exes Baggage. Quezon City: ABS-CBN Publishing, 2018. Screenplay of Exes Baggage, dir. Dan Villegas (Black Sheep, 2018).

Baluyut, Pearlie Rose S. Institutions and Icons of Patronage: Arts and Culture in the Philippines during the Marcos Years, 1965-1986. Manila: University of Santo Tomas Publishing House, 2012.

Bandhauer, Andrea, and Michelle Royer, eds. Stars in World Cinema: Screen Icons and Star Systems Across Cultures. London: I.B. Tauris & Co., 2015. Bliss Cua Lim, “Sharon’s Noranian Turn: Stardom, Race, and Language in Philippine Cinema” discusses Sharon Cuneta’s successful replication of Nora Aunor’s early rags-to-riches-via-singing film persona.

Barker, Joshua, Erik Harris, and Johan Lindquist, eds. Figures of Southeast Asian Modernity. Honolulu: University of Hawai’i Press, 2014. José B. Capino, “Domestic Helper.”

Barrow, Sarah, Sabine Haenni, and John White, eds. The Routledge Encyclopedia of Films. Abingdon, Oxon: Routledge, 2014. José B. Capino, “Manila: In the Claws of Neon / Maynila: Sa mga Kuko ng Liwanag[, dir. Lino Brocka (Cinema Artists, 1975)].”

Barte, Gina V., ed. Panahon ng Hapon: Sining sa Digmaan, Digmaan sa Sining [The Japanese Period: Art in War, War in Art]. Studies on Philippine Art and Society, 1942-1945 series. Manila: Sentrong Pangkultura ng Pilipinas, 1992. Exhibition & conference publication, including Agustin Sotto, “War and the Aftermath in Philipine Cinema”; and Motoe Terami-Wada, “Strategy in Culture: Cultural Policy and Propaganda in the Philippines, 1942-1945.”

Baumgärtel, Tilman, ed. Kino-Sine: Philippine-German Cinema Relations. Makati City: Goethe-Institut Manila, 2007.

———, ed. A Reader on International Media Piracy: Pirate Essays. MediaMatters series. Amsterdam: Amsterdam University Press, 2015. Tilman Baumgärtel, “The Triumph of the Pirates: Books, Letters, Movies, and Vegan Candy – Not a Conclusion.”

———, ed. Southeast Asian Independent Cinema. Hong Kong: Hong Kong University Press, 2012. Tilman Baumgärtel, “The Downside of Digital: A German Media Critic Plays Devil’s Advocate.”

Bautista, Mark. Beyond the Mark. Pasig City: VRJ Books, 2018. Singer, actor, & model’s coming-out narrative.

Bayot, David Jonathan Y., ed. Inter/Sections: Isagani R. Cruz and Friends. Pasig City: Anvil Publishing, 2010. “A festival of writings by mentors, colleagues, friends, and students – writing in honor of [film & literary critic] Isagani R. Cruz” (David Jonathan Y. Bayot).

Beller, Jonathan. Acquiring Eyes: Philippine Visuality, Nationalist Struggle, and the World-Media System. Quezon City: Ateneo de Manila University Press, 2006. “Directing the Real: Orapronobis [Fight for Us, dir. Lino Brocka (Bernadette Associates International, 1989)] against Philippine Totalitarianism (2000)”; “Third Cinema in a Global Frame: Curacha[: Ang Babaeng Walang Pahinga / A Woman without Rest, dir. Chito Roño (Regal Films, 1998)], Yahoo! and Manila by Night [dir. Ishmael Bernal (Regal Films, 1980)].”

Bernal, Ishmael. Manila by Night. Screenplay of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980). See Joel David, A Closer Look at Manila by Night.

Bernal, Ishmael, Jorge Arago, and Angela Stuart Santiago. Pro Bernal Anti Bio. Manila: ABS-CBN Publishing, 2017. Biography of Ishmael Bernal, authorizing Jorge Arago, completed by Angela Stuart Santiago.

Bernard, Carlo, and Doug Miro. The Great Raid. [City & publisher unkn.], 2001. Screenplay of The Great Raid, dir. John Dahl (Miramax, Marty Katz Productions, and Lawrence Bender Productions, 2005).

Bernardo, Sigrid Andrea. Kita Kita [I See You]: The Novel. Pasig City: VRJ Books, 2018. Novelization of Kita Kita, dir. Sigrid Andrea Bernardo (Spring Films, 2017).

Bolisay, Richard. Break It to Me Gently: Essays on Filipino Film. Makati City: Everything’s Fine, 2019. Compiled primarily from author’s blog, Lilok Pelikula.

Bonifacio, Bobby Jr., and Juvy G. Galamiton. Hospicio [Hospice]: The Original Screenplay. Quezon City: ABS-CBN Publishing, 2018. Screenplay of Hospicio, dir. Bobby Bonifacio Jr. (Cinema One & Project 8 Corner San Joaquin Projects, 2018).

Brody, David. Visualizing American Empire: Orientalism and Imperialism in the Philippines. Chicago: University of Chicago Press, 2010. “Strange Travelogues: Charles Longfellow in the Orient” is about the son of Henry Wadsworth Longfellow; against his father’s wishes, he toured Asian countries, settled in the Philippines, transformed his appearance, and accumulated souvenirs & photographs (in effect, an archive) of himself and his environment.

Buensalido, Joy, and Abe Florendo. 100 Women of the Philippines: Celebrating Filipino Womanhood in the New Millennium. Makati City: Buensalido & Associates, 1999. Including Ophelia Alcantara-Dimalanta, Zeneida Amador, Nora Aunor, Marilou Diaz-Abaya, Laurice Guillen, Lea Salonga, Vilma Santos, Sharon Cuneta, Regine Velasquez, Monique Wilson, et al.

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C

Cabagnot, Edward delos Santos. Martin Heidegger’s Being and Time and Manuel Silos’s Biyaya ng Lupa [Blessings of the Land]. Media and Communication series. Quezon City: University of the Philippines Press, 2018. A study of the 1927 Seit und Zeit text (in English translation) vis-à-vis Biyaya ng Lupa, dir. Manuel Silos (LVN Pictures, 1959).

Cabahug, Eric. Deadma Walking [Superciliously Walking]. Pasig City: VRJ Books, 2017. Novelization of Deadma Walking, dir. Julius Alfonso (T-Rex Entertainment Productions, 2017); “dedma,” a contraction of “dead malice” (a transliteration of “patay malisya”), refers to feigning ignorance.

Cais, Ethelinda. Mr. and Mrs. Cruz: The Novel. Pasig City: VRJ Books, 2018. Novelization of Mr. and Mrs. Cruz, dir. Sigrid Andrea Bernardo (IdeaFirst Co. & Viva Films, 2018).

Cajayon, Gene, John Manal Castro, and Dawn Bohulano Mabalon. The Debut: The Making of a Filipino American Film. Chicago: Tulitos, 2001. Regarding The Debut, dir. Gene Cajayon (5 Card Productions, Celestial Pictures, Center for Asian American Media, National Asian American Telecommunications Association, Visual Communication, 2000).

A Campaign for Public Decency and Civic Morality. Manila: Santo Tomas, 1912.

Campos, Patrick F. The End of National Cinema: Filipino Film at the Turn of the Century. Quezon City: University of the Philippines Press, 2016.

———, ed. Media and Communication Discourse. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 13, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2016. Joyce Arriola, “Visual Artists as Literary Artists: Fantasy and Folklore in 1950s Komiks-to-Film Adaptations.”

Capino, José B. Dream Factories of a Former Colony: American Fantasies, Philippine Cinema. Minneapolis: University of Minnesota Press, 2010.

———. Martial Law Melodrama: Lino Brocka’s Cinema Politics. Berkeley: University of California Press, 2020.

Carballo, Bibsy M. Filipino Directors Up Close: The Golden Ages of Philippine Cinema, 1950-2010. Pasig City: Anvil Publishing, 2010.

Carpio, Rustica C. Shuttling through Stage and Screen. Manila: Far Eastern University Publications, 2008. Veteran performer’s memoir.

Castillo, Celso Ad. Celso Ad. Castillo: An Autobiography & His Craft. [Manila]: CELCAS Film Entertainment, 2013.

Cheung, Esther M.K., Gina Marchetti, and Tan See-Kam, eds. Hong Kong Screenscapes: From the New Wave to the Digital Frontier. Hong Kong: Hong Kong University Press, 2011. Roger Garcia, John Woo, & Jessica Hagedorn’s “Alternative Perspectives/Alternative Cinemas: Modern Films and the Hong Kong Experimental Scene” comprises “a discussion of a representative program of experimental films by three filmmakers – Jim Shum, Comyn Mo, and [Filipino] Raymond Red, all produced in Hong Kong and Manila in the 1980s under Garcia’s Modern Films Productions company, and shown at the Hollywood/Hong Kong at the Borders: Alternative Perspectives, Alternative Cinema symposium in April 2004” (chapter description in Oxford Index).

Chua, Jonathan, Rosario Cruz-Lucero, and Rolando B. Tolentino, eds. A Reader in Philippine Film: History and Criticism (Essays in Honor of [film & culture critic] Nicanor G. Tiongson). Quezon City: University of the Philippines Press, 2017.

Chuaunsu, Jen, and Katherine Labayen. Isa Pa, With Feelings [Once More, with Feelings]: The Original Screenplay. Quezon City: ABS-CBN Publishing, 2019. Screenplay of Isa Pa, With Feelings, dir. Prime Cruz (Black Sheep & APT Entertainment, 2019). Includes “interviews with cast and crew, and exclusive content inside” (cover description).

Ciecko, Anne Tereska, ed. Contemporary Asian Cinema: Popular Culture in a Global Frame. Asian Cinema series. New York: Berg, 2006. José B. Capino, “Philippines: Cinema and Its Hybridity (Or You’re Nothing but a Second-Rate, Trying Hard Copycat).”

Cielo, Carlo. White AF. [Pasig City]: Shonenbat Collective, 2019. A “loose account of the current ‘whiteness’ in Pinoy politics and culture” (product self-description); available at Shonenbat Collective on Facebook.

Coenen, Michael. The Apocalypse of Marlon Brando: Death and Retribution in the Philippine Jungle. St. Paul, MN: Ex Nihilo Media, 2019. Fiction “inspired by real events” (back cover), specifically the making of Francis [Ford] Coppola’s Apocalypse Now (1979).

Constantino, Renato. Synthetic Culture and Development. Quezon City: Foundation for Nationalist Studies, 1984. Only direct mention of cinema in the nationalist author’s texts (from Patrick D. Flores’s findings), aside from his introduction (as publisher) to Bienvenido Lumbera’s Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan (1987).

Constantino, Ronald K., and Ricardo F. Lo, eds. The Golden Years: Memorable Tagalog Movie Ads 1946-1956 (From the Collection of Danny Dolor). Manila: Danny Dolor, 1994.

Coppola, Eleanor. Notes: On the Making of Apocalypse Now. 1979. London: Faber and Faber, 1995. Regarding Apocalypse Now, dir. Francis Ford Coppola (American Zoetrope, 1979).

Cordero-Fernando, Gilda, and M.G. Chaves. Pinoy Pop Culture. [Manila]: Bench/Suyen Corp., G.C. Fernando, and M.G. Chaves, 2001.

Coronel, Sheila S., ed. From Loren to Marimar: The Philippine Media in the 1990s. Quezon City: Philippine Center for Investigative Journalism, 1999.

Cowie, Peter. TheApocalypse Now Book. 2000. Boston, Mass.: Da Capo Press, 2001. “The making of Francis Ford Coppola’s epic [American Zoetrope, 1979], based on unprecedented access to his private archives,… with 80 photographs, and exclusive detailed descriptions of material restored by Coppola for Apocalypse Now Redux (2001)” [cover description].

Cruz, Denise. Transpacific Femininities: The Making of the Modern Filipina. Durham: Duke University Press, 2012. “Transpacific Femininities, Multimedia Archives, and the Global Marketplace” discusses the figure of Imelda Marcos via David Byrne & Fatboy Slim’s musical Here Lies Love: A Song Cycle about Imelda Marcos & Estrella Cumpas (Nonesuch Records & Todomundo, 2010), and describes how the deluxe edition’s DVD makes use of images from “footage of late 1970s and early 1980s club scenes [and] news clips of violence and revolt during the martial law years,” as well as scenes from Iginuhit ng Tadhana [Determined by Destiny]: The Ferdinand E. Marcos Story, dir. Conrado Conde, Jose de Villa, & Mar S. Torres (777 Films & Sampaguita Pictures, 1965).

Cruz, Isagani R. Movie Times. Manila: National Book Store, 1984.

Cultural Center of the Philippines in Cooperation with the Centennial Commission. The CCP Centennial Honors for the Arts. Manila: CCP, 1999. Includes entries for Nora Aunor, Daisy H. Avellana, Ishmael Bernal, Salvador F. Bernal, Amelia L. Bonifacio, Ryan Cayabyab, Benjamin H. Cervantes, Manuel Conde, Ernani J. Cuenco, Mike de Leon, Narcisa B. de Leon, et al.

Cultural Center of the Philippines Library. Union Catalog on Philippine Culture: Film. CCP Library Research Guide Series no. 4. Manila: Cultural Center of the Philippines Library, 1990.

D

David, Adam, Carljoe Javier, Noel Pascual, and Mervin Malonzo. Shake Rattle & Roll: Kahindik-hindik na Klasikong Katatakutan [Terrifying Horror Classics]. Quezon City: ABS-CBN Publishing, 2016. Based on Shake, Rattle & Roll II, dir. Peque Gallaga & Lore Reyes (Regal Films, 1990).

David, Joel. Book Texts: A Pinoy Film Course. Original digital edition. Quezon City: Amauteurish Publishing, 2016. A collection drawn from previous book publications, available exclusively at the Ámauteurish! website.

———, ed. A Closer Look at Manila by Night. Forum of Kritika Kultura, no. 19. Quezon City: Department of English [of the] Ateneo de Manila University, 2012. A study of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980); includes the screenplay by Ishmael Bernal, transcribed by Joel David and translated to English by Alfred A. Yuson.

———. Fields of Vision: Critical Applications in Recent Philippine Cinema. Book edition. Quezon City: Ateneo de Manila University Press, 1995. Revised & updated for a digital edition in 2014.

———. Fields of Vision: Critical Applications in Recent Philippine Cinema. Digital edition. Quezon City: Amauteurish Publishing, 2014. Revision & update of the 1995 book edition, available at the Ámauteurish! website.

———. Manila by Night: A Queer Film Classic. Queer Film Classics series, eds. Thomas Waugh & Matthew Hays. Vancouver: Arsenal Pulp Press, 2017. A study of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980).

———. Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery. Book edition. Quezon City: Amauteurish Publishing, 2019. Also available online as editions of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society: Part 1 (Traversals within Cinema) in vol. 88, no. 1 (May 2015) and Part 2 (Expanded Perspectives) in vol. 89, no. 1 (May 2016). More information at the Ámauteurish! website.

———. The National Pastime: Contemporary Philippine Cinema. Book edition. Pasig City: Anvil Publishing, 1990. Revised & updated for a digital edition in 2014.

———. The National Pastime: Contemporary Philippine Cinema. Digital edition. Quezon City: Amauteurish Publishing, 2014. Revision & update of the 1990 book edition, available at the Ámauteurish! website.

———, ed. [Overseas Filipino Workers] in Foreign Cinema. Monograph of Kritika Kultura, nos. 21 & 22. Quezon City: Department of English [of the] Ateneo de Manila University, 2014.

———, ed. On Nora Aunor and the Philippine Star System. Forum of Kritika Kultura, no. 25. Quezon City: Department of English [of the] Ateneo de Manila University, 2015.

———, ed. Proceedings of the Whither the Orient: Asians in Asian and Non-Asian Cinema Conference, Kimdaejung Convention Center, Gwangju, Korea, 28-29 October 2006. Seoul: Asia Culture Forum, 2006.

———. Wages of Cinema: Film in Philippine Perspective. Book edition. Quezon City: University of the Philippines Press, 1998. Revised & updated for a digital edition in 2014.

———. Wages of Cinema: Film in Philippine Perspective. Digital edition. Quezon City: Amauteurish Publishing, 2014. Revision & update of the 1998 book edition, available at the Ámauteurish! website.

David, Joel, and Joyce Arriola, eds. Film Criticism in the Philippines. Special issue of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, vol. 93, no. 1. Manila: University of Santo Tomas, 2020.

David, Joel, and Violeda A. Umali, eds. Media and the Diaspora. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 11, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2014. Louie Jon A. Sanchez, “Koreanovelas, Teleseryes, and the ‘Diasporization’ of the Filipino/the Philippines”; Joel David, “Phantom Limbs in the Body Politic: Filipinos in Foreign Cinema”; Andrew Leavold, “Bamboo Gods and Bionic Boys: A Brief History of the Philippines’ B Films.”

David, Rina, and Pennie Azarcon de la Cruz. Towards Our Own Image: An Alternative Philippine Report on Women and Media. PWRC Pamphlet Series no. 1. [Manila]: Philippine Women’s Research Collective, 1985. Continued in Wilhelmina S. Orozco’s Towards Our Own Image.

Day, Tony, and Maya H.T. Liem, eds. Cultures at War: The Cold War and Cultural Expression in Southeast Asia. Studies on Southeast Asia No. 51. Ithaca, NY: Southeast Asia Program Publications, 2010. Francisco Benitez, “Filming Philippine Modernity During the Cold War: The Case of Lamberto [V.] Avellana.”

De Guzman, Nestor, ed. Si Nora Aunor sa mga Noranian: Mga Paggunita at Pagtatapat [Nora Aunor to the Noranians: Remembrances and Confessions]. Quezon City: Milflores Publishing, 2005.

De Guzman, Nestor, and Albert M. Sunga, eds. Nora Aunor: Through the Years…. San Juan City: Ace Entertainment, 2004. Commemorative volume for the Through the Years concert.

De la Cruz, Enrique B., and Pearlie Rose S. Baluyut, eds. Confrontations, Crossings, and Convergence: Photographs of the Philippines and the United States, 1898-1998. Los Angeles: Asian American Studies Center Press, 1998. A “companion to the photographic display [titled] Confrontations, Crossings and Convergence, on exhibit at UCLA’s Fowler Museum from August 19, 1998 to January 3, 1999[, as] curated by Enrique B. de la Cruz and Pearlie Rose Baluyut of UCLA’s Asian American Studies Center and art history department respectively, and Rico Reyes, an innovative, San Francisco-based artist” (from Augusto Fauni Espiritu’s review in the Journal of Asian American Studies).

De la Cruz, Khavn, Dodo Dayao, and Mabie Alagbate. Philippine New Wave: This Is Not a Film Movement. Quezon City: Noel D. Ferrer, MovFest, and Instamatic Writings, 2010.

De la Paz, Cecilia S., and Patrick D. Flores. Sining at Lipunan [Art and Society]. Aklat Sanyata series. Quezon City: Sentro ng Wikang Filipino – Diliman, 2014. 2nd edition of Patrick D. Flores & Cecilia S. de la Paz’s Sining at Lipunan (1997).

De la Torre, Visitacion “Chit” R. Cultural Icons of the Philippines. Makati City: Tower Book House, 2002.

De Vega, Guillermo. Film and Freedom: Movie Censorship in the Philippines. Manila: De Vega, 1975. Includes reviews of Tubog sa Ginto [Dipped in Gold], dir. Lino Brocka (Lea Productions, 1970); and Kung Bakit Dugo ang Kulay ng Gabi [Why Blood Is the Color of Night], dir. Celso Ad. Castillo (AA Productions, 1973).

Del Mundo, Clodualdo Jr., ed. Making Waves: 10 Years of Cinemalaya [Philippine Independent Film Festival]. Mandaluyong City: Anvil Publishing, 2014.

———. Maynila: Sa mga Kuko ng Liwanag [Manila: In the Claws of Neon], ’Merika [with Gil Jose Quito], at Alyas Raha Matanda [with Herky del Mundo]: Tatlong Dulang Pampelikula [Three Screenplays]. Manila: De La Salle University Press, 1992. Screenplays of Maynila: Sa mga Kuko ng Liwanag, dir. Lino Brocka (Cinema Artists, 1975); and ’Merika, dir. Gil Portes (Adrian Films, 1984).

———. Native Resistance: Philippine Cinema and Colonialism, 1898-1941. Manila: De La Salle University Press, 1998.

———, ed. Spirituality and the Filipino Film. Film and Faith series. Manila: Communication Foundation for Asia, 2010.

———. Writing for Film. [Manila]: Communication Foundation for Asia, 1981.

Del Mundo, Clodualdo Jr., and Mike de Leon. Rizal [and] Bayaning 3rd World [3rd World Hero]: Dalawang Dulang Pampelikula [Two Screenplays]. Manila: De La Salle University Press, 2000. Screenplays of Rizal, dir. Mike de Leon (unfinished); and Bayaning 3rd World, dir. Mike de Leon (Cinema Artists, 2000).

Del Mundo, Clodualdo Jr., and Shirley Lua, eds. Direk [Director]: Essays on Filipino Filmmakers. Critical Voices series. Eastbourne, East Sussex: Sussex Academic Press, 2019.

Del Mundo, Clodualdo Jr., and Jose Mari Magpayo, eds. Philippine Mass Media: A Book of Readings. Manila: Communication Foundation for Asia, 1986. Mario A. Hernando, “Against All Odds: The Story of the Filipino Film Industry (1978-1982)”; Bienvenido Lumbera, “Problems in Philippine Film History”; Eduardo Sazon, “Film Distribution and Exhibition.”

Del Rosario, Simeon G. The Subversive Impact: Sakada [Plantation Laborer] of Behn Cervantes (A Critique). Quezon City: Simeon G. del Rosario, 1976. A study of Sakada, dir. Behn Cervantes (Sagisag Films, 1976).

Deocampo, Nick. Beyond the Mainstream: The Films of Nick Deocampo. Ed. Lolita R. Lacuesta. Pasig City: Anvil Publishing, 1997. Production notes and essays on short filmmaking, plus the screenplays of the following short films by the author: “Oliver” (Deocampo, 1983); “Children of the Regime” (Deocampo, 1985); “Revolutions Happen Like Refrains in a Song” (Deocampo, 1987); “Ynang-Bayan [Mother-Country]: To Be a Woman Is to Live in a Time of War” (Deocampo, 1991); “Memories of Old Manila” ([Movie Workers Welfare Fund] Film Institute, 1993); “Isaak” (Metro Manila Film Festival Executive Committee, 1994); and “Sex Warriors and the Samurai” (Deocampo, 1995).

———. Cine: Spanish Influences on Early Cinema in the Philippines. Vol. 1 of Reflections on One Hundred Years of Cinema in the Philippines series. Manila: Cinema Values Reorientation Program, National Commission for Culture and the Arts, 2007. Succeeded by Film (2011) and Eiga (2016).

———. El Cortometraje: Surgimiento de un nuevo cine filipino. Trans. Mark Garner & Matxalen Goiria. Bilbao: Certámen Internacional del Cine Documental y Cortometraje, 1986. Spanish translation of Short Film (1985).

———, ed. Early Cinema in Asia. Bloomington: Indiana University Press, 2017.

———. Eiga: Cinema in the Philippines during World War II. Vol. 3 of Reflections on One Hundred Years of Cinema in the Philippines series. Mandaluyong City: Anvil Publishing, 2016. Preceded by Cine (2007) and Film (2011).

———. Film: American Influences on Philippine Cinema. Vol. 2 of Reflections on One Hundred Years of Cinema in the Philippines series. Mandaluyong City: Anvil Publishing, 2011. Preceded by Cine (2007) and succeeded by Eiga (2016).

———. Films from a “Lost” Cinema: A Brief History of Cebuano Films. Quezon City: [Movie Workers Welfare Fund] Film Institute, 2005.

———, ed. Lost Films of Asia. Pasig City: Anvil Publishing, 2006.

———. Short Film: Emergence of a New Philippine Cinema. Ed. Alfred A. Yuson. Manila: Communication Foundation for Asia, 1985. Translated to Spanish as El Cortometraje (1986).

———, ed. Sinegabay: A Film Study Guide. Pasig City: Anvil Publishing, 2008.

Deramas, Wenn V. Direk 2 da Poynt [Direct(or) to the Point]. Pasig City: VRJ Books, 2016. Written and published autobiography, posthumously launched.

Devera, Jojo. Si Elwood, Pelikula, Atbp. [Elwood, Film, Etc.]. Quezon City: Jojo Devera, 2011. A study of Elwood Perez as filmmaker.

Deyto, Epoy. Krisis at Pelikula: Mga Paunang Tala tungkol sa mga Imahe at Eksena sa Panahon ng Digma [Crisis and Film: Preliminary Notes about Images and Scenes during a Time of War]. Pasig City: TollidBilly & Shonenbat Collective, 2018. Available at the author’s Missing Codec blog.

———. The Years of Permanent Midnight and Other Unedited Essays. 2018. Pasig City: TollidBilly & Shonenbat Collective, 2020. Available at the author’s Missing Codec blog; new issue includes an additional essay.

Deza, Alfonso B. Mythopoeic Poe: Understanding the Masa as Audience through the Films of Fernando Poe Jr. Manila: Great Books Publications, 2006.

Dhar, Nirmal. Bhin Desher Cinema [Cinema from Foreign Countries]. Howrah, India: Sahajpaath Publishers, 2019. In Bengali, for the Cinema Federation’s International Film Festival; 101 movies from countries outside India, including Posas [Shackled], dir. Lawrence Fajardo (Quantum Films & Cinemalaya Foundation, 2012).

Diamond Anniversary of Philippine Cinema. Brochure for the 43rd awards ceremony of the Filipino Academy of Movie Arts and Sciences. Manila: [Movie Workers Welfare Fund], 1994. Includes a filmography of Philippine productions from the beginning to 1993 prepared by Lynn Pareja; significant for being the first published listing of Filipino movies made during the 1960s.

Diaz-Abaya, Marilou. José Rizal. Quezon City: University of the Philippines College of Mass Communication, 1999. Commemorative volume for José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).

Dimaranan, Irma V. Naglalayag [Silent Passage]. Quezon City: University of the Philippines Press, 2006. Screenplay of Naglalayag, dir. Maryo J. de los Reyes (Angora Films, 2004).

Directory of Filipino Women in Radio, TV & Film Media. [Manila]: National Commission on the Role of Filipino Women, National Printing Office, and Philippine Information Agency, 1992.

Dizon, Christianne, ed. Team Real: Your All-Access Pass into James Reid & Nadine Lustre’s World. Pasig City: VRJ Books, 2017.

Downing, John, ed. Film & Politics in the Third World. New York: Autonomedia, 1986. Luis Francia, “Philippine Cinema: The Struggle against Repression.”

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E

Elly, Queen. Vince & Kath series. 7 volumes, with vols. 6 & 7 titled Vince & Kath & James. Quezon City: ABS-CBN Publishing, 2016. Origin of and takeoff from Vince & Kath & James, dir. Theodore Boborol (Star Cinema, 2016). Originally a “textserye” (“social serye” on the book covers) appearing on Facebook, comprising exchanges among the characters, with the later books bearing individual titles: Book 2, Remember; Book 3, Promise; Book 4, Walang Titibag [None Can Destroy]; Book 5, Cheer and Var (Kath & Vince’s respective terms of endearment); Book 6, The Reunion; and Book 7, The Finale. (Per Roumella Nina L. Monge, in an email exchange, “books 5 & 6 were developed alongside the creation of the film.”)

Encanto, Georgina, ed. Media and History. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 3, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2006. Michael Hawkins, “The Colonial Past in the Postcolonial Present: Eddie Romero’s Cavalry Command [Cirio H. Santiago Film Organization & Premiere Productions, 1958]”; Joyce Arriola, “The Impact of United States Colonization on the Rizalian Tradition in Cinema and Literature: A View of the Popular Arts as Postcolonial Historiography.”

Enriquez, Elizabeth L. Appropriation of Colonial Broadcasting: A History of Early Radio in the Philippines, 1922-1946. Quezon City: University of the Philippines Press, 2008.

———, ed. Media and Gender Identity. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 10, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2013. Rommel B. Rodriguez, “Representasyon ng Pagkalalaki sa Pelikulang Bakbakan ni FPJ [Representation of Masculinity in the Action Film of Fernando Poe Jr.].”

Espiritu, Talitha. Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime. Ohio University Research in International Studies Southeast Asia Series No. 132. Athens: Ohio University Press, 2017. “National Discipline and the Cinema”; “The New Politics, Lino Brocka, and People Power”; “The Force of National Allegory.”

Export Trade Promotion, Philippines Bureau of. A Profile on Motion Pictures. Product Profile series. [Manila]: Product Research and Strategy Group, Bureau of Export Trade Promotion, Department of Trade & Industry, 1989.

F

Fabie, Celine Beatrice. Mona Lisa: A Portrait from the Memoirs of a Grandmother. Parañaque City: Mona Lisa Publication, [2013]. On the globally renowned film performer.

Fabros, David. Piolo, Believing: A Pictorial Biography of Piolo Pascual. Quezon City: Vibal Foundation, 2007. On the contemporary producer & actor.

Fajardo, Deo J. Robin Padilla: Bad Boy ng Showbiz [Bad Boy of Showbiz]. [Manila]: Concept Society, 1993. On the controversial lifestyle of a member of the respected Padilla clan.

Fantauzzo, Laurel. The First Impulse. Mandaluyong City: Anvil Publishing, 2017. On the unsolved September 2009 murder case of film critics Alexis Tioseco and his Slovenian partner Nika Bohinc.

Feliciano, Gloria D., and Crispulo J. Icban Jr., eds. Philippine Mass Media in Perspective. Quezon City: Capitol, 1967. T.D. Agcaoili, “Movies.”

Feng, Peter X., ed. Screening Asian Americans. New Brunswick: Rutgers University Press, 2002. Rolando B. Tolentino, “Identity and Difference in ‘Filipino/a American’ Media Arts.”

Fernandez, Manuel B., and Ronald K. Constantino. A Tribute to the Movie Queen Carmen Rosales: Ang Tangi Kong Pag-ibig [My Only Love]. Makati City: DLD Publishing, 2013.

Fernandez, Marie P. My Life with My Brother Rudy Fernandez. [City unkn.]: Marie P. Fernandez, 2008. On the late action star, son of film director Gregorio Fernandez.

Fernandez, Ricardo V., ed. Film Directory of the Philippines. [Manila: Philippine Motion Pictures Producers Association?], 1978.

Ferrer, Noel D. Mag-Artista Ka! Mga Dapat Mong Malaman Para Sumikat sa Showbiz sa Tamang Paraan, sa Tamang Panahon [Be a Star! What You Should Learn to Get Famous in Showbiz in the Right Way, at the Right Time]. Mandaluyong City: Anvil Publishing, 2015. Filipino version of Sisikat Din Ako!

———. Sisikat Din Ako! [I’ll Also Get Famous!] Your Guide to Making Your Mark in Show Business. Mandaluyong City: Anvil Publishing, 2015. English version of Mag-Artista Ka!

Film Academy of the Philippines. Filmography of Filipino Films, 1982. [Manila]: Film Academy of the Philippines, [1983]. Launch publication for what has been subsequently called the Luna Awards, first held in 1984.

Film Blockbusters from the Philippines. [Manila]: Manila International Film Festival, [1981]. “Dry run” for the regular MIFF, to be held starting the next year.

Film Development Council of the Philippines. Philippine Film Catalogue. Pasig City: Film Development Council of the Philippines, [2007].

Film in South East Asia: Views from the Region (Essays on Film in 10 South East Asia – Pacific Countries). Hanoi: South East Asia – Pacific Audio Visual Archive Association, 2001.

The First Experimental Cinema of the Philippines Annual Short Film Festival: November 16-21, 1982, Manila Film Center, [Cultural Center of the Philippines] Complex. Manila: ECP, 1982.

Flores, Pao. She’s the One: The Novel. Quezon City: ABS-CBN Publishing, 2018. Novelization of She’s the One, dir. Mae Czarina Cruz (ABS-CBN Film Productions & Star Cinema, 2013).

Flores, Patrick D. Sites of Review: Critical Practice in Media. San Pablo City: Oraciones, 1996.

Flores, Patrick D., and Cecilia Sta. Maria de la Paz. Sining at Lipunan [Art and Society]. Aklat Sanyata series. Quezon City: Sentro ng Wikang Filipino – Diliman, 1997. 2nd edition (2014) is listed as de la Paz & Flores.

Focus on Filipino Films: A Sampling, 1951-1982. Manila: Manila International Film Festival, [1983]. Brochure for a special module selected by the Filipino Film Screening Committee and presented during the second MIFF edition, accompanied by freshly struck positive prints subtitled in English & French.

Francisco, Butch. Eat Bulaga: Ang Unang Tatlong Dekada [Lunchtime Surprise: The First Three Decades]. Pasig City: TAPE, 2010. On the still-running daily noontime TV program that first aired in 1979.

Fujiwara, Chris, ed. The Little Black Book [of] Movies: Over a Century of the Greatest Films, Stars, Scenes, Speeches and Events that Rocked the Movie World. London: Cassell Illustrated, 2007. “Part expert selection of [1,000] seminal moments, part glorious celebration of 100 years of cinema” (product description); includes contributions by Nick Deocampo and Noel Vera.

G

Gacoscos, Blaise C. Just a Stranger. Pasig City: VRJ Books, 2019. Novelization of Just a Stranger, dir. Jason Paul Laxamana (Viva Films, 2019).

Gamboa, Jose T. Brocka: The Filmmaker without Fear. Modern Heroes for the Filipino Youth series. Makati City: Bookmark, 2013. On Filipino director Lino Brocka.

Garcellano, Edel E. First Person, Plural: Essays. Quezon City: Edel E. Garcellano, 1987.

———. Interventions. Manila: Polytechnic University of the Philippines Press, 1998.

———. Knife’s Edge: Selected Essays. Ed. Caroline S. Hau. Quezon City: University of the Philippines Press, 2001.

Garcia, Fanny A., and Armando Lao, eds. Pitong Teleplay [Seven Teleplays]. Pasig City: Anvil Publishing, 1995. TV scripts by Ricky Lee, Armando Lao, Lualhati Bautista, Jose F. Bartolome, Rosalie Matilac, Dado C. Lumibao, and Fanny A. Garcia.

Garcia, J. Neil C. Philippine Gay Culture: Binabae to Bakla, Silahis to MSM [Invert to Gay, Bisexual to Men Who Have Sex with Men]. Quezon City: University of the Philippines Press, 2008. Reprint of Philippine Gay Culture, the Last Thirty Years: Binabae to Bakla, Silahis to MSM (1996). Mentions problematic depictions of queer sexualities in Philippine commercial cinema.

———. The Postcolonial Perverse: Critiques of Contemporary Philippine Culture, Volume 1. Quezon City: University of the Philippines Press, 2014. Table of Contents contains the heading “Volume One: The Postcolonial”; includes “Philippine Cinema: The State of the Art.”

Garcia, Jessie B. Claudia Zobel: An Untold Story. Iloilo City: [publisher unkn.], 1984. On the short life of the sex-film star.

———. A Movie Album Quizbook. Iloilo City: Erehwon Books & Magazines, 2004.

———. Queen Vi: An Intimate Biography. Bacolod City: Jessie B. Garcia, 1984. On film star Vilma Santos; allegedly unauthorized and pulled from distribution after initial sales.

———. Showbiz Uncensored. [Iloilo City]: Moviola Publishing House, [1995].

———. Stars in the Raw. Bacolod City: [publisher unkn.], 1982.

Gever, Martha, John Greyson, and Pratibha Parmar, eds. Queer Looks: Perspectives on Lesbian and Gay Film and Video. New York: Routledge, 1993. Nick Deocampo, “Homosexuality as Dissent / Cinema as Subversion: Articulating Gay Consciousness in the Philippines.”

Gomez, Jerome. Batch ’81: The Making of a Mike de Leon Film. Singapore: Asian Film Archive, 2017. Regarding Batch ’81, dir. Mike de Leon (MVP Pictures, 1982).

Goodman, Grant K., ed. Japanese Cultural Policies in Southeast Asia During World War II. New York: MacMillan, 1991. Motoe Terami-Wada, “The Japanese Propaganda Corps in the Philippines: Laying the Foundation.”

Goquingco, Leonor Orosa. Curtain Call: Selected Reviews, 1957-2000. Quezon City: University of the Philippines Press, 2001. Includes reviews of performances of film actor Nora Aunor at the Philippine Educational Theater Association.

Goyo: Ang Batang Heneral [The Young General]: The History Behind the Movie. Mandaluyong City: Anvil Publishing, 2018. Regarding Goyo: Ang Batang Heneral, dir. Jerrold Tarog (TBA Studios, Artikulo Uno Productions, & Globe Studios, 2018); containing “an interview with Isagani Giron” (cover description).

Gracio, Jerry B. Bagay Tayo [We’re Compatible]. Pasay City: Visprint, 2018. On the scriptwriter’s professional experience and intense personal relationship with Raymond Reña, nicknamed “Pitbull”; accompanied by a simultaneously published book of poetry titled Hindi Bagay [Incompatible].

Grant, Paul Douglas, and Misha Boris Anissimov. Lilas [Film]: An Illustrated History of the Golden Ages of Cebuano Cinema. Cebu City: University of San Carlos Press, 2016.

Grossman, Andrew, ed. Queer Asian Cinema: Shadows in the Shade. New York: Harrington Park Press, 2000. Co-published simultaneously as Journal of Homosexuality’s vol. 39, nos. 3-4 issues; Rolando B. Tolentino, “Transvestites and Transgressions: Panggagaya [Mimicry] in Philippine Gay Cinema.”

Guardiola, Juan, ed. Cinema Filipinas: Historia, teoría y crítica fílmica (1999-2009) [Philippine Cinema: History, Theory, and Film Criticism (1999-2009)]. [Andalucía]: Juna de Andalucía, Consejería de Cultura Fundación El Legado Andalusí, [2010]. Retrospective volume, with English translations.

———. El Imaginario colonial: Fotografia en Filipinas durante el periodo Español 1860-1898 [The Colonial Imaginary: Photography in the Philippines during the Spanish Period 1860-1898]. Barcelona: Casa Asia, [2006].

Guerrero, Rafael Ma., ed. Readings in Philippine Cinema. Manila: Experimental Cinema of the Philippines, 1983.

Guevara-Fernandez, Pacita, ed. Keeping the Flame Alive: Essays in the Humanities. Diamond Jubilee Publication. Quezon City: University of the Philippines Press, 1983. Behn Cervantes’s “Ganyan Lang Talaga Yan [That’s Just How It Is]” describes the Philippine situation as “a large market that can be redirected in its tastes and attitudes so that they [sic] can dictate what types of movies should be made.”

Guillermo, Alice. Frisson: The Collected Criticism of Alice Guillermo. Ed. Patrick D. Flores & Roberto G. Paulino. Quezon City: Philippine Contemporary Art Network, 2019. “The Walking Tall Syndrome”; “National Identity and the Artist”; “The Many Faces of Censorship”; “Rejecting the Anti-Women in Art and Media”; “Book-Burning in the 20th Century,” on the censorship of the Isip Pinoy [Pinoy Mentality] TV program. Available at the Philippine Contemporary Art Network website.

———. Images of Change: Essays and Reviews. Quezon City: Kalikasan Press, 1988.

Guneratne, Antony R., and Wimal Dissanayake, eds. Rethinking Third Cinema. New York: Routledge, 2003. Sumita S. Chakravarty’s “The Erotics of History: Gender and Transgression in the New Asian Cinema” closes with a discussion of Ishmael Bernal’s Himala [Miracle] (Experimental Cinema of the Philippines, 1982) as an example of the “relationship between eroticism and spirituality, [exploring] its implications for Filipino constructions of history and identity.”

Gutierrez, Ben Paul B., ed. Cases on Arts and Culture Management in the Philippine Setting. Quezon City: University of the Philippines Press, 2003. Manuel C. Dioquino Jr., “E-mail Conversations with Keith [Sicat] and Sari [Dalena]” (married film directors).

Gutierrez-Ang, Jaime. Tanglaw Introduction to Film: An Outcomes-Based Text Manual in Film Aesthetics, Appreciation, Theory and Criticism for the Filipino Student. Manila: Mindshapers, 2014.

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Ha Ju-yong, ed. Hallyu in and for Asia. Forum of Kritika Kultura, no. 28. Quezon City: Department of English [of the] Ateneo de Manila University, 2017. Joel David, “Remembering the Forgotten War: Origins of the Korean War Film and Its Development during Hallyu”; Maria Luisa Torres Reyes, “Multicultural Bildungsroman: Coming of Age between Han and Sana.”

Halili, Servando D. Jr. Iconography of the New Empire: Race and Gender Images and the American Colonization of the Philippines. Quezon City: University of the Philippines Press, 2006.

Hanan, David, ed. Film in South East Asia: Views from the Region. Hanoi: Southeast Asia-Pacific Audiovisual Archive Association, 2001. Agustin Sotto, “Philippines: A Brief History of Philippine Cinema.”

Hanna, Monica, and Rebecca A. Sheehan, eds. Border Cinema: Reimagining Identity through Aesthetics. New Brunswick: Rutgers University Press, 2019. José B. Capino, “Filipinos at the Border: Migrant Workers in Transnational Philippine Cinema.”

Hau, Caroline S. The Chinese Question: Ethnicity, Nation, and Region in and Beyond the Philippines. Quezon City: Ateneo de Manila University Press, 2014. Includes discussions of the works of scriptwriter Ricardo Lee and producer Lily Monteverde (particularly Regal Films’ Mano Po [Your Blessing, Please] series), as well as of Armando Garces’s Dragnet (1973, scripted by Lee), Eddie Romero’s Ganito Kami Noon … Paano Kayo Ngayon? [As We Were] (1976), and Mark Meily’s Crying Ladies (2003).

———. Necessary Fictions: Philippine Literature and the Nation, 1946-1980. Quezon City: Ateneo de Manila University Press, 2000. “Alien Nation” discusses the characters of Quiroga in José Rizal’s Noli Me Tángere [Touch Me Not] (1887), Ah Tek in Edgardo M. Reyes’s Sa mga Kuko ng Liwanag [In the Claws of Neon] (1967), and Wei-fung in Ricardo Lee’s short story “Huwag, Huwag Mong Kukuwentuhan ang Batang si Wei Fung [Don’t, Don’t Tell Stories to Young Wei Fung]” (1969) – works and/or authors associated with films; Necessary Fictions is complemented by another text by the same author, titled On the Subject of the Nation: Filipino Writings from the Margins, 1981-2004 (2004).

Hau, Caroline S., Isabelita O. Reyes, and Katrina Tuvera, eds. Querida [Paramour]: An Anthology. Mandaluyong City: Anvil Publishing, 2013. Ricky [as Ricardo] Lee, Raquel Villavicencio, & Ishmael Bernal, Relasyon [Affair], screenplay of the film, dir. Ishmael Bernal (Regal Films, 1982).

Hedman, Eva-Lotta E., and John T. Sidel. Philippine Politics and Society in the Twentieth Century: Colonial Legacies, Postcolonial Trajectories. Politics in Asia series. London: Routledge, 2000. Discusses the “mockery of mimicry” in the films of Joey de Leon and Rene Requiestas.

Hernandez, Eloisa May P. Digital Cinema in the Philippines, 1999-2009. Quezon City: University of the Philippines Press, 2014.

Hernando, Mario A., ed. Lino Brocka: The Artist and His Times. Manila: Sentrong Pangkultura ng Pilipinas, 1993.

Higgins, Steve. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: Museum of Modern Art, 2006. Features Bona, dir. Lino Brocka (NV Productions, 1980).

Holmlund, Chris, ed. American Cinema of the 1990s. New Brunswick: Rutgers University Press, 2008. José B. Capino, “Cinema and the Usable Past.”

Holt, Elizabeth Mary. Colonizing Filipinas: Nineteenth-Century Representations of the Philippines in Western Historiography. Quezon City: Ateneo de Manila University Press, 2002. “History as Visual Spectacle”; “Filipinas and Photography.”

Hosillos, Lucila V. Movies in a Third World Country. Third World Studies Dependency series no. 15. [Quezon City]: Third World Studies Program [of the] University of the Philippines College of Arts and Sciences, 1978.

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Icabandi, Arlo. Double Twisting Double Back: The Novel. Quezon City: ABS-CBN Publishing, 2018. Novelization of Double Twisting Double Back, dir. Joseph Abello (Cinema One Originals, #TeamMSB, & Black Maria Pictures, 2018).

Infante, J. Eddie. All the Stars in the Sky: An Autobiography. Manila: Front Page Newsmakers, 1978. On the actor and director Eddie Infante, whose heyday was during the First Golden Age of the 1950s.

———. Inside Philippine Movies, 1970-1990: Essays for Students of Philippine Cinema. Quezon City: Ateneo de Manila University Press, 1991.

Ingawanij, May Adadol, and Benjamin McKay, eds. Glimpses of Freedom: Independent Cinema in Southeast Asia. Ithaca, NY: Cornell Southeast Asia Program Publications, 2012. Tilman Baumgärtel, “The Piracy Generation: Media Piracy and Independent Film in Southeast Asia”; Eloisa May P. Hernandez, “The Beginnings of Digital Cinema in Southeast Asia”; Alexis A. Tioseco, “Like the Body and the Soul: Independence and Aesthetics in Contemporary Philippine Cinema”; John Torres, “Piracy Boom Boom.”

Intellectual Property Code of the Philippines and Related Laws: With Movie and Television Review and Classification Board (PD 1986), Videogram Regulatory Board (PD 1987), Children’s Television Act of 1997 and Others. Manila: Central Book Supply, 1998.

Internal Revenue, Philippines Bureau of. Cinematographic Film Regulations: Administrative Order No. 50. Manila: Bureau of Internal Revenue, 1918.

Isaac, Allan Punzalan. American Tropics: Articulating Filipino America. Critical American Studies Series. Minneapolis: University of Minnesota Press, 2006. Includes discussions of Philippines-set mid-century Hollywood productions as well as of Andrew Cunanan, subject of several films & TV specials as the spree killer whose last victim was Gianni Versace.

Ishizaka Kenji, ed. Philippine Film Festival: Fiesta of the Filmmakers. Introducing Southeast Asian Cinema series no. 3. Tokyo: Masaru Inoue, 1991.

———, ed. Symposium on Gerardo de Leon. Tokyo: Japan Foundation & [Association of Southeast Asian Nations] Culture Center, 1995.

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Jacobo, Jaya, ed. Nora [Aunor]. Special issue of Bikol Studies: Perspectives & Advocacies, issue no. 1. Naga City: Ateneo de Naga University, 2020.

Jadaone, Antoinette. Alone/Together. Quezon City: ABS-CBN Publishing, 2019. Screenplay of Alone/Together, dir. Antoinette Jadaone (Black Sheep & Project 8 Corner San Joaquin Projects, 2019).

Jameson, Fredric. The Geopolitical Aesthetic: Cinema and Space in the World System. Perspectives series. Bloomington: Indiana University Press, 1992. “Art Naïf and the Admixture of Worlds” is an appreciation of Kidlat Tahimik’s Mababangong Bangungot [Perfumed Nightmare] (Zoetrope Studios, 1977).

Jimenez, Baby K. Ang True Story ni Guy, Ikalawang Aklat [The True Story of Guy, Volume Two]. Quezon City: Mass Media Promotions, 1983. On film actor Nora Aunor; in 2 vols.

———. Ang True Story ni Guy, Unang Aklat [The True Story of Guy, Volume One]. Quezon City: Mass Media Promotions, 1983. On film actor Nora Aunor; in 2 vols.

Jimenez, Ruby Rosa A., ed. Heneral Luna: The History Behind The Movie. Mandaluyong City: Anvil Publishing, 2015. Regarding Heneral Luna, dir. Jerrold Tarog (Artikulo Uno Productions, 2015), based on “an interview with Dr. Vivencio R. Jose, author of The Rise and Fall of Antonio Luna” (cover text).

Joaquin, Nick [as Quijano de Manila]. Amalia Fuentes and Other Etchings. [Manila]: National Book Store, 1977.

——— [as Quijano de Manila]. Gloria Diaz and Other Delineations. [Manila]: National Book Store, 1977.

——— [as Quijano de Manila]. Joseph Estrada and Other Sketches. [Manila]: National Book Store, 1977.

——— [as Quijano de Manila]. Nora Aunor and Other Profiles. [Manila]: National Book Store, 1977.

——— [as Quijano de Manila]. Ronnie Poe and Other Silhouettes. [Manila]: National Book Store, 1977. “Ronnie Poe” is the nickname of actor, director, and producer Fernando Poe Jr.

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Kabristante, George Vail. Gabby [Concepcion]. Quezon City: Jingle Clan Publications, 1982. On the then-emerging teen star.

Kalaw-Tirol, Lorna. Above the Crowd. Pasig City: Anvil Publishing, 2000. More showbiz-focused than Public Faces, Private Lives.

———. Public Faces, Private Lives. Pasig City: Anvil Publishing, 2000. Emphasizes less prominent celebrities than Above the Crowd.

Kapur, Jyotsna, and Keith B. Wagner, eds. Neoliberalism and Global Cinema: Capital, Culture, and Marxist Critique. New York: Routledge, 2011. Bliss Cua Lim, “Gambling on Life and Death: Neoliberal Rationality and the Films of Jeffrey Jeturian.”

Kasaysayan at Pelikula [History and Film]: 100 Years of Cinema in the Philippines. Manila: National Centennial Commission, Presidential Management Staff, and Movie and Television Review and Classification Board, 1998.

Kenny, James, and Isabel Enriquez Kenny. Making Documentaries & News Features in the Philippines. Pasig City: Anvil Publishing, 1996.

Keppy, Peter. Tales of Southeast Asia’s Jazz Age: Filipinos, Indonesians and Popular Culture, 1920-1936. Singapore: National University of Singapore Press, 2019.

Kim Youna, ed. Women and the Media in Asia: The Precarious Self. London: Palgrave Macmillan, 2012. Bliss Cua Lim, “Fandom, Consumption and Collectivity in the Philippine New Cinema: Nora and the Noranians.”

Kim Young-woo, ed. Centennial Anniversary of the Philippine Cinema: Cinema, as a Response to the Nation. Busan: Busan International Film Festival, 2018. Retrospective volume, with Korean translations.

King, Jenny. Great & Famous Filipinos. [Cainta, Rizal]: Worldlink Marketing Corp., 2002. Includes a number of pop-culture figures.

Kintanar, Thelma B., “and Associates.” The University of the Philippines Cultural Dictionary for Filipinos. Quezon City & Pasig City: University of the Philippines Press & Anvil Publishing, 1996. “Communication and Mass Media.”

Kramer, Paul A. The Blood of Government: Race, Empire, the United States, and the Philippines. Chapel Hill: University of North Carolina Press, 2006. Includes accounts of Dean C. Worcester’s activities and banning in the Philippines of the newsreel coverage of the heavyweight championship fight between Jack Johnson and James J. Jeffries, where Johnson (a black man) defeated his white contender.

Kwon Dong Hwan. Westernized Visual Representation of Jesus and the Construction of Religious Meanings: A Reception Analysis of The Jesus Film (1979) among the Mangyan Tribes. Asbury Theological Seminary Series in Christian Revitalization Studies. Lexington, KY: Emeth Press, 2015. Study of The Jesus Film, dirs. John Krish & Peter Sykes (Inspirational Films & The Genesis Project, 1979).

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Lacaba, Jose F., ed. The Films of ASEAN. Quezon City: Association of Southeast Asian Nations Committee on Culture and Information, 2000. Clodualdo del Mundo Jr., “Philippines.”

———. Showbiz Lengua: Chika and Chismax about Chuvachuchu [Showbiz Lingo: Small Talk and Gossip about Everything]. Pasig City: Anvil Publishing, 2010. A “compilation of 68 columns that [the author] wrote for YES! Magazine from 2003 to 2009” (Jose F. Lacaba, Ka Pete blog, November 2010).

Lacap, Iris. Barcelona: A Love Untold. Quezon City: ABS-CBN Publishing, 2019. Novelization of Barcelona: A Love Untold, dir. Olivia M. Lamasan (ABS-CBN Film Productions & Star Cinema, 2016).

———. Crazy Beautiful You: The Novel. Quezon City: ABS-CBN Publishing, 2017. Novelization of Crazy Beautiful You, dir. Mae Czarina Cruz [as Mae Cruz-Alviar] (ABS-CBN Film Productions & Star Cinema, 2015).

Lacuesta, Angelo Rodriguez, ed. Contra Mundum [Against the World]: On the Film Restoration of Nick Joaquin’s A Portrait of the Artist as Filipino. [Quezon City]: Miguel P. de Leon Publishing, 2015. Regarding A Portrait of the Artist as Filipino, dir. Lamberto V. Avellana (Diadem Productions & Cinema Artists Philippines, 1965). See Girlie Rodis (ed.), Ang Larawan [The Portrait]: From Stage to Screen, for the text of the play.

Lanot, Marra PL. Darna & Other Idols. Mandaluyong City: Anvil Publishing, 2012. Feature articles on Ryan Agoncillo, Gina Alajar, Lualhati Bautista, Ryan Cayabyab, Lucy & Richard Gomez, Marian Rivera, Rosanna Roces, Vilma Santos & Ralph Recto, Ali Sotto, et al.

———. Deja Vu & Other Essays. Quezon City: University of the Philippines Press, 1999.

———. The Trouble with Nick [Joaquin] & Other Profiles. Philippine Writers series. Quezon City: University of the Philippines Press, 1999. Includes “That Gal Named Guy” (nickname of film actor Nora Aunor).

Lapus, John. Pang MMK [For (the television program) Maalaala Mo Kaya / Would You Remember]: The Original Screenplay. Quezon City: ABS-CBN Publishing, 2018. Screenplay of Pang MMK, dir. John Lapus (Cinema One Originals, 2018).

Lasar, Charmaine. Hello, Love, Goodbye: The Novel. Quezon City: ABS-CBN Publishing, 2019. Novelization of Hello, Love, Goodbye, dir. Cathy Garcia-Molina (Star Cinema, 2019).

———. The Hows of Us: The Novel. Quezon City: ABS-CBN Publishing, 2018. Novelization of The Hows of Us, dir. Cathy Garcia-Molina (ABS-CBN Film Productions & Star Cinema, 2018).

Laurel, Pedro C. Jr., Ramonfelipe A. Sarmiento, and Rody [as Rodolfo C.] Vera. Tatlong Dulang Pampelikula [Three Screenplays]. Quezon City: University of the Philippines Press, 2003. Pedro C. Laurel Jr., “Ang Diego at Gabriela: Lagablab sa Ilocos [The (story of) Diego and Gabriela: Firestorm in Ilocos]”; Ramonfelipe A. Sarmiento, “Batingaw [Chime]”; Rody [as Rodolfo C.] Vera, “Senyor Pascual.”

Laxamana, Jason Paul. 100 Tula Para Kay Stella [100 Poems for Stella]. Pasig City: VRJ Books, 2017. Novelization of 100 Tula Para Kay Stella, dir. Jason Paul Laxamana (Viva Films, 2017).

Leavold, Andrew. The Search for Weng Weng. Melbourne: LedaTape Organisation, 2017. On the filming of The Search for Weng Weng documentary, dir. Andrew Leavold (Death Rides a Red Horse & Turkeyshoot Productions, 2013).

Lee, Ricky [as Ricardo Lee]. Brutal/Salome. [Quezon City]: Cine Gang, 1981. Back-to-back screenplays of Brutal, dir. Marilou Diaz-Abaya (Bancom Audiovision, 1980); and Salome, dir. Laurice Guillen (Bancom Audiovision, 1981). The script of Salome was reprinted and translated in a foreign edition in 1993.

——— [as Ricardo Lee]. Bukas … May Pangarap [Tomorrow … There’ll Be a Dream]. [Quezon City: Markenprint, 1984]. Screenplay of Bukas … May Pangarap, dir. Gil Portes (Tri Films, 1984).

——— [as Ricardo Lee]. Moral. [Quezon City]: Seven-Star Productions, 1982. Screenplay of Moral, dir. Marilou Diaz-Abaya (Seven Stars Productions, 1982).

———. Sa Puso ng Himala [In the Heart of Miracle]. Quezon City: Philippine Writers Studio Foundation, 2012. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), production notes, interviews.

——— [as Ricardo Lee]. Salome: A Filipino Filmscript by Ricardo Lee. Trans. Rofel G. Brion. Madison: Center for Southeast Asian Studies, University of Wisconsin, Madison, 1993. Screenplay of Salome, dir. Laurice Guillen (Bancom Audiovision, 1981). Originally published untranslated in 1981.

——— [as Ricardo Lee]. Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda [Old Man and the Miracles of Our Time: Collection of Writings]. Quezon City: Bagong Likha Publications, 1988. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), reviews of other films, and interview articles; reprinted in 2009.

———. Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda [Old Man and the Miracles of Our Time: Collection of Writings]. Special edition. Quezon City: Writers Studio Foundation, 2009. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), reviews of other films, and interview articles; reprinted [as Ricardo Lee] from 1988.

———. Trip to Quiapo: Scriptwriting Manual. Quezon City: Bagong Likha Publishing, 1998.

Lee, Ricky [as Ricardo Lee], Raquel Villavicencio, & Ishmael Bernal. Relasyon [Affair], screenplay of the film, dir. Ishmael Bernal (Regal Films, 1982). See Caroline S. Hau, Isabelita O. Reyes, and Katrina Tuvera, eds., Querida [Paramour]: An Anthology.

Lehman, Peter, ed. Pornography and Culture. New Brunswick: Rutgers University Press, 2006. José B. Capino, “Asian College Girls and Oriental Men with Bamboo Poles: Reading Asian Pornography.”

Lent, John A. The Asian Film Industry. Texas Film Studies Series. Austin: University of Texas Press, 1990. “Philippines” (case study).

———, ed. Broadcasting in Asia and the Pacific: A Continental Survey of Radio and Television. International and Comparative Broadcasting series. Philadelphia: Temple University Press, 1978.

Lico, Gerard. Edifice Complex: Power, Myth, and Marcos State Architecture. Quezon City: Ateneo de Manila University Press, 2003. “The Cultural Center of the Philippines Complex,” with emphasis on the catastrophic construction history of the Manila Film Center.

———. Pa(ng)labas: Architecture + Cinema – Projection of Filipino Space in Film. Manila: National Commission for Culture and the Arts, 2009.

Lim, Bliss Cua. Translating Time: Cinema, the Fantastic, and Temporal Critique. Durham: Duke University Press, 2009. The book “interweaves scholarship on visuality with postcolonial historiography” (Duke University Press website) and discusses horror samples including Itim [The Rites of May], dir. Mike de Leon (Cinema Artists, 1976); Haplos [Caress], dir. Antonio Jose Perez (Mirick Films International, 1982); and Aswang [Viscera Sucker], dir. Peque Gallaga & Lore Reyes (Regal Films, 1992).

Lim, Jeanne. Tradisyon: Two Screenplays. Tubao Book Series of the Davao Writers Guild. Manila: National Commission for Culture and the Arts, 2009.

Lim, Jonah Añonuevo. Creative Imaging: An Introduction to Film. [Dumaguete City]: Jonah Lim, 1998.

Lim, Michael Kho. Philippine Cinema and the Cultural Economy of Distribution. Cham, Switzerland: Palgrave Macmillan, 2019.

Lim, Noel F., Joey Agbayani, and David Hontiveros. Hotel Purgatorio. Los Angeles: Dizzy Emu Publishing, 2020. Unproduced filmscript.

Lo, Ricardo F. Conversations Pa More. Pasig City: VRJ Books, 2016. Sequel of Conversations with Ricky Lo (2001).

———. Conversations with Ricky Lo. Mandaluyong City: Anvil Publishing, 2001. Followed by Conversations Pa More (2016).

———. Star Studded. Makati City: Virtusio Books, 1995.

Loriga, Renato. Autohystoria: Visioni postcoloniali del nuovo cinema filippino [Postcolonial Visions of the New Filipino Cinema]. Studi postcoloniali di cinema e media series no. 4. Canterano, RM: Aracne editrice, 2016. A study of Autohystoria, dir. Raya Martin (Cinematografica, 2007).

Lumbera, Bienvenido. Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan [Purview: Glancing and Critiquing a Changing Culture and Society]. Quezon City: Linangan ng Kamalayang Makabansa, 1987.

———. Pelikula: An Essay on the Philippine Film. [Manila]: Sentrong Pangkultura ng Pilipinas, 1989. Later expanded in the Tuklas Sining [Art Discovery] series by Lumbera, Agustin Sotto, and Nestor U. Torre.

———. Pelikula: An Essay on the Philippine Film, 1961-1992. Tuklas Sining [Art Discovery] series. [Manila]: Sentrong Pangkultura ng Pilipinas, 1992. Continuation of Agustin Sotto’s Pelikula: An Essay on the Philippine Film, 1897-1960 and supplemented by Nestor U. Torre’s Pelikula: An Essay on Philippine Film, Touchstones of Excellence.

———. Re-Viewing Filipino Cinema. Mandaluyong City: Anvil Publishing, 2011. Includes articles previously published in Revaluation (1984 & 1997).

———. Revaluation: Essays on Philippine Literature, Cinema and Popular Culture. [Quezon City]: Index, 1984. Reprinted as Revaluation 1997.

———. Revaluation 1997: Essays on Philippine Literature, Cinema and Popular Culture. Manila: University of Santo Tomas Publishing House, 1997. Reprint of 1984 edition with additional 22 articles and interview.

———. Writing the Nation / Pag-akda ng Bansa. Quezon City: University of the Philippines Press, 2000. Revision of several previously anthologized film articles.

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Maglipon, Jo-Ann Q. Primed: Selected Stories 1972-1992. Reportage on an Archipelago series. Pasig City: Anvil Publishing, 1993. “MIFFed [Manila International Film Festival]”; “Free the Artist!”; “The Republic of the Philippines vs. Lino Brocka, et al.”; “Canuplin: The Little Tramp Time Left Behind”; “Erap [Joseph Estrada]”; “Phantoms of the Cinema”; “Starlight, Starbright”; “Mega Mother Lily [Monteverde]: Superstar for All Seasons.”

Makabenta, Yen, ed. Book of the Philippines. Manila: Research and Analysis Center for Communications and Aardvark Associates, 1976. Includes biographies for Nora Aunor, Lamberto V. Avellana, et al.

Malanum, Ash M. Unforgettable. Pasig City: VRJ Books, 2019. Novelization of Unforgettable, dirs. Perci Intalan & Jun Robles Lana (Viva Films & Ideafirst Co., 2019).

Manalansan, Martin F., and Augusto F. Espiritu, eds. Filipino Studies: Palimpsests of Nation and Diaspora. New York: New York University Press, 2016. Robert Diaz’s “Redressive Nationalisms, Queer Victimhood, and Japanese Duress” discusses the claims of Walter Dempster Jr. a.k.a. [Walterina] Markova: Comfort Gay [male enslaved for sex work by the Japanese Imperial Army during World War II], dir. Gil Portes (RVQ Productions, 2000).

Manzanilla, JPaul S., and Caroline S. Hau, eds. Remembering/Rethinking EDSA. Mandaluyong City: Anvil Publishing, 2016. Joel David, “Grains & Flickers”; Patrick D. Flores, “A Cinema in Transition: Initial Incursions.”

Marchetti, Gina, and Tan See Kam, eds. Hong Kong Film, Hollywood and the New Global Cinema. London: Routledge, 2007. Bliss Cua Lim, “Generic Ghosts: Remaking the New ‘Asian Horror Film.’”

Martin, Fran, Peter A. Jackson, Mark McLelland, and Audrey Yue, eds. AsiaPacifiQueer: Rethinking Genders and Sexualities. Urbana: University of Illinois Press, 2008. Ronald Baytan, “Bading na Bading [Really Queer]: Evolving Identities in Philippine Cinema.”

Martinez, Jose Reyes, ed. Nora Aunor: Tagumpay sa Bawat Awit [Triumph in Every Song]. Sitsiritsit Special No. 1. Quezon City: Asia-Pacific Publications, 1971. “Book-length fully illustrated biography” featuring various topics plus “her songs, with guitar chords” (cover description).

McCarthy, Todd, and Charles Flynn. Kings of the B’s: Working within the Hollywood System. New York: E.P. Dutton, 1975. “Eddie Romero.”

Mella-Salvador, Shaira, Raymond Lee, and Laurice Guillen. Tanging Yaman [A Change of Heart], the Film Book: Screenplay. Pasig City: Anvil Publishing, ABS-CBN Consumer Products & Star Cinema, 2001. Screenplay of Tanging Yaman, dir. Laurice Guillen (Star Cinema, 2001).

Mendoza, Maine. Yup, I Am that Girl. Pasig City: Summit Publishing Co., 2017. On the comedian, host, and viral internet personality.

Mercado, Monina A., ed. Doña Sisang and Filipino Movies. [Quezon City]: Vera-Reyes, 1977. Articles on Narcisa Buencamino de Leon (founder of LVN Pictures), her professional principles, and the films she produced; includes a filmography of LVN productions from 1939 to 1961.

Mijares, Primitivo. The Conjugal Dictatorship of Ferdinand and Imelda Marcos. San Francisco: Union Square Publications, 1976. “The Loves of Marcos,” on Ferdinand Marcos’s predilection for movie stars, having married a beauty queen and aspiring film performer. Revised & annotated in 2017.

———. The Conjugal Dictatorship of Ferdinand and Imelda Marcos: Revised and Annotated. Quezon City: Bughaw, 2017. Original published in 1976.

Miller, Toby, ed. The Routledge Companion to Global Popular Culture. New York: Routledge, 2015. Talitha Espiritu, “Performing Native Identities: Human Displays and Indigenous Activism in Marcos’s Philippines.”

Mique, Benedict. MOMOL Nights: The Original Screenplay. Quezon City: ABS-CBN Publishing, 2019. Screenplay of MOMOL Nights, dir. Benedict Mique (Dreamscape Digital & Lonewolf Films, 2019); MOMOL is the anagram for “make-out make-out lang” or engaging in “merely” non-penetrative sexual activity.

Momblanco, Maria Carmencita A. “Philippine Motion Pictures, 1908-1958: A Checklist of the First Fifty Years.” Master’s thesis, 2 vols. University of the Philippines, 1979.

Movie and Television Review and Classification Board. Implementing Rules and Regulations Pursuant to Section 3(a) of Presidential Decree No. 1986: The Movie and Television Review and Classification Board (MTRCB). Quezon City: Office of the President, Republic of the Philippines, 1997.

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The National Artists of the Philippines. Manila: Cultural Center of the Philippines & Anvil Publishing, 1998. 1972-97 coverage, followed by The National Artists of the Philippines 1999-2003 (2003). Lena S. Pareja, “Lamberto V. Avellana (Theater/Film, 1976): An Innate Love for Truth and Beauty”; Amadis Ma. Guerrero, “Gerardo de Leon (Film, 1982): Views from the Master Filmmaker”; Ramil Digal Gulle, “Rolando S. Tinio (Theater/Literature, 1997): The Song of Rolando: Creative Genius.” The entry “Lino Brocka (Film/Broadcast Arts, 1997): Human Being, Artist, Filipino” contains the following tagline credits: the Ramon Magsaysay Awards Foundation program brochure (September 1985), Mario A. Hernando, and Marilou Diaz-Abaya.

The National Artists of the Philippines 1999-2003. Manila: Cultural Center of the Philippines & Anvil Publishing, 2003. Preceded by National Artists of the Philippines (1998). Justino Dormiendo, “Ishmael Bernal (Film, 2001): The Finest Poet of Philippine Cinema”; Lena S. Pareja, “Eddie Romero (Film, 2003): World-Class Filmmaker.”

Nepales, Ruben. My Filipino Connection: The Philippines in Hollywood. Mandaluyong City: Anvil Publishing, 2013. Includes articles on Bernardo Bernardo, Vanessa Hudgens, Jake Zyrus [as Charice Pempengco], Darren Criss, Bessie Badilla, Matthew Libatique, Ramona Diaz, Mikey Bustos, et al.

Ner, Sonia P., Louise Arianne C. Ferriols, and Angelo J. Aguinaldo. Filming in the Philippines. [Pasig City]: Film Development Council of the Philippines, [2018].

Noriega, Bienvenido M. Jr. Soltero [Bachelor]. Trans. Rolando S. Tinio. Quezon City: New Day Publishers, 1985. Screenplay of Soltero, dir. Pio de Castro III (Experimental Cinema of the Philippines, 1984).

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Ocampo, Ambeth. Bonifacio’s Bolo. Pasig City: Anvil Publishing, 1995. Includes “The Nora Aunor Mystique.”

Olgado, Benedict Salazar, ed. Cinema and the Archives in the Philippines. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 15, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2018. Bliss Cua Lim, “Fragility, Perseverance, and Survival in State-Run Philippine Archives”; Bernadette Rose Alba Patino, “From Colonial Policy to National Treasure: Tracing the Making of Audiovisual Heritage in the Philippines”; Rosemarie O. Roque, “Artsibo at Sineng Bayan: Pagpapanatili ng Kolektibong Alaala at Patuloy na Kolektibong Pagsalungat sa Kasinungalingan at Panunupil [Archive and National Cinema: Preserving Collective Memory and the Continuing Collective Resistance against Lies and Repression]”; Nick Deocampo, “Envisioning a Rhizomic Audio-Visual Archiving for the Future.”

Orellana, Ricky. Mowelfund Film Institute Catalog. Quezon City: [Movie Workers Welfare Fund] Film Institute, 2001.

Orengo, Oscar Fernández. 44 cineastas Filipinos / 44 Filipino Filmmakers / 44 mga Sineastang Pilipino. [Manila]: Instituto Cervantes de Manila, 2011.

Orozco, Wilhelmina S. Towards Our Own Image: An Alternative Philippine Report on Women and Media. PWRC Pamphlet Series no. 2. [Manila]: Philippine Women’s Research Collective, 1985. Continued from Rina David and Pennie Azarcon de la Cruz’s Towards Our Own Image.

Orsal, Cesar D. Movie Queen: Pagbuo ng Mito at Kapangyarihang Kultural ng Babae sa Lipunan [Formation of the Myth and Cultural Dominance of Women in Society]. Quezon City: New Day Publishers, 2007.

Orteza, Bibeth. Dolphy: Hindi Ko Ito Narating Mag-isa [I Did Not Attain This by Myself]. Quezon City: Kaizz Ventures, 2008. Authorized biography of actor-producer Rodolfo Vera Quizon, a.k.a. Dolphy.

P

Parks, Lisa, and Shanti Kumar, eds. Planet TV: A Global Television Studies Reader. New York: New York University Press, 2002. José B. Capino, “Soothsayers, Politicians, Lesbian Scribes: The Philippine Movie Talk Show.”

Pasadilla, Gloria O., ed. The Global Challenge in Services Trade: A Look at Philippine Competitiveness. Makati City: Philippine Institute for Development Studies and German Technical Cooperation, 2006. Gloria O. Pasadilla and Angelina M. Lantin, “Audiovisual Services Sector: Can the Philippines Follow ‘Bollywood’?”

Pascual, Chuckberry J. Pagpasok sa Eksena: Ang Sinehan sa Panitikan at Pag-aaral ng Piling Sinehan sa Recto [Scene Entrance: The Movie House in Literature and the Study of Selected Theaters along Recto (Avenue)]. Quezon City: University of the Philippines Press, 2016.

Patajo-Legasto, Priscelina, ed. Filipiniana Reader: A Companion Anthology of Filipiniana Online. Quezon City: University of the Philippines Open University, 1998. Clodualdo del Mundo Jr., “Komiks: An Industry, a Potent Medium, Our National ‘Book,’ and Pablum of Art Appreciation” & “Philippine Television: A History of Politics and Commerce”; Patrick D. Flores, “Philippine Cinema and Society”; Bienvenido Lumbera, “Brocka, Bernal & Co.: The Arrival of New Filipino Cinema” & “Problems in Philippine Film History”; Soledad S. Reyes, “The Philippine Komiks”; Nicanor G. Tiongson, “Becoming Filipino: 1565-1898”; Rolando B. Tolentino, “‘Inangbayan’ (Mother-Nation) in Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Clutching a Knife [Malaya Films & Stephan Films], 1985) and Orapronobis (Fight for Us [Bernadette Associates International], 1989).”

———, ed. Philippine Studies: Have We Gone Beyond St. Louis? Quezon City: University of the Philippines Press, 2008. Joel David, “Awake in the Dark: Philippine Film during the Marcos Era”; Eleanor Sarah D. Reposar, “Carlo Vergara’s Zsazsa Zaturnnah and the Tradition of Subversion in Philippine Komiks”; Johven [as Jovenal] D. Velasco, “‘Feminized’ Heroes and ‘Masculinized’ Heroines: Changing Gender Roles in Contemporary Phiippine Cinema?”

Paz, Consuelo J., ed. Ginhawa, Kapalaran, Dalamhati: Essays on Well-being, Opportunity/Destiny, and Anguish. Quezon City: University of the Philippines Press, 2009. Patrick D. Flores, “Hanapbuhay sa mga Pelikula ni Nora Aunor [Occupation in the Films of Nora Aunor].”

Pelikula at Lipunan [Film and Society]: Festival of Filipino Film Classics and Short Films. [Quezon City]: National Commission for Culture and the Arts Cinema Committee, Film Academy of the Philippines, and Movie Workers Welfare Fund, 1994.

Perdon, Renato. Footnotes to Philippine History. Manila: Manila Prints, 2008. Includes a citation of Himala [Miracle], dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), in discussing religious belief.

Pertierra, Raul. The Anthropology of New Media in the Philippines. Quezon City: Institute of Philippine Culture, Ateneo de Manila University, 2010.

Pertierra, Raul, and Eduardo F. Ugarte, eds. Cultures and Texts: Representations of Philippine Society. Quezon City: University of the Philippines Press, 1994.

Peterson, Andrea L., Gaspar A. Vibal, Christopher A. Datol, and Nicanor A. Lajom. Fifty Shades of Philippine Art: Philippine Cinematic Art. 50 Shades of Philippine Art series. Quezon City: Vibal, 2020.

Philippine LGBT-Related Films, Including: Masahista [Masseur, dir. Brillante Mendoza (Gee Films Productions International & Centerstage Productions, 2005)], Aishite Imasu 1941: Mahal Kita [I Love You, dir. Joel Lamangan (Regal Films, 2004)], Miguel/Michelle [dir. Gil Portes (Forefront Films, 1998)], Macho Dancer [dir. Lino Brocka (Award Films, Special People Productions & Viva Films, 1988)], Ang Lalaki sa Buhay ni Selya [The Man in Selya’s Life, dir. Carlos Siguion-Reyna (Reyna Films & Star Pacific Cinema, 1987)], The Blossoming of Maximo Oliveros [dir. Aureaus Solito (Cinemalaya & UFO Pictures, 2005)], Paper Dolls (film) [dir. Tomer Heymann (Claudius Films, L.M. Media, Heymann Brothers Films, & The Film Sales Co., 2006)], Twilight Dancers [dir. Mel Chionglo (Centerstage Productions, 2006)], Burlesk King [dir. Mel Chionglo (Seiko Films, 1999)], Markova: Comfort Gay [dir. Gil Portes (RVQ Productions, 2000)]. [Toronto: Hephaestus Books, 2011.]

The Philippine Screen Golden Book Album ng mga Artista [Album of Actors]: Favorite Movie Stars with Autographed Fotos. [Manila: Philippine Screen Publishing Co., 1952.]

Philippines Bureau of Export Trade Promotion. See Export Trade Promotion, Philippines Bureau of.

Philippines Bureau of Internal Revenue. See Internal Revenue, Philippines Bureau of.

Pichay, Nicolas B. A Guide to the Intellectual Property Code of the Philippines: Understanding the Law, Empowering the Artist. Pasig City: Anvil Publishing, 2010.

———. Maxie: Book & Lyrics by Nicolas B. Pichay, Adapted from the Screenplay of Michiko Yamamoto. Manila: University of Santo Tomas Publishing House, 2017. Based on Ang Pagdadalaga ni Maximo Oliveros [The Blossoming of Maximo Oliveros], dir. Aureaus Solito (Cinemalaya & UFO Pictures, 2005).

Pilapil, Pilar V. The Woman without a Face: The Life Story of Pilar Pilapil. Pasig City: Pilar Pilapil Foundation, 2006. Autobiography of the beauty queen and actor.

Portus, Lourdes M., ed. Communication and Media Studies in Asia. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 7, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2010. Taeyun Yu, “Eastern Gunslingers: Andrew Cunanan and Seung-Hui Cho in Western Media Imaginary.”

Presidential Decree No. 1986 Creating the Movie & Television Review and Classification Board and Implementing Rules and Regulations, 2004. [Manila]: MTRCB, [2004].

Promkhuntong, Wikanda, and Bertha Chin, eds. Fandom and Cinephilia in Southeast Asia. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 16, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2019. Richard Bolisay, “‘Yes, You Belong to Me!’ Reflections on the JaDine [James Reid & Nadine Lustre] Love Team Fandom in the Age of Twitter and in the Context of Filipino Fan Culture”; Leticia Tojos, “Empowering Marginalized Filipinos Through Participatory Video Production.”

Protacio, Romeo M. Romualdo. Balik Tanaw [Recollection]: The Filipino Movie Stars of Yesteryears. [San Diego]: Asian Journal San Diego, [2010].

Pulido, Rod. The Flip Side: A Filipino American Comedy. Chicago: Tulitos, 2002. Screenplay of The Flip Side, dir. Rod Pulido (Pure Pinoy, 2001).

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Quinton, Rustum G. Ang Tunay na Kasaysayan ni Nora Aunor, Superstar [The True History of Nora Aunor, Superstar]. Manila: RMD&A Publishing, 1972.

Quirino, Joe. Don Jose [Nepomuceno] and the Early Philippine Cinema. History of the Philippine Cinema series no. 1. Quezon City: Phoenix Publishing House, 1983. First in the author’s projected 3-volume history series; no other volumes followed.

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Rafael, Vicente L. White Love and Other Events in Filipino History. American Encounters/Global Interactions series. Durham: Duke University Press, 2000. “Patronage, Pornography, and Youth: Ideology and Spectatorship during the Early Marcos Years.”

Ramsey, Sansu. Elizabeth Ramsey: Queen of Philippine Rock n’ Roll. Scotts Valley, CA: CreateSpace Independent Publishing Platform, 2017. Authorized biography of the late multimedia entertainer, of Jamaican and Spanish descent, by her daughter.

Remoto, Danton. Rampa: Mga Sanaysay [Sashay: Essays]. Pasig City: Anvil Publishing, 2008. Includes discourses on Freddie Aguilar, Nora Aunor, Ishmael Bernal, Darna, Joel Lamangan, Manila by Night [dir. Ishmael Bernal (Regal Films, 1980)], and Miss Saigon.

Renske, David. Cirio H. Santiago: Unbekannter Meister des B-Films [Unknown Master of B-Films]. Birkenfeld, Germany: Creepy*Images, 2020. “Unlike our other publications this book is very text-heavy and therefore in German language only! But we are already discussing the release of an English version as well” (Creepy*Images website announcement).

Reyes, Edgardo M. Mga Uod at Rosas [Caterpillars and Roses]. Quezon City: C & E Publishing, 2010. Novelization of Mga Uod at Rosas, dir. Romy V. Suzara (Ian Film Productions, 1982).

Reyes, Emmanuel A. Malikhaing Pelikula: Mga Sanaysay Tungkol sa Pelikulang Pilipino [Creative Film: Essays on Philippine Cinema]. Makati: Media Plus, 1996. Includes the screenplays of Dreaming Filipinos (Manny Reyes Productions, 1991) and Suwapings [The Laughing Barrio] (Safari Films, 1994), both directed by the author [as Manny Reyes].

———. Notes on Philippine Cinema. Manila: De La Salle University Press, 1989. Includes an interview conducted for the documentary Vic Silayan: An Actor Remembers, dir. Manny Reyes (Manny Reyes, 1984).

Reyes, Soledad S. From Darna to Zsazsa Zaturnnah: Desire and Fantasy (Essays on Literature and Popular Culture). Pasig City: Anvil Publishing, 2009. Includes studies on komiks-to-film crossovers including the title texts.

———, ed. Kritisismo: Mga Teorya at Antolohiya para sa Epektibong Pagtuturo ng Panitikan [Criticism: Theories and an Anthology for the Effective Teaching of Literature]. Pasig City: Anvil Publishing, 1992. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic].”

———. Pagbasa ng Panitikan at Kulturang Popular: Piling Sanaysay, 1976-1996 [Reading Literature and Popular Culture: Selected Essays, 1976-1996]. Quezon City: Ateneo de Manila University Press, 1997.

———, ed. Reading Popular Culture. Quezon City: Office of Research and Publications [of the] Ateneo de Manila University, 1991. Papers presented at the First National Conference on Popular Culture at the Ateneo de Manila University on November 17-19, 1988; includes Ruth Elynia Mabanglo, “Mula sa Altar nina Huli at Maria Clara: Imahen ng Babae sa Ilang Dramang Pilipino [From the Altar of (José Rizal characters) Huli and Maria Clara: Images of Women in Selected Philippine Dramas]”; and Soledad S. Reyes, “Women on Television.”

Rice, Mark. Dean Worcester’s Fantasy Islands: Photography, Film, and the Colonial Philippines. Ann Arbor: University of Michigan Press, 2014.

Rivera, Frank G., and Mars Ravelo. Frank G. Rivera’s Darna, Etc.: Screenplays Based on Characters Created by Mars Ravelo. Manila: University of Santo Tomas Publishing House, 2003. Adaptations by Frank G. Rivera of Mars Ravelo stories, including two produced films: Darna, dir. Joel Lamangan (Viva Films, 1991); and Dyesebel, dir. Emmanuel H. Borlaza (Viva Films, 1995; co-written with Borlaza).

Robledo, Aniceto. Artist Becomes Delegate of God (Artistang Naging Alagad ng Diyos): Completely Authorized and Illustrated Biography of Msgr. Aniceto Robledo. Quezon City: Fidimica Enterprises, 1972. Religious testimonial of film actor Aniceto Robledo, known for Ang Lumang Simbahan [The Old Church], dir. Jose Nepomuceno (Malayan Movies, 1928).

Rodell, Paul A. Culture and Customs of the Philippines. Culture and Customs of Asia series. Westport, CT: Greenwood Press, 2002. “Festivals, Theater, Film, Media, and Other Entertainment.”

Rodis, Girlie, ed. Ang Larawan [The Portrait]: From Stage to Screen. Mandaluyong City: Anvil Publishing, 2017. Includes (among others) the screenplay by Alemberg Ang, Loy Arcenas, Ryan Cayabyab, Waya Gallardo, Celeste Legaspi, Dennis Marasigan, Girlie Rodis, & Rolando Tinio of Ang Larawan, dir. Loy Arcenas (Culturtain Musicat Productions, 2017).

Rodriguez, Simon Godfrey, Nina Macaraig-Gamboa, and Wylzter Gutierrez. Legacy. Modern Heroes for the Filipino Youth series. Makati City: Bookmark & Studio Graphics Corp., 2015. On film & theater director Lamberto V. Avellana.

Rotea, Hermie. Marcos’ Lovey Dovie. Los Angeles: Liberty Publishing, 1983. On the affair between then-President Ferdinand E. Marcos and Dovie Beams, leading lady of Maharlika, dir. Jerr Hopper (Roadshow Films International & Solar Films, 1970).

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Sala, Letty T., and Felipe L. Reyes, eds. Glimpses: Essays, Letters, Memoirs (A Selection from the Writing Class from February to April, 2009). “Book concept” and foreword by Monina Allarey Mercado. Quezon City: Gabriel Books, 2009. A chapter by Michelle Gallaga comprises essays on her family, including her parents, producer-scriptwriter Madeleine Gallaga and director Peque Gallaga.

Salazar, Zeus A., Agustin Sotto, and Prospero Reyes Covar. Unang Pagtingin sa Pelikulang Bakbakan: Tatlong Sanaysay [A First Glance at the Action Film: Three Essays]. Manila: Sentrong Pangkultura ng Pilipinas, 1989.

Salumbides, Vicente. Motion Pictures in the Philippines. Manila: V.S., 1952.

San Juan, E. Jr. From Globalization to National Liberation: Essays of Three Decades. Quezon City: University of the Philippines Press, 2008. “Allegories of National Liberation” discusses Savage Acts and Fairs – possibly Savage Acts, dir. Pennee Bender, Joshua Brown, and Andrea Ades Vasquez (American Social History Productions, 1995) – as well as Lino Brocka’s opposition to Imelda Marcos’s edifice complex; similar passages appear in a number of earlier books by the author.

San Juan, Edgar, Son-hwa Yi, Aramch’an Yi, and Hye-jong Mok. Kidlat Tahimik. JIFF ch’ongso series. [Jeonju]: Jeonju International Film Festival, 2011. On film director Kidlat Tahimik.

Santiago, Arminda Vallejo, ed. Youth and Media. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 8, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2011. Jongsuk Ham, “Fluid Identities in the Structure of Cyberspace: A Comparison of Philippine and Korean Experiences”; Pamela Marie Cruz, “Ang Karanasan ng Nakaraan sa Gunitang Viswal: Pagsusuri sa mga Pelikulang Romantiko sa Baguio [The Past Experienced via Visual Recollection: Critique of Romantic Films (set in) Baguio].”

Sarmenta, Severino R. Jr., ed. Movies that Matter: A Festschrift in Honor of [film critic & professor] Nicasio D. Cruz, S.J. [Quezon City]: Office of Research and Publications, Loyola Schools, Ateneo de Manila University, 2008.

Sayles, John. Amigo [Friend]: Screenplay. Culver City, CA: Anarchist’s Convention Films, 2009. Screenplay of Amigo, dir. John Sayles (Anarchist’s Convention Films, 2010); paywalled access available online via John Sayles Blog.

Screenwriters Guild of the Philippines. Artista sa Pelikula ’85 / Actors’ Yearbook ’85. [Manila]: Fil-Asia Graphics, 1986.

Sevilla, Juan Miguel. One More Chance. Quezon City: ABS-CBN Publishing, 2015. Novelization of One More Chance, dir. Cathy Garcia-Molina (ABS-CBN Film Productions & Star Cinema, 2007).

Shaw, Angel Velasco, and Luis H. Francia, eds. Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999. New York: New York University Press, 2002. In conjunction with an exhibit titled Vestiges of War, “a project of Asian/Pacific/American Studies Program and Institute, New York University”; includes Nick Deocampo, “Imperialist Fictions: The Filipino in the Imperialist Imaginary.”

Shiel, Mark and Tony Fitzmaurice, eds. Cinema and the City: Film and Urban Societies in a Global Context. Oxford: Blackwell Publishers, 2001. Rolando B. Tolentino, “Cityscape: The Capital Infrastructuring and Technologization of Manila.”

Shohat, Ella, and Robert Stam, eds. Multiculturalism, Postcoloniality, and Transnational Media. Rutgers Depth of Field Series. New Brunswick: Rutgers University Press, 2003. Talitha Espiritu, “Multiculturalism, Dictatorship, and Cinema Vanguards: Philippine and Brazilian Analogies.”

Siguion-Reyna, Armida, and Nelson A. Navarro. Armida. Quezon City: ABS-CBN Publishing, 2015. Comprising “The Unfinished Memoirs” by Armida Siguion-Reyna; and “Armida Siguion-Reyna: The Singer and the Song” by Nelson A. Navarro.

Silver Book: A Movie Directory of the Philippines. [City & publisher unkn.], 1949.

Silverio, Julio F. Sulyap sa Buhay ng mga Artistang Pilipino [Glimpse into the Life of Philippine Movie Actors]. Manila: National Book Store, 1973.

Sklar, Robert. Movie-Made America: A Cultural History of American Movies. Revised and updated. New York: Vintage Books, 1994. First published as Movie-Made America: A Social History of the American Movie (New York: Random House, 1975); Sklar observed that “because whenever wars were in progress the US government would pressure Hollywood to assist in the war effort, ‘echoes and shadows’ of the Viet Nam conflict could only be provided” via the Blood-Island film cycle initiated by Gerardo de Leon’s Terror Is a Man, a.k.a. Creature from Blood Island (Lynn-Romero Productions & Premiere Productions, 1959), a takeoff from H.G. Wells’s The Island of Doctor Moreau (1896) (from Joel David, “Phantom Limbs in the Body Politic,” Plaridel, vol. 11, no. 1, February 2014).

Sollano, Francis, and Jose Mari B. Cuartero, eds. Interdisciplinarity in the Philippine Academia: Theory, History, and Challenges. Forum of Kritika Kultura, nos. 33 & 34. Quezon City: Department of English [of the] Ateneo de Manila University, 2020. Louie Jon A. Sánchez, “Ilang Eksplorasyon sa Pag-Aaral ng Kulturang Popular sa Filipinas [Some Explorations in the Study of Popular Culture in the Philippines].”

Solomon R. Guggenheim Museum. Empire and Memory: Repercussions and Evocations of the 1899 Philippine-American War. [New York: Solomon R. Guggenheim Museum, 1999.]

Sotto, Agustin. Pelikula: An Essay on the Philippine Film, 1897-1960. Tuklas Sining [Art Discovery] series. [Manila]: Sentrong Pangkultura ng Pilipinas, 1992. Continued in Bienvenido Lumbera’s Pelikula: An Essay on the Philippine Film, 1961-1992 and supplemented by Nestor U. Torre’s Pelikula: An Essay on Philippine Film, Touchstones of Excellence.

Sotto, Agustin, and Marilou Diaz-Abaya. Political and Social Issues in Philippine Film: Two Perspectives. Political and Social Change Working Paper Series, No. 12. Canberra: Department of Political and Social Change, Division of Politics and International Relations, Research School of Pacific and Asian Studies, Australian National University, [1995].

Sulong Pilipina! Sulong Pilipinas! [Forward Filipina! Forward Philippines!] A Compilation of Filipino Women Centennial Awardees. Manila: Women Sector [of the] National Centennial Commission, 1999. Includes Liwayway A. Arceo, Fides S. Asensio, Nora Aunor, Daisy H. Avellana, Susana C. de Guzman, Narcisa B. de Leon, et al.

Sycip, Rinka. Miss Granny. Pasig City: VRJ Books, 2018. Screenplay of Miss Granny, dir. Joyce Bernal (Viva Films & N2 Productions, 2018), remake of Soo-sang-han geun-yeo, dir. Dong-hyuk Hwang (Yeinplus Entertainment & CJ Entertainment, 2014); also “with lots of scenes not found in the movie, and several photos from the movie itself” (Viva Books website).

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Tadiar, Neferti X.M. [as Neferti Xina M. Tadiar]. Fantasy-Production: Sexual Economies and Other Philippine Consequences for the New World Order. Hong Kong: Hong Kong University Press, 2004. “Himala, Miracle [dir. Ishmael Bernal (Regal Films, 1980)]: The Heretical Potential of Nora Aunor’s Star Power.”

———. Things Fall Away: Philippine Historical Experience and the Makings of Globalization. Post-Contemporary Interventions series. Durham: Duke University Press, 2009. Mentions Nora Aunor and the career boost given by her performance in The Flor Contemplacion Story, dir. Joel Lamangan (Viva Films, 1995); discusses Sharon Cuneta’s stature as “arguably the most popular female movie star in the Philippines today”; and erroneously ascribes the “Second Golden Age” concept to an essay by Bienvenido Lumbera.

Tam Kwok-kan, Wimal Dissanayake, and Terry Siu-han Yip, eds. Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. Hong Kong: Chinese University Press, 2002. Rolando B. Tolentino, “Subcontracting Imagination and Imageries of Bodies and Nations: The Philippines in Contemporary Transnational Asia Pacific Cinemas.”

Thompson, Kristin. Exporting Entertainment: America in the World Film Market, 1907-34. London: British Film Institute Publishing, 1985. Describes how the Philippines, as the sole US colony, became the regional center for distribution of Hollywood film prints – which were flawed or easily damaged, since the Orient was regarded as a “junk” market: “90% of the prints from American exchanges were worn almost beyond being showable, with splices, torn sprockets, ends and titles missing” (per an exhibitor’s account).

Tiongson, Nicanor G., ed. Broadcast Arts. Vol. 10 (of 12 vols.) of Cultural Center of the Philippines Encyclopedia of Philippine Art. 2nd edition. Manila: Cultural Center of the Philippines & the Office of the Chancellor, University of the Philippines Diliman, 2017. No equivalent volume in the 1st edition of the CCP Encyclopedia of Philippine Art.

———. The Cinema of Manuel Conde. Manila: University of Santo Tomas Publishing House, 2008. On the director, producer, and actor a.k.a. Juan Urbano, including a filmography of his productions.

———, ed. Film. Vol. 6 (of 12 vols.) of Cultural Center of the Philippines Encyclopedia of Philippine Art. 2nd edition. Manila: Cultural Center of the Philippines & the Office of the Chancellor, University of the Philippines Diliman, 2017. Equivalent volume of Philippine Film, vol. 8 in the 1st edition of the CCP Encyclopedia of Philippine Art.

———, ed. Media and Folklore. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 6, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2009. Patrick F. Campos, “The Fantasy-Adventure Films as Contemporary Epics, 2000-2007”; Alvin Yapan, “Nang Mauso ang Pagpapantasya: Isang Pag-aaral sa Estado ng Kababalaghan sa Telebisyon [When Fantasizing Was in Vogue: A Study on the State of Wonderment on Television].”

———, ed. Media and History. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 10, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2013. José S. Buenconsejo, “Orientalism in the Narrative, Music and Myth of the Amok in the 1937 Film Zamboanga [dir. Eduardo de Castro, prod. Filippine Productions]”; Ma. Rina Locsin, “A Brief History of the Baguio Sine.”

———, ed. Philippine Film. Vol. 8 (of 10 vols.) of CCP [Cultural Center of the Philippines] Encyclopedia of Philippine Art. 1st edition. Manila: Sentrong Pangkultura ng Pilipinas, 1994. 2nd edition’s equivalent volume is titled Film.

———, ed. Tuklas Sining [Art Discovery]: Essays on the Philippine Arts. Manila: Sentrong Pangkultura ng Pilipinas, 1991.

———, ed. The Urian Anthology 1970-1979. Quezon City: Manuel L. Morato, 1983. Title page descriptor: “selected essays on tradition and innovation in the Filipino cinema of the 1970s by the Manunuri ng Pelikulang Pilipino: with about 550 photos and illustrations and a filmography of Philippine movies, 1970-1979.”

———, ed. The Urian Anthology 1980-1989. Manila: Antonio P. Tuviera, 2001. Includes filmography of 1980-89 Philippine film releases.

———, ed. The Urian Anthology 1990-1999. Quezon City: University of the Philippines Press, 2010. Includes filmography of 1990-99 Philippine film releases.

———, ed. The Urian Anthology 2000-2009: The Rise of the Philippine New Wave Indie Film. Quezon City: University of the Philippines Press, 2013. Includes filmography of 2000-10 Philippine film releases.

Tiongson, Nicanor G., and Violeda A. Umali, eds. Critical Voice in Media Studies. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 1, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2004. José B. Capino, “Prosthetic Hysteria: Staging the Cold War in Filipino/American Docudrama”; Johven [as Jovenal] Velasco, “Filipino Film Melodrama of the Late 1950s: Two Case Studies of Accommodation of Hollywood Genre Models”; Anne Marie G. de Guzman, “Philippine Experimental Film Practice: Influences and Directions through the Films of Roxlee.”

Tobias, Mel. Life Letters: Stories of a Wanderer. Vancouver: New Hogarath Press, 2003.

———. Memoirs of an Asian Moviegoer. Hong Kong: South China Morning Post, 1982.

———. One Hundred Acclaimed Tagalog Movies: Sineng Mundo [Film World], Best of Philippine Cinema. Vancouver: Peanut Butter Publishing, 1998.

Tolentino, Rolando B. Contestable Nation-Space: Cinema, Cultural Politics, and Transnationalism in the Marcos-Brocka Philippines. Quezon City: University of the Philippines Press, 2014. On the anti-dictatorship activism of Lino Brocka during the regime of Ferdinand E. Marcos.

———. Si Darna, ang Mahal na Birhen ng Peñafrancia, si Pepsi Paloma [Darna, the Blessed Virgin of Peñafrancia, (and) Pepsi Paloma]. Kulturang Popular Series No. 3. Pasig City: Anvil Publishing, 2004.

———, ed. Geopolitics of the Visible: Essays on Philippine Film Cultures. Quezon City: Ateneo de Manila University Press, 2000.

———. Indie Cinema at mga Sanaysay sa Topograpiya ng Pelikula ng Filipinas [Indie Cinema and Essays on the Topography of Philippine Cinema]. Manila: University of Santo Tomas Publishing House, 2016.

———. Keywords: Essays on Philippine Media Cultures and Neocolonialisms. Quezon City: Ateneo de Manila University Press, 2016.

———, ed. Media and Popular Culture. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 2, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2005. Emil Flores, “The Concept of the Superhero in Filipino Films.”

———. National/Transnational: Subject Formation and Media in and on the Philippines. Quezon City: Ateneo de Manila University Press, 2001. “‘Inangbayan’ (Mother-Nation) in Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Clutching a Knife [Malaya Films & Stephan Films], 1985) and Orapronobis (Fight for Us [Bernadette Associates International], 1989)”; “Issues of the ‘Filipino/a’ in Asia-Pacific American Media Arts”; “Kidlat Tahimik in the Rhetoric of First World Theory”; “Subcontracting Imagination and Imageries of Bodies and Nations.”

———. Paghahanap ng Virtual na Identidad [The Search for Virtual Identity]. Kulturang Popular Series No. 5. Pasig City: Anvil Publishing, 2004.

———, ed. Queer Media and Representations. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 9, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines, 2012. Joel David, “Thinking Straight: Queer Imaging in Lino Brocka’s Maynila[: Sa mga Kuko ng Liwanag / Manila: In the Claws of Neon, dir. Lino Brocka, prod. Cinema Artists] (1975)”; J. Neil C. Garcia, “Postcolonial Camp: Hybridity and Performative Inversions in Zsazsa Zaturnnah [Ze Moveeh, dir. Joel Lamangan, prod. Regal Films, Regal Multimedia, & Ignite Entertainment (2006)].”

———. Richard Gomez at ang Mito ng Pagkalalake, Sharon Cuneta at ang Perpetwal na Birhen at Iba Pang Sanaysay ukol sa Bida sa Pelikula Bilang Kultural na Texto [Richard Gomez and the Myth of Masculinity, Sharon Cuneta and the Perpetual Virgin and Other Essays about Movie Stars as Cultural Texts]. Pasig City: Anvil Publishing, 2000.

———. Sipat Kultura: Tungo sa Mapagpalayang Pagbabasa, Pag-aaral at Pagtuturo ng Panitikan [Culture View: Toward the Liberative Reading, Study and Teaching of Literature]. Quezon City: Ateneo de Manila University Press, 2007.

———. Vaginal Economy: Cinema and Sexuality in the Post-Marcos, Post-Brocka Philippines. Durham: Duke University Press, 2011.

Tolentino, Rolando B., and Patrick F. Campos, Randy Jay C. Solis, and Choy S. Pangilinan, eds. Communication and Media Theories. Media and Communication Textbook Series. Quezon City: University of the Philippines Press, 2014. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic]”; Rolando B. Tolentino, “Masses, Power, and Gangsterism in the Films of Joseph ‘Erap’ Estrada”; Soledad Reyes, “Ang Mambabasa/Manonood, ang ‘Mass Media,’ at ang Paglikha ng Kahulugan [The Reader/Viewer, the ‘Mass Media,’ and the Production of Meaning]”; Patrick D. Flores, “Bodies of Work: Sexual Circulation in Philippine Cinema”; Eulalio R. Guieb III, “Worlding the Third World (O Kung Paanong Nagkadaigdig ang Ikatlong Daigdig sa mga Pelikula ni Kidlat Tahimik [Or How the Third World Became Worlded in the Films of Kidlat Tahimik].”

Tolentino, Rolando B., and Gary C. Devilles, eds. Kritikal na Espasyo ng Kulturang Popular [Critical Spaces of Popular Culture]. Quezon City: Ateneo de Manila University Press, 2015.

Tolentino, Rolando B., and Josefina M.C. Santos, eds. Media at Lipunan [Media and Society]. Media and Communication Textbook Series. Quezon City: University of the Philippines Press, 2014. Nicanor G. Tiongson, “The Politics of Film Censorship.”

Torre, Nestor U. Pelikula: An Essay on Philippine Film, Touchstones of Excellence. Tuklas Sining [Art Discovery] series. [Manila]: Sentrong Pangkultura ng Pilipinas, 1994. Supplementary to Agustin Sotto’s and Bienvenido Lumbera’s 1992 Pelikula accounts.

Torres, Cristina Evangelista. The Americanization of Manila: 1898-1921. Quezon City: University of the Philippines Press, 2010. Includes accounts of Dean C. Worcester’s activities.

Torres-Yu, Rosario, ed. Kilates: Panunuring Pampanitikan ng Pilipinas [Appraisal: Critical Literature of the Philippines]. Quezon City: University of the Philippines Press, 2006. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic].”

Travers, Steven. Coppola’s Monster Film: The Making of Apocalypse Now. Jefferson, NC: McFarland, 2016. Regarding Apocalypse Now, dir. Francis Ford Coppola (American Zoetrope, 1979).

Trzcinski, Kevin, and Owen Hughes. Philippines Media Yearbook. Hong Kong: Cornerstone Associates Ltd., 1996.

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U

United States Business and Defense Services Administration’s Scientific, Motion Picture, and Photographic Products Division. Motion Pictures Abroad: Philippines. Washington, DC: US Government Printing Office, 1958.

United States Information Agency Office of Research. Audience Reaction to IMV Films. Series E-7-76. [Washington, DC]: USIA Office of Research, 1976. Audience tests in the Philippines, Colombia, and Lebanon.

V

Varnedoe, Kirk, Paola Antonelli, and Joshua Siege, eds. Modern Contemporary: Art Since 1980 at MOMA. New York: Museum of Modern Art, 2000. Features Bona, dir. Lino Brocka (NV Productions, 1980).

Vasudev, Aruna, Latika Padgaonkar, and Rashmi Doraiswamy, eds. Being & Becoming: The Cinemas of Asia. New Delhi: MacMillan, 2002. Clodualdo del Mundo Jr., “Philippines: Liver & Alive (1990s-2001)”; Luis H. Francia, “Side-stepping History: Beginnings to 1980s.”

Vego, Herbert L. Getting to Know Nora. Manila: Herbert L. Vego, 1973. On film actor Nora Aunor, published “with permission from Philippines Daily Express” (cover text).

Velarde, Emmie G. All-Star Cast. Quezon City: Cine Gang, 1981.

———. Show Biz, Seriously: A Collection of Essays and Feature Articles. Manila: University of Santo Tomas Publishing House, 2011.

Velasco, Johven. Huwaran/Hulmahan Atbp. [Model/Mold Etc.]: The Film Writings of Johven Velasco. Ed. Joel David. Quezon City: University of the Philippines Press, 2009.

Vera, Noel. Critic after Dark: A Review of Philippine Cinema. Singapore: BigO Books, 2005.

Vera, Rody. Two Women as Specters of History: Lakambini [Noblewoman] and Indigo Child. Ed. Ellen Ongkeko-Marfil. Quezon City: Ateneo de Manila University Press, 2019. Screenplays of Lakambini, dir. Ellen Ongkeko-Marfil & Jeffrey Jeturian (unfinished); and Indigo Child, dir. Ellen Ongkeko-Marfil (Erasto Films, 2017).

Vergara, Benito M. Displaying Filipinos: Photography and Colonialism in Early 20th Century Philippines. Quezon City: University of the Philippines Press, 1995.

Villamor, Irene Emma. Meet Me in St. Gallen. Pasig City: VRJ Books, 2018. Screenplay of Meet Me in St. Gallen, dir. Irene Emma Villamor (Spring Films & Viva Films, 2018).

———. Sid & Aya (Not A Love Story). Pasig City: VRJ Books, 2018. Screenplay of Sid & Aya (Not A Love Story), dir. Irene Emma Villamor (Viva Films & N2 Productions, 2018).

Villasanta, Boy. Exposé: Peryodismong Pampelikula sa Pilipinas [Movie Journalism in the Philippines]. Manila: University of Santo Tomas Publishing House, 2007.

———. Seksinema. San Pedro, Laguna: World Publishing, 2009.

——— [as Julianito “Boy” Villasanta]. Tio Ticong: Pelikula at Pulitika (Vicente Salumbides) [Uncle Ticong: Film and Politics (of) Vicente Salumbides]. Manila: University of Santo Tomas Publishing House, 2002.

Virrey, Teodoro. Ang Pelikulang Tagalog… [The Tagalog Movie…]. Publications of the Institute of National Language, vol. 4, no. 11. Manila: Bureau of Printing, 1938.

Viva Films. Miracle in Cell No. 7. Pasig City: VRJ Books, 2019. Regarding the production of Miracle in Cell No. 7, dir. Nuel C. Naval (Viva Films, 2019), remake of 7-beon-bang-ui seon-mul, dir. Hwan-kyung Lee (Fineworks & CL Entertainment, 2013).

W

Way, Eugene Irving. Motion Pictures in Japan, Philippine Islands, Netherland East Indies, Siam, British Malaya, and French Indo-China. Trade Information Bulletin No. 634, series of the United States Bureau of Foreign and Domestic Commerce. Washington, DC: Government Publishing Office, 1929.

Y

Yap, Darryl. Jowable [Lover Material]. Pasig City: VRJ Books, 2019. Novelization of #Jowable, dir. Darryl Yap (Viva Films & VinCentiments, 2019). Based on videos first posted on Facebook.

Yapan, Alvin, and Glenda Oris, eds. Burador [Draft]. Quezon City: Ateneo de Manila University Press, 2010. Classical & contemporary studies on Philippine popular culture.

Yeatter, Bryan L. Cinema of the Philippines: A History and Filmography, 1897-2005. Jefferson, NC: McFarland, 2007.

Yoneno-Reyes, Michiyo, ed. East Asian Popular Culture: Philippine Perspectives. Quezon City: University of the Philippines Asian Center, 2013.

Young Critics Circle[’s Film Desk]. Sampúng Taóng Sine [Ten Film Years]: Philippine Cinema 1990-1999. Manila: National Commission for Culture and the Arts, 2002.

———. Sining ng Sineng Filipino [Art of the Filipino Film]. Aklat Sanyata series. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 2009.

Yu-Jose, Lydia N., ed. The Past, Love, Money and Much More: Philippines-Japan Relations since the End of the Second World War. Quezon City: Ateneo de Manila University Press, 2008. Tito Genova Valiente, “The Japanese in the Filipino Cinematic Space.”

Yutaka Abe, and Hitō Hakengun. Dawn of Freedom: A Toho Super Production. [Manila: Eiga Haikyūsha, 1943.] Commemorative volume for Dawn of Freedom, dirs. Abe Yutaka and Gerardo de Leon (Eiga Haikyūsha & Toho, 1944).

Z

Zafra, Jessica. Twisted Flicks. Pasig City: Anvil Publishing, 2003.

Zyrus, Jake. I Am Jake. Mandaluyong City: Anvil Publishing, 2018. Transition account of the former Charice Pempengco.

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Comprehensive Pinas Film Biblio: Reverse-Chronologized

Important: A listing of all the entries, alphabetized by author, can be found here, while the entries as grouped within their categories can be found here. To return to the landing page, click here. Any notes that follow each entry’s name of publisher are annotations made by the author, which fall under copyright. Out-of-print books and chapters that I wrote or edited may be found in this blog’s Books section.

For years in chronological order: 1912, 1918, 1929, 1938, 1943, 1949, 1952, 1958, 1967, 1971, 1972, 1973, 1975, 1976, 1977, 1978, 1979, 1980, 1981, 1982, 1983, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991, 1992, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, and 2019.

2020
[as of May 2020]

Capino, José B. Martial Law Melodrama: Lino Brocka’s Cinema Politics. Berkeley: University of California Press.

David, Joel, and Joyce Arriola, eds. Film Criticism in the Philippines. Special issue of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, vol. 93, no. 1. Manila: University of Santo Tomas.

Deyto, Epoy. The Years of Permanent Midnight and Other Unedited Essays. 2018 (1st edition). Pasig City: TollidBilly & Shonenbat Collective. Available at the author’s Missing Codec blog; new issue includes an additional essay.

Jacobo, Jaya, ed. Nora [Aunor]. Special issue of Bikol Studies: Perspectives & Advocacies, issue no. 1. Naga City: Ateneo de Naga University.

Lim, Noel F., Joey Agbayani, and David Hontiveros. Hotel Purgatorio. Los Angeles: Dizzy Emu Publishing. Unproduced filmscript.

Peterson, Andrea L., Gaspar A. Vibal, Christopher A. Datol, and Nicanor A. Lajom. Fifty Shades of Philippine Art: Philippine Cinematic Art. 50 Shades of Philippine Art series. Quezon City: Vibal.

Renske, David. Cirio H. Santiago: Unbekannter Meister des B-Films [Unknown Master of B-Films]. Birkenfeld, Germany: Creepy*Images. “Unlike our other publications this book is very text-heavy and therefore in German language only! But we are already discussing the release of an English version as well” (Creepy*Images website announcement).

Sollano, Francis, and Jose Mari B. Cuartero, eds. Interdisciplinarity in the Philippine Academia: Theory, History, and Challenges. Forum of Kritika Kultura, nos. 33 & 34. Quezon City: Department of English [of the] Ateneo de Manila University, 2020. Louie Jon A. Sánchez, “Ilang Eksplorasyon sa Pag-Aaral ng Kulturang Popular sa Filipinas [Some Explorations in the Study of Popular Culture in the Philippines].”

2019

Arriola, Joyce L. Pelikulang Komiks [Comics Films]: Toward a Theory of Filipino Film Adaptation. Quezon City: University of the Philippines Press.

Bolisay, Richard. Break It to Me Gently: Essays on Filipino Film. Makati City: Everything’s Fine. Compiled primarily from author’s blog, Lilok Pelikula.

Chuaunsu, Jen, and Katherine Labayen. Isa Pa, With Feelings [Once More, with Feelings]: The Original Screenplay. Quezon City: ABS-CBN Publishing. Screenplay of Isa Pa, With Feelings, dir. Prime Cruz (Black Sheep & APT Entertainment, 2019). Includes “interviews with cast and crew, and exclusive content inside” (cover description).

Cielo, Carlo. White AF. [Pasig City]: Shonenbat Collective. A “loose account of the current ‘whiteness’ in Pinoy politics and culture” (product self-description); available at Shonenbat Collective on Facebook.

Coenen, Michael. The Apocalypse of Marlon Brando: Death and Retribution in the Philippine Jungle. St. Paul, MN: Ex Nihilo Media. Fiction “inspired by real events” (back cover), specifically the making of Francis [Ford] Coppola’s Apocalypse Now (1979).

David, Joel. Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery. Book edition. Quezon City: Amauteurish Publishing. Also available online as editions of UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society: Part 1 (Traversals within Cinema) in vol. 88, no. 1 (May 2015) and Part 2 (Expanded Perspectives) in vol. 89, no. 1 (May 2016). More information at the Ámauteurish! website.

Del Mundo, Clodualdo Jr., and Shirley Lua, eds. Direk [Director]: Essays on Filipino Filmmakers. Critical Voices series. Eastbourne, East Sussex: Sussex Academic Press.

Dhar, Nirmal. Bhin Desher Cinema [Cinema from Foreign Countries]. Howrah, India: Sahajpaath Publishers. In Bengali, for the Cinema Federation’s International Film Festival; 101 movies from countries outside India, including Posas [Shackled], dir. Lawrence Fajardo (Quantum Films & Cinemalaya Foundation, 2012).

Gacoscos, Blaise C. Just a Stranger. Pasig City: VRJ Books. Novelization of Just a Stranger, dir. Jason Paul Laxamana (Viva Films, 2019).

Guillermo, Alice. Frisson: The Collected Criticism of Alice Guillermo. Ed. Patrick D. Flores & Roberto G. Paulino. Quezon City: Philippine Contemporary Art Network. “The Walking Tall Syndrome”; “National Identity and the Artist”; “The Many Faces of Censorship”; “Rejecting the Anti-Women in Art and Media”; “Book-Burning in the 20th Century,” on the censorship of the Isip Pinoy [Pinoy Mentality] TV program. Available at the Philippine Contemporary Art Network website.

Hanna, Monica, and Rebecca A. Sheehan, eds. Border Cinema: Reimagining Identity through Aesthetics. New Brunswick: Rutgers University Press. José B. Capino, “Filipinos at the Border: Migrant Workers in Transnational Philippine Cinema.”

Jadaone, Antoinette. Alone/Together. Quezon City: ABS-CBN Publishing. Screenplay of Alone/Together, dir. Antoinette Jadaone (Black Sheep & Project 8 Corner San Joaquin Projects, 2019).

Keppy, Peter. Tales of Southeast Asia’s Jazz Age: Filipinos, Indonesians and Popular Culture, 1920-1936. Singapore: National University of Singapore Press.

Lacap, Iris. Barcelona: A Love Untold. Quezon City: ABS-CBN Publishing. Novelization of Barcelona: A Love Untold, dir. Olivia M. Lamasan (ABS-CBN Film Productions & Star Cinema, 2016).

Lasar, Charmaine. Hello, Love, Goodbye: The Novel. Quezon City: ABS-CBN Publishing. Novelization of Hello, Love, Goodbye, dir. Cathy Garcia-Molina (Star Cinema, 2019).

Lim, Michael Kho. Philippine Cinema and the Cultural Economy of Distribution. Cham, Switzerland: Palgrave Macmillan.

Malanum, Ash M. Unforgettable. Pasig City: VRJ Books. Novelization of Unforgettable, dirs. Perci Intalan & Jun Robles Lana (Viva Films & Ideafirst Co., 2019).

Mique, Benedict. MOMOL Nights: The Original Screenplay. Quezon City: ABS-CBN Publishing. Screenplay of MOMOL Nights, dir. Benedict Mique (Dreamscape Digital & Lonewolf Films, 2019); MOMOL is the anagram for “make-out make-out lang” or engaging in “merely” non-penetrative sexual activity.

Promkhuntong, Wikanda, and Bertha Chin, eds. Fandom and Cinephilia in Southeast Asia. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 16, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines. Richard Bolisay, “‘Yes, You Belong to Me!’ Reflections on the JaDine [James Reid & Nadine Lustre] Love Team Fandom in the Age of Twitter and in the Context of Filipino Fan Culture”; Leticia Tojos, “Empowering Marginalized Filipinos Through Participatory Video Production.”

Vera, Rody. Two Women as Specters of History: Lakambini [Noblewoman] and Indigo Child. Ed. Ellen Ongkeko-Marfil. Quezon City: Ateneo de Manila University Press. Screenplays of Lakambini, dir. Ellen Ongkeko-Marfil & Jeffrey Jeturian (unfinished); and Indigo Child, dir. Ellen Ongkeko-Marfil (Erasto Films, 2017).

Viva Films. Miracle in Cell No. 7. Pasig City: VRJ Books. Regarding the production of Miracle in Cell No. 7, dir. Nuel C. Naval (Viva Films, 2019), remake of 7-beon-bang-ui seon-mul, dir. Hwan-kyung Lee (Fineworks & CL Entertainment, 2013).

Yap, Darryl. Jowable [Lover Material]. Pasig City: VRJ Books. Novelization of #Jowable, dir. Darryl Yap (Viva Films & VinCentiments, 2019). Based on videos first posted on Facebook.

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2018

Baltazar, Dwein. Exes Baggage. Quezon City: ABS-CBN Publishing. Screenplay of Exes Baggage, dir. Dan Villegas (Black Sheep, 2018).

Bautista, Mark. Beyond the Mark. Pasig City: VRJ Books. Singer, actor, & model’s coming-out narrative.

Bernardo, Sigrid Andrea. Kita Kita [I See You]: The Novel. Pasig City: VRJ Books. Novelization of Kita Kita, dir. Sigrid Andrea Bernardo (Spring Films, 2017).

Bonifacio, Bobby Jr., and Juvy G. Galamiton. Hospicio [Hospice]: The Original Screenplay. Quezon City: ABS-CBN Publishing. Screenplay of Hospicio, dir. Bobby Bonifacio Jr. (Cinema One & Project 8 Corner San Joaquin Projects, 2018).

Cabagnot, Edward delos Santos. Martin Heidegger’s Being and Time and Manuel Silos’s Biyaya ng Lupa [Blessings of the Land]. Media and Communication series. Quezon City: University of the Philippines Press. A study of the 1927 Seit und Zeit text (in English translation) vis-à-vis Biyaya ng Lupa, dir. Manuel Silos (LVN Pictures, 1959).

Cais, Ethelinda. Mr. and Mrs. Cruz: The Novel. Pasig City: VRJ Books. Novelization of Mr. and Mrs. Cruz, dir. Sigrid Andrea Bernardo (IdeaFirst Co. & Viva Films, 2018).

Deyto, Epoy. Krisis at Pelikula: Mga Paunang Tala tungkol sa mga Imahe at Eksena sa Panahon ng Digma [Crisis and Film: Preliminary Notes about Images and Scenes during a Time of War]. Pasig City: TollidBilly & Shonenbat Collective. Available at the author’s Missing Codec blog.

Flores, Pao. She’s the One: The Novel. Quezon City: ABS-CBN Publishing. Novelization of She’s the One, dir. Mae Czarina Cruz (ABS-CBN Film Productions & Star Cinema, 2013).

Goyo: Ang Batang Heneral [The Young General]: The History Behind the Movie. Mandaluyong City: Anvil Publishing. Regarding Goyo: Ang Batang Heneral, dir. Jerrold Tarog (TBA Studios, Artikulo Uno Productions, & Globe Studios, 2018); containing “an interview with Isagani Giron” (cover description).

Gracio, Jerry B. Bagay Tayo [We’re Compatible]. Pasay City: Visprint. On the scriptwriter’s professional experience and intense personal relationship with Raymond Reña, nicknamed “Pitbull”; accompanied by a simultaneously published book of poetry titled Hindi Bagay [Incompatible].

Icabandi, Arlo. Double Twisting Double Back: The Novel. Quezon City: ABS-CBN Publishing. Novelization of Double Twisting Double Back, dir. Joseph Abello (Cinema One Originals, #TeamMSB, & Black Maria Pictures, 2018).

Kim Young-woo, ed. Centennial Anniversary of the Philippine Cinema: Cinema, as a Response to the Nation. Busan: Busan International Film Festival. Retrospective volume, with Korean translations.

Lapus, John. Pang MMK [For (the television program) Maalaala Mo Kaya / Would You Remember]: The Original Screenplay. Quezon City: ABS-CBN Publishing. Screenplay of Pang MMK, dir. John Lapus (Cinema One Originals, 2018).

Lasar, Charmaine. The Hows of Us: The Novel. Quezon City: ABS-CBN Publishing. Novelization of The Hows of Us, dir. Cathy Garcia-Molina (ABS-CBN Film Productions & Star Cinema, 2018).

Ner, Sonia P., Louise Arianne C. Ferriols, and Angelo J. Aguinaldo. Filming in the Philippines. [Pasig City]: Film Development Council of the Philippines.

Olgado, Benedict Salazar, ed. Cinema and the Archives in the Philippines. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 15, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines. Bliss Cua Lim, “Fragility, Perseverance, and Survival in State-Run Philippine Archives”; Bernadette Rose Alba Patino, “From Colonial Policy to National Treasure: Tracing the Making of Audiovisual Heritage in the Philippines”; Rosemarie O. Roque, “Artsibo at Sineng Bayan: Pagpapanatili ng Kolektibong Alaala at Patuloy na Kolektibong Pagsalungat sa Kasinungalingan at Panunupil [Archive and National Cinema: Preserving Collective Memory and the Continuing Collective Resistance against Lies and Repression]”; Nick Deocampo, “Envisioning a Rhizomic Audio-Visual Archiving for the Future.”

Sycip, Rinka. Miss Granny. Pasig City: VRJ Books. Screenplay of Miss Granny, dir. Joyce Bernal (Viva Films & N2 Productions, 2018), remake of Soo-sang-han geun-yeo, dir. Dong-hyuk Hwang (Yeinplus Entertainment & CJ Entertainment, 2014); also “with lots of scenes not found in the movie, and several photos from the movie itself” (Viva Books website).

Villamor, Irene Emma. Meet Me in St. Gallen. Pasig City: VRJ Books. Screenplay of Meet Me in St. Gallen, dir. Irene Emma Villamor (Spring Films & Viva Films, 2018).

———. Sid & Aya (Not A Love Story). Pasig City: VRJ Books. Screenplay of Sid & Aya (Not A Love Story), dir. Irene Emma Villamor (Viva Films & N2 Productions, 2018).

Zyrus, Jake. I Am Jake. Mandaluyong City: Anvil Publishing. Transition account of the former Charice Pempengco.

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2017

Bernal, Ishmael, Jorge Arago, and Angela Stuart Santiago. Pro Bernal Anti Bio. Manila: ABS-CBN Publishing. Biography of Ishmael Bernal, authorizing Jorge Arago, completed by Angela Stuart Santiago.

Cabahug, Eric. Deadma Walking [Superciliously Walking]. Pasig City: VRJ Books. Novelization of Deadma Walking, dir. Julius Alfonso (T-Rex Entertainment Productions, 2017); “dedma,” a contraction of “dead malice” (a transliteration of “patay malisya”), refers to feigning ignorance.

Chua, Jonathan, Rosario Cruz-Lucero, and Rolando B. Tolentino, eds. A Reader in Philippine Film: History and Criticism (Essays in Honor of [film & culture critic] Nicanor G. Tiongson). Quezon City: University of the Philippines Press.

David, Joel. Manila by Night: A Queer Film Classic. Queer Film Classics series, eds. Thomas Waugh & Matthew Hays. Vancouver: Arsenal Pulp Press. A study of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980).

Deocampo, Nick, ed. Early Cinema in Asia. Bloomington: Indiana University Press.

Dizon, Christianne, ed. Team Real: Your All-Access Pass into James Reid & Nadine Lustre’s World. Pasig City: VRJ Books.

Espiritu, Talitha. Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime. Ohio University Research in International Studies Southeast Asia Series No. 132. Athens: Ohio University Press. “National Discipline and the Cinema”; “The New Politics, Lino Brocka, and People Power”; “The Force of National Allegory.”

Fantauzzo, Laurel. The First Impulse. Mandaluyong City: Anvil Publishing. On the unsolved September 2009 murder case of film critics Alexis Tioseco and his Slovenian partner Nika Bohinc.

Gomez, Jerome. Batch ’81: The Making of a Mike de Leon Film. Singapore: Asian Film Archive. Regarding Batch ’81, dir. Mike de Leon (MVP Pictures, 1982).

Ha Ju-yong, ed. Hallyu in and for Asia. Forum of Kritika Kultura, no. 28. Quezon City: Department of English [of the] Ateneo de Manila University. Joel David, “Remembering the Forgotten War: Origins of the Korean War Film and Its Development during Hallyu”; Maria Luisa Torres Reyes, “Multicultural Bildungsroman: Coming of Age between Han and Sana.”

Lacap, Iris. Crazy Beautiful You: The Novel. Quezon City: ABS-CBN Publishing. Novelization of Crazy Beautiful You, dir. Mae Czarina Cruz [as Mae Cruz-Alviar] (ABS-CBN Film Productions & Star Cinema, 2015).

Laxamana, Jason Paul. 100 Tula Para Kay Stella [100 Poems for Stella]. Pasig City: VRJ Books. Novelization of 100 Tula Para Kay Stella, dir. Jason Paul Laxamana (Viva Films, 2017).

Leavold, Andrew. The Search for Weng Weng. Melbourne: LedaTape Organisation. On the filming of The Search for Weng Weng documentary, dir. Andrew Leavold (Death Rides a Red Horse & Turkeyshoot Productions, 2013).

Mendoza, Maine. Yup, I Am that Girl. Pasig City: Summit Publishing Co. On the comedian, host, and viral internet personality.

Mijares, Primitivo. The Conjugal Dictatorship of Ferdinand and Imelda Marcos: Revised and Annotated. Quezon City: Bughaw. Original published in 1976.

National Commission for Culture and the Arts. Bilang Filipinas: A Primer on Philippine Cultural Statistics. Manila: NCCA.

Pichay, Nicolas B. Maxie: Book & Lyrics by Nicolas B. Pichay, Adapted from the Screenplay of Michiko Yamamoto. Manila: University of Santo Tomas Publishing House. Based on Ang Pagdadalaga ni Maximo Oliveros [The Blossoming of Maximo Oliveros], dir. Aureaus Solito (Cinemalaya & UFO Pictures, 2005).

Ramsey, Sansu. Elizabeth Ramsey: Queen of Philippine Rock n’ Roll. Scotts Valley, CA: CreateSpace Independent Publishing Platform. Authorized biography of the late multimedia entertainer, of Jamaican and Spanish descent, by her daughter.

Rodis, Girlie, ed. Ang Larawan [The Portrait]: From Stage to Screen. Mandaluyong City: Anvil Publishing. Includes (among others) the screenplay by Alemberg Ang, Loy Arcenas, Ryan Cayabyab, Waya Gallardo, Celeste Legaspi, Dennis Marasigan, Girlie Rodis, & Rolando Tinio of Ang Larawan, dir. Loy Arcenas (Culturtain Musicat Productions, 2017).

Tiongson, Nicanor G., ed. Broadcast Arts. Vol. 10 (of 12 vols.) of Cultural Center of the Philippines Encyclopedia of Philippine Art. 2nd edition. Manila: Cultural Center of the Philippines & the Office of the Chancellor, University of the Philippines Diliman. No equivalent volume in the 1st edition of the CCP Encyclopedia of Philippine Art.

———, ed. Film. Vol. 6 (of 12 vols.) of Cultural Center of the Philippines Encyclopedia of Philippine Art. 2nd edition. Manila: Cultural Center of the Philippines & the Office of the Chancellor, University of the Philippines Diliman. Equivalent volume of Philippine Film, vol. 8 in the 1st edition of the CCP Encyclopedia of Philippine Art.

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2016

Africa, Antonio P. Expressions of Tagalog Imaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939-1959). UNITAS: Semi-Annual Peer-Reviewed International Online Journal of Advanced Research in Literature, Culture, and Society, vol. 89, no. 2. Manila: University of Santo Tomas.

Aitken, Ian, and Camille Deprez, eds. The Colonial Documentary Film in South and South-East Asia. Edinburgh: Edinburgh University Press. José B. Capino, “Figures of Empire: American Documentaries in the Philippines.”

Balce, Nerissa. Body Parts of Empire: Visual Abjection, Filipino Images, and the American Archive. Ann Arbor: University of Michigan Press.

Campos, Patrick F. The End of National Cinema: Filipino Film at the Turn of the Century. Quezon City: University of the Philippines Press.

———, ed. Media and Communication Discourse. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 13, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines. Joyce Arriola, “Visual Artists as Literary Artists: Fantasy and Folklore in 1950s Komiks-to-Film Adaptations.”

David, Adam, Carljoe Javier, Noel Pascual, and Mervin Malonzo. Shake Rattle & Roll: Kahindik-hindik na Klasikong Katatakutan [Terrifying Horror Classics]. Quezon City: ABS-CBN Publishing. Based on Shake, Rattle & Roll II, dir. Peque Gallaga & Lore Reyes (Regal Films, 1990).

David, Joel. Book Texts: A Pinoy Film Course. Original digital edition. Quezon City: Amauteurish Publishing. A collection drawn from previous book publications, available exclusively at the Ámauteurish! website.

Deocampo, Nick. Eiga: Cinema in the Philippines during World War II. Vol. 3 of Reflections on One Hundred Years of Cinema in the Philippines series. Mandaluyong City: Anvil Publishing. Preceded by Cine (2007) and Film (2011).

Deramas, Wenn V. Direk 2 da Poynt [Direct(or) to the Point]. Pasig City: VRJ Books. Written and published autobiography, posthumously launched.

Elly, Queen. Vince & Kath series. 7 volumes, with vols. 6 & 7 titled Vince & Kath & James. Quezon City: ABS-CBN Publishing. Origin of and takeoff from Vince & Kath & James, dir. Theodore Boborol (Star Cinema, 2016). Originally a “textserye” (“social serye” on the book covers) appearing on Facebook, comprising exchanges among the characters, with the later books bearing individual titles: Book 2, Remember; Book 3, Promise; Book 4, Walang Titibag [None Can Destroy]; Book 5, Cheer and Var (Kath & Vince’s respective terms of endearment); Book 6, The Reunion; and Book 7, The Finale. (Per Roumella Nina L. Monge, in an email exchange, “books 5 & 6 were developed alongside the creation of the film.”)

Grant, Paul Douglas, and Misha Boris Anissimov. Lilas [Film]: An Illustrated History of the Golden Ages of Cebuano Cinema. Cebu City: University of San Carlos Press.

Lo, Ricardo F. Conversations Pa More. Pasig City: VRJ Books. Sequel of Conversations with Ricky Lo (2001).

Loriga, Renato. Autohystoria: Visioni postcoloniali del nuovo cinema filippino [Postcolonial Visions of the New Filipino Cinema]. Studi postcoloniali di cinema e media series no. 4. Canterano, RM: Aracne editrice. A study of Autohystoria, dir. Raya Martin (Cinematografica, 2007).

Manalansan, Martin F., and Augusto F. Espiritu, eds. Filipino Studies: Palimpsests of Nation and Diaspora. New York: New York University Press. Robert Diaz’s “Redressive Nationalisms, Queer Victimhood, and Japanese Duress” discusses the claims of Walter Dempster Jr. a.k.a. [Walterina] Markova: Comfort Gay [male enslaved for sex work by the Japanese Imperial Army during World War II], dir. Gil Portes (RVQ Productions, 2000).

Manzanilla, JPaul S., and Caroline S. Hau, eds. Remembering/Rethinking EDSA. Mandaluyong City: Anvil Publishing. Joel David, “Grains & Flickers”; Patrick D. Flores, “A Cinema in Transition: Initial Incursions.”

Pascual, Chuckberry J. Pagpasok sa Eksena: Ang Sinehan sa Panitikan at Pag-aaral ng Piling Sinehan sa Recto [Scene Entrance: The Movie House in Literature and the Study of Selected Theaters along Recto (Avenue)]. Quezon City: University of the Philippines Press.

Tolentino, Rolando B. Indie Cinema at mga Sanaysay sa Topograpiya ng Pelikula ng Filipinas [Indie Cinema and Essays on the Topography of Philippine Cinema]. Manila: University of Santo Tomas Publishing House.

———. Keywords: Essays on Philippine Media Cultures and Neocolonialisms. Quezon City: Ateneo de Manila University Press.

Travers, Steven. Coppola’s Monster Film: The Making of Apocalypse Now. Jefferson, NC: McFarland. Regarding Apocalypse Now, dir. Francis Ford Coppola (American Zoetrope, 1979).

2015

Bandhauer, Andrea, and Michelle Royer, eds. Stars in World Cinema: Screen Icons and Star Systems Across Cultures. London: I.B. Tauris & Co. Bliss Cua Lim, “Sharon’s Noranian Turn: Stardom, Race, and Language in Philippine Cinema” discusses Sharon Cuneta’s successful replication of Nora Aunor’s early rags-to-riches-via-singing film persona.

Baumgärtel, Tilman, ed. A Reader on International Media Piracy: Pirate Essays. MediaMatters series. Amsterdam: Amsterdam University Press. Tilman Baumgärtel, “The Triumph of the Pirates: Books, Letters, Movies, and Vegan Candy – Not a Conclusion.”

David, Joel, ed. On Nora Aunor and the Philippine Star System. Forum of Kritika Kultura, no. 25. Quezon City: Department of English [of the] Ateneo de Manila University.

Ferrer, Noel D. Mag-Artista Ka! Mga Dapat Mong Malaman Para Sumikat sa Showbiz sa Tamang Paraan, sa Tamang Panahon [Be a Star! What You Should Learn to Get Famous in Showbiz in the Right Way, at the Right Time]. Mandaluyong City: Anvil Publishing. Filipino version of Sisikat Din Ako!

———. Sisikat Din Ako! [I’ll Also Get Famous!] Your Guide to Making Your Mark in Show Business. Mandaluyong City: Anvil Publishing. English version of Mag-Artista Ka!

Jimenez, Ruby Rosa A., ed. Heneral Luna: The History Behind The Movie. Mandaluyong City: Anvil Publishing. Regarding Heneral Luna, dir. Jerrold Tarog (Artikulo Uno Productions, 2015), based on “an interview with Dr. Vivencio R. Jose, author of The Rise and Fall of Antonio Luna” (cover text).

Kwon Dong Hwan. Westernized Visual Representation of Jesus and the Construction of Religious Meanings: A Reception Analysis of The Jesus Film (1979) among the Mangyan Tribes. Asbury Theological Seminary Series in Christian Revitalization Studies. Lexington, KY: Emeth Press. Study of The Jesus Film, dirs. John Krish & Peter Sykes (Inspirational Films & The Genesis Project, 1979).

Lacuesta, Angelo Rodriguez, ed. Contra Mundum [Against the World]: On the Film Restoration of Nick Joaquin’s A Portrait of the Artist as Filipino. [Quezon City]: Miguel P. de Leon Publishing. Regarding A Portrait of the Artist as Filipino, dir. Lamberto V. Avellana (Diadem Productions & Cinema Artists Philippines, 1965). See Girlie Rodis (ed.), Ang Larawan [The Portrait]: From Stage to Screen (2017), for the text of the play.

Miller, Toby, ed. The Routledge Companion to Global Popular Culture. New York: Routledge. Talitha Espiritu, “Performing Native Identities: Human Displays and Indigenous Activism in Marcos’s Philippines.”

Rodriguez, Simon Godfrey, Nina Macaraig-Gamboa, and Wylzter Gutierrez. Legacy. Modern Heroes for the Filipino Youth series. Makati City: Bookmark & Studio Graphics Corp. On film & theater director Lamberto V. Avellana.

Sevilla, Juan Miguel. One More Chance. Quezon City: ABS-CBN Publishing. Novelization of One More Chance, dir. Cathy Garcia-Molina (ABS-CBN Film Productions & Star Cinema, 2007).

Siguion-Reyna, Armida, and Nelson A. Navarro. Armida. Quezon City: ABS-CBN Publishing. Comprising “The Unfinished Memoirs” by Armida Siguion-Reyna; and “Armida Siguion-Reyna: The Singer and the Song” by Nelson A. Navarro.

Tolentino, Rolando B., and Gary C. Devilles, eds. Kritikal na Espasyo ng Kulturang Popular [Critical Spaces of Popular Culture]. Quezon City: Ateneo de Manila University Press.

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2014

Barker, Joshua, Erik Harris, and Johan Lindquist, eds. Figures of Southeast Asian Modernity. Honolulu: University of Hawai’i Press. José B. Capino, “Domestic Helper.”

Barrow, Sarah, Sabine Haenni, and John White, eds. The Routledge Encyclopedia of Films. Abingdon, Oxon: Routledge. José B. Capino, “Manila: In the Claws of Neon / Maynila: Sa mga Kuko ng Liwanag[, dir. Lino Brocka (Cinema Artists, 1975)].”

David, Joel, ed. [Overseas Filipino Workers] in Foreign Cinema. Monograph of Kritika Kultura, nos. 21 & 22. Quezon City: Department of English [of the] Ateneo de Manila University.

———. Fields of Vision: Critical Applications in Recent Philippine Cinema. Digital edition. Quezon City: Amauteurish Publishing. Revision & update of the 1995 book edition, available at the Ámauteurish! website.

———. The National Pastime: Contemporary Philippine Cinema. Digital edition. Quezon City: Amauteurish Publishing. Revision & update of the 1990 book edition, available at the Ámauteurish! website.

———. Wages of Cinema: Film in Philippine Perspective. Digital edition. Quezon City: Amauteurish Publishing. Revision & update of the 1998 book edition, available at the Ámauteurish! website.

David, Joel, and Violeda A. Umali, eds. Media and the Diaspora. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 11, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines. Louie Jon A. Sanchez, “Koreanovelas, Teleseryes, and the ‘Diasporization’ of the Filipino/the Philippines”; Joel David, “Phantom Limbs in the Body Politic: Filipinos in Foreign Cinema”; Andrew Leavold, “Bamboo Gods and Bionic Boys: A Brief History of the Philippines’ B Films.”

De la Paz, Cecilia S., and Patrick D. Flores. Sining at Lipunan [Art and Society]. Aklat Sanyata series. Quezon City: Sentro ng Wikang Filipino – Diliman. 2nd edition of Patrick D. Flores & Cecilia S. de la Paz’s Sining at Lipunan (1997).

Del Mundo, Clodualdo Jr., ed. Making Waves: 10 Years of Cinemalaya [Philippine Independent Film Festival]. Mandaluyong City: Anvil Publishing.

Garcia, J. Neil C. The Postcolonial Perverse: Critiques of Contemporary Philippine Culture, Volume 1. Quezon City: University of the Philippines Press. Table of Contents contains the heading “Volume One: The Postcolonial”; includes “Philippine Cinema: The State of the Art.”

Gutierrez-Ang, Jaime. Tanglaw Introduction to Film: An Outcomes-Based Text Manual in Film Aesthetics, Appreciation, Theory and Criticism for the Filipino Student. Manila: Mindshapers.

Hau, Caroline S. The Chinese Question: Ethnicity, Nation, and Region in and Beyond the Philippines. Quezon City: Ateneo de Manila University Press, 2014. Includes discussions of the works of scriptwriter Ricardo Lee and producer Lily Monteverde (particularly Regal Films’ Mano Po [Your Blessing, Please] series), as well as of Armando Garces’s Dragnet (1973, scripted by Lee), Eddie Romero’s Ganito Kami Noon … Paano Kayo Ngayon? [As We Were] (1976), and Mark Meily’s Crying Ladies (2003).

Hernandez, Eloisa May P. Digital Cinema in the Philippines, 1999-2009. Quezon City: University of the Philippines Press.

Rice, Mark. Dean Worcester’s Fantasy Islands: Photography, Film, and the Colonial Philippines. Ann Arbor: University of Michigan Press.

Tolentino, Rolando B. Contestable Nation-Space: Cinema, Cultural Politics, and Transnationalism in the Marcos-Brocka Philippines. Quezon City: University of the Philippines Press. On the anti-dictatorship activism of Lino Brocka during the regime of Ferdinand E. Marcos.

Tolentino, Rolando B., and Josefina M.C. Santos, eds. Media at Lipunan [Media and Society]. Media and Communication Textbook Series. Quezon City: University of the Philippines Press. Nicanor G. Tiongson, “The Politics of Film Censorship.”

Tolentino, Rolando B., and Patrick F. Campos, Randy Jay C. Solis, and Choy S. Pangilinan, eds. Communication and Media Theories. Media and Communication Textbook Series. Quezon City: University of the Philippines Press. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic]”; Rolando B. Tolentino, “Masses, Power, and Gangsterism in the Films of Joseph ‘Erap’ Estrada”; Soledad Reyes, “Ang Mambabasa/Manonood, ang ‘Mass Media,’ at ang Paglikha ng Kahulugan [The Reader/Viewer, the ‘Mass Media,’ and the Production of Meaning]”; Patrick D. Flores, “Bodies of Work: Sexual Circulation in Philippine Cinema”; Eulalio R. Guieb III, “Worlding the Third World (O Kung Paanong Nagkadaigdig ang Ikatlong Daigdig sa mga Pelikula ni Kidlat Tahimik [Or How the Third World Became Worlded in the Films of Kidlat Tahimik].”

2013

Almajose, Kathy, and JV Ramos. Kakaibang Tingin, Kakaibang Titig [Different Look, Different Gaze]: An Appreciation of the Golden Period in Philippine Cinema. [Batangas City]: La Abuela Publishing House.

Castillo, Celso Ad. Celso Ad. Castillo: An Autobiography & His Craft. [Manila]: CELCAS Film Entertainment.

Enriquez, Elizabeth L., ed. Media and Gender Identity. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 10, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines. Rommel B. Rodriguez, “Representasyon ng Pagkalalaki sa Pelikulang Bakbakan ni FPJ [Representation of Masculinity in the Action Film of Fernando Poe Jr.].”

Fabie, Celine Beatrice. Mona Lisa: A Portrait from the Memoirs of a Grandmother. Parañaque City: Mona Lisa Publication. On the globally renowned film performer.

Fernandez, Manuel B., and Ronald K. Constantino. A Tribute to the Movie Queen Carmen Rosales: Ang Tangi Kong Pag-ibig [My Only Love]. Makati City: DLD Publishing.

Gamboa, Jose T. Brocka: The Filmmaker without Fear. Modern Heroes for the Filipino Youth series. Makati City: Bookmark. On Filipino director Lino Brocka.

Hau, Caroline S., Isabelita O. Reyes, and Katrina Tuvera, eds. Querida [Paramour]: An Anthology. Mandaluyong City: Anvil Publishing. Ricky [as Ricardo] Lee, Raquel Villavicencio, & Ishmael Bernal, Relasyon [Affair], screenplay of the film, dir. Ishmael Bernal (Regal Films, 1982).

Nepales, Ruben. My Filipino Connection: The Philippines in Hollywood. Mandaluyong City: Anvil Publishing. Includes articles on Bernardo Bernardo, Vanessa Hudgens, Jake Zyrus [as Charice Pempengco], Darren Criss, Bessie Badilla, Matthew Libatique, Ramona Diaz, Mikey Bustos, et al.

Tiongson, Nicanor G., ed. Media and History. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 10, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines. José S. Buenconsejo, “Orientalism in the Narrative, Music and Myth of the Amok in the 1937 Film Zamboanga [dir. Eduardo de Castro, prod. Filippine Productions]”; Ma. Rina Locsin, “A Brief History of the Baguio Sine.”

———, ed. The Urian Anthology 2000-2009: The Rise of the Philippine New Wave Indie Film. Quezon City: University of the Philippines Press. Includes filmography of 2000-10 Philippine film releases.

Yoneno-Reyes, Michiyo, ed. East Asian Popular Culture: Philippine Perspectives. Quezon City: University of the Philippines Asian Center.

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2012

Baluyut, Pearlie Rose S. Institutions and Icons of Patronage: Arts and Culture in the Philippines during the Marcos Years, 1965-1986. Manila: University of Santo Tomas Publishing House.

Baumgärtel, Tilman, ed. Southeast Asian Independent Cinema. Hong Kong: Hong Kong University Press. Tilman Baumgärtel, “The Downside of Digital: A German Media Critic Plays Devil’s Advocate.”

Cruz, Denise. Transpacific Femininities: The Making of the Modern Filipina. Durham: Duke University Press. “Transpacific Femininities, Multimedia Archives, and the Global Marketplace” discusses the figure of Imelda Marcos via David Byrne & Fatboy Slim’s musical Here Lies Love: A Song Cycle about Imelda Marcos & Estrella Cumpas (Nonesuch Records & Todomundo, 2010), and describes how the deluxe edition’s DVD makes use of images from “footage of late 1970s and early 1980s club scenes [and] news clips of violence and revolt during the martial law years,” as well as scenes from Iginuhit ng Tadhana [Determined by Destiny]: The Ferdinand E. Marcos Story, dir. Conrado Conde, Jose de Villa, & Mar S. Torres (777 Films & Sampaguita Pictures, 1965).

David, Joel, ed. A Closer Look at Manila by Night. Forum of Kritika Kultura, no. 19. Quezon City: Department of English [of the] Ateneo de Manila University. A study of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980); includes the screenplay by Ishmael Bernal, transcribed by Joel David and translated to English by Alfred A. Yuson.

Ingawanij, May Adadol, and Benjamin McKay, eds. Glimpses of Freedom: Independent Cinema in Southeast Asia. Ithaca, NY: Cornell Southeast Asia Program Publications. Tilman Baumgärtel, “The Piracy Generation: Media Piracy and Independent Film in Southeast Asia”; Eloisa May P. Hernandez, “The Beginnings of Digital Cinema in Southeast Asia”; Alexis A. Tioseco, “Like the Body and the Soul: Independence and Aesthetics in Contemporary Philippine Cinema”; John Torres, “Piracy Boom Boom.”

Kim Youna, ed. Women and the Media in Asia: The Precarious Self. London: Palgrave Macmillan. Bliss Cua Lim, “Fandom, Consumption and Collectivity in the Philippine New Cinema: Nora and the Noranians.”

Lanot, Marra PL. Darna & Other Idols. Mandaluyong City: Anvil Publishing. Feature articles on Ryan Agoncillo, Gina Alajar, Lualhati Bautista, Ryan Cayabyab, Lucy & Richard Gomez, Marian Rivera, Rosanna Roces, Vilma Santos & Ralph Recto, Ali Sotto, et al.

Lee, Ricky. Sa Puso ng Himala [In the Heart of Miracle]. Quezon City: Philippine Writers Studio Foundation. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), production notes, interviews.

Tolentino, Rolando B., ed. Queer Media and Representations. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 9, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines. Joel David, “Thinking Straight: Queer Imaging in Lino Brocka’s Maynila[: Sa mga Kuko ng Liwanag / Manila: In the Claws of Neon, dir. Lino Brocka, prod. Cinema Artists] (1975)”; J. Neil C. Garcia, “Postcolonial Camp: Hybridity and Performative Inversions in Zsazsa Zaturnnah [Ze Moveeh, dir. Joel Lamangan, prod. Regal Films, Regal Multimedia, & Ignite Entertainment (2006)].”

2011

Cheung, Esther M.K., Gina Marchetti, and Tan See-Kam, eds. Hong Kong Screenscapes: From the New Wave to the Digital Frontier. Hong Kong: Hong Kong University Press. Roger Garcia, John Woo, & Jessica Hagedorn’s “Alternative Perspectives/Alternative Cinemas: Modern Films and the Hong Kong Experimental Scene” comprises “a discussion of a representative program of experimental films by three filmmakers – Jim Shum, Comyn Mo, and [Filipino] Raymond Red, all produced in Hong Kong and Manila in the 1980s under Garcia’s Modern Films Productions company, and shown at the Hollywood/Hong Kong at the Borders: Alternative Perspectives, Alternative Cinema symposium in April 2004” (chapter description in Oxford Index).

Deocampo, Nick. Film: American Influences on Philippine Cinema. Vol. 2 of Reflections on One Hundred Years of Cinema in the Philippines series. Mandaluyong City: Anvil Publishing. Preceded by Cine (2007) and succeeded by Eiga (2016).

Devera, Jojo. Si Elwood, Pelikula, Atbp. [Elwood, Film, Etc.]. Quezon City: Jojo Devera. A study of Elwood Perez as filmmaker.

Kapur, Jyotsna, and Keith B. Wagner, eds. Neoliberalism and Global Cinema: Capital, Culture, and Marxist Critique. New York: Routledge. Bliss Cua Lim, “Gambling on Life and Death: Neoliberal Rationality and the Films of Jeffrey Jeturian.”

Lumbera, Bienvenido. Re-Viewing Filipino Cinema. Mandaluyong City: Anvil Publishing. Includes articles previously published in Revaluation (1984 & 1997).

Orengo, Oscar Fernández. 44 cineastas Filipinos / 44 Filipino Filmmakers / 44 mga Sineastang Pilipino. [Manila]: Instituto Cervantes de Manila.

Philippine LGBT-Related Films, Including: Masahista [Masseur, dir. Brillante Mendoza (Gee Films Productions International & Centerstage Productions, 2005)], Aishite Imasu 1941: Mahal Kita [I Love You, dir. Joel Lamangan (Regal Films, 2004)], Miguel/Michelle [dir. Gil Portes (Forefront Films, 1998)], Macho Dancer [dir. Lino Brocka (Award Films, Special People Productions & Viva Films, 1988)], Ang Lalaki sa Buhay ni Selya [The Man in Selya’s Life, dir. Carlos Siguion-Reyna (Reyna Films & Star Pacific Cinema, 1987)], The Blossoming of Maximo Oliveros [dir. Aureaus Solito (Cinemalaya & UFO Pictures, 2005)], Paper Dolls (film) [dir. Tomer Heymann (Claudius Films, L.M. Media, Heymann Brothers Films, & The Film Sales Co., 2006)], Twilight Dancers [dir. Mel Chionglo (Centerstage Productions, 2006)], Burlesk King [dir. Mel Chionglo (Seiko Films, 1999)], Markova: Comfort Gay [dir. Gil Portes (RVQ Productions, 2000)]. [Toronto: Hephaestus Books.]

San Juan, Edgar, Son-hwa Yi, Aramch’an Yi, and Hye-jong Mok. Kidlat Tahimik. JIFF ch’ongso series. [Jeonju]: Jeonju International Film Festival. On film director Kidlat Tahimik.

Santiago, Arminda Vallejo, ed. Youth and Media. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 8, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines. Jongsuk Ham, “Fluid Identities in the Structure of Cyberspace: A Comparison of Philippine and Korean Experiences”; Pamela Marie Cruz, “Ang Karanasan ng Nakaraan sa Gunitang Viswal: Pagsusuri sa mga Pelikulang Romantiko sa Baguio [The Past Experienced via Visual Recollection: Critique of Romantic Films (set in) Baguio].”

Tolentino, Rolando B. Vaginal Economy: Cinema and Sexuality in the Post-Marcos, Post-Brocka Philippines. Durham: Duke University Press.

Velarde, Emmie G. Show Biz, Seriously: A Collection of Essays and Feature Articles. Manila: University of Santo Tomas Publishing House.

2010

Arao, Danilo, ed. Global Makeover: Media and Culture in Asia. Seoul & Quezon City: Asian Media and Culture Forum & Development Center for Asia Africa Pacific. Conference proceedings, including Patrick F. Campos, “The New Fantasy-Adventure Film as Contemporary Epic, 2000-2007”; Joel David, “Orientalism and Classical Film Practice”; and Shirley Palileo-Evidente, “The Alternative Metaphor in Metaphors: Discursive ‘Readings’ on Language, Symbols, and Enculturation in Philippine Cinema and other Media.”

Bailey, Cameron, Frederic Maire, Piers Handling, Sergio Wolf, Wieland Speck, Kim Dong-Ho, Marco Muller, Michel Ouedraogo, and Li Cheuk-to. The Future of Film: 100 New Directors. Take 100 series. London: Phaidon Press Ltd. Each of ten film festival directors – representing Locarno, Toronto, Buenos Aires, Berlin, Pusan, Venice, Ouagadougou (Burkina Faso), and Hong Kong – selected ten of “the world’s most exceptional emerging film directors” along with a representative recent film from each one (from the Library of Congress’s publisher description); includes Philippine filmmakers Raya Martin with Maicling Pelicula nañg Ysañg Indio Nacional [A Short Film About the Indio Nacional] (Atopic films & The Hubert Bals Fund of the Rotterdam Festival, 2005), Brillante Mendoza with Masahista [The Masseur] (Gee Films International & Centerstage Productions, 2005), Pepe Diokno with Engkwentro [Clash] (Cinemalaya Foundation, 2009), and Auraeus Solito with Ang Pagdadalaga ni Maximo Oliveros [The Blossoming of Maximo Oliveros] (Cinemalaya Foundation & UFO Pictures, 2005).

Bayot, David Jonathan Y., ed. Inter/Sections: Isagani R. Cruz and Friends. Pasig City: Anvil Publishing. “A festival of writings by mentors, colleagues, friends, and students – writing in honor of [film & literary critic] Isagani R. Cruz” (David Jonathan Y. Bayot).

Brody, David. Visualizing American Empire: Orientalism and Imperialism in the Philippines. Chicago: University of Chicago Press. “Strange Travelogues: Charles Longfellow in the Orient” is about the son of Henry Wadsworth Longfellow; against his father’s wishes, he toured Asian countries, settled in the Philippines, transformed his appearance, and accumulated souvenirs & photographs (in effect, an archive) of himself and his environment.

Capino, José B. Dream Factories of a Former Colony: American Fantasies, Philippine Cinema. Minneapolis: University of Minnesota Press.

Carballo, Bibsy M. Filipino Directors Up Close: The Golden Ages of Philippine Cinema, 1950-2010. Pasig City: Anvil Publishing.

Day, Tony, and Maya H.T. Liem, eds. Cultures at War: The Cold War and Cultural Expression in Southeast Asia. Studies on Southeast Asia No. 51. Ithaca, NY: Southeast Asia Program Publications. Francisco Benitez, “Filming Philippine Modernity During the Cold War: The Case of Lamberto [V.] Avellana.”

De la Cruz, Khavn, Dodo Dayao, and Mabie Alagbate. Philippine New Wave: This Is Not a Film Movement. Quezon City: Noel D. Ferrer, MovFest, and Instamatic Writings.

Del Mundo, Clodualdo Jr, ed. Spirituality and the Filipino Film. Film and Faith series. Manila: Communication Foundation for Asia.

Francisco, Butch. Eat Bulaga: Ang Unang Tatlong Dekada [Lunchtime Surprise: The First Three Decades]. Pasig City: TAPE. On the still-running daily noontime TV program that first aired in 1979.

Guardiola, Juan, ed. Cinema Filipinas: Historia, teoría y crítica fílmica (1999-2009) [Philippine Cinema: History, Theory, and Film Criticism (1999-2009)]. [Andalucía]: Juna de Andalucía, Consejería de Cultura Fundación El Legado Andalusí. Retrospective volume, with English translations.

Lacaba, Jose F. Showbiz Lengua: Chika and Chismax about Chuvachuchu [Showbiz Lingo: Small Talk and Gossip about Everything]. Pasig City: Anvil Publishing. A “compilation of 68 columns that [the author] wrote for YES! Magazine from 2003 to 2009” (Jose F. Lacaba, Ka Pete blog, November 2010).

Pertierra, Raul. The Anthropology of New Media in the Philippines. Quezon City: Institute of Philippine Culture, Ateneo de Manila University.

Pichay, Nicolas B. A Guide to the Intellectual Property Code of the Philippines: Understanding the Law, Empowering the Artist. Pasig City: Anvil Publishing.

Portus, Lourdes M., ed. Communication and Media Studies in Asia. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 7, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines. Taeyun Yu, “Eastern Gunslingers: Andrew Cunanan and Seung-Hui Cho in Western Media Imaginary.”

Protacio, Romeo M. Romualdo. Balik Tanaw [Recollection]: The Filipino Movie Stars of Yesteryears. [San Diego]: Asian Journal San Diego.

Reyes, Edgardo M. Mga Uod at Rosas [Caterpillars and Roses]. Quezon City: C & E Publishing. Novelization of Mga Uod at Rosas, dir. Romy V. Suzara (Ian Film Productions, 1982).

Tiongson, Nicanor G., ed. The Urian Anthology 1990-1999. Quezon City: University of the Philippines Press. Includes filmography of 1990-99 Philippine film releases.

Torres, Cristina Evangelista. The Americanization of Manila: 1898-1921. Quezon City: University of the Philippines Press. Includes accounts of Dean C. Worcester’s activities.

Yapan, Alvin, and Glenda Oris, eds. Burador [Draft]. Quezon City: Ateneo de Manila University Press. Classical & contemporary studies on Philippine popular culture.

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2009

Arao, Danilo, ed. Media and Communication Discourse. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 6, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines. Jose Gutierrez III, “Images of the Mother in Lino Brocka Films: 1970-1991.”

Avellana, Daisy Hontiveros. The Drama of It: A Life on Film and Theater. Pasig City: Anvil Publishing. Stage & film performer’s memoir of her life with Lamberto V. Avellana.

Lee, Ricky. Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda [Old Man and the Miracles of Our Time: Collection of Writings]. Special edition. Quezon City: Writers Studio Foundation. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), reviews of other films, and interview articles; reprinted [as Ricardo Lee] from 1988.

Lico, Gerard. Pa(ng)labas: Architecture + Cinema – Projection of Filipino Space in Film. Manila: National Commission for Culture and the Arts.

Lim, Bliss Cua. Translating Time: Cinema, the Fantastic, and Temporal Critique. Durham: Duke University Press. The book “interweaves scholarship on visuality with postcolonial historiography” (Duke University Press website) and discusses horror samples including Itim [The Rites of May], dir. Mike de Leon (Cinema Artists, 1976); Haplos [Caress], dir. Antonio Jose Perez (Mirick Films International, 1982); and Aswang [Viscera Sucker], dir. Peque Gallaga & Lore Reyes (Regal Films, 1992).

Lim, Jeanne. Tradisyon: Two Screenplays. Tubao Book Series of the Davao Writers Guild. Manila: National Commission for Culture and the Arts.

Paz, Consuelo J., ed. Ginhawa, Kapalaran, Dalamhati: Essays on Well-being, Opportunity/Destiny, and Anguish. Quezon City: University of the Philippines Press. Patrick D. Flores, “Hanapbuhay sa mga Pelikula ni Nora Aunor [Occupation in the Films of Nora Aunor].”

Reyes, Soledad S. From Darna to Zsazsa Zaturnnah: Desire and Fantasy (Essays on Literature and Popular Culture). Pasig City: Anvil Publishing. Includes studies on komiks-to-film crossovers including the title texts.

Sala, Letty T., and Felipe L. Reyes, eds. Glimpses: Essays, Letters, Memoirs (A Selection from the Writing Class from February to April, 2009). “Book concept” and foreword by Monina Allarey Mercado. Quezon City: Gabriel Books. A chapter by Michelle Gallaga comprises essays on her family, including her parents, producer-scriptwriter Madeleine Gallaga and director Peque Gallaga.

Sayles, John. Amigo [Friend]: Screenplay. Culver City, CA: Anarchist’s Convention Films. Screenplay of Amigo, dir. John Sayles (Anarchist’s Convention Films, 2010); paywalled access available online via John Sayles Blog.

Tadiar, Neferti X.M. Things Fall Away: Philippine Historical Experience and the Makings of Globalization. Post-Contemporary Interventions series. Durham: Duke University Press. Mentions Nora Aunor and the career boost given by her performance in The Flor Contemplacion Story, dir. Joel Lamangan (Viva Films, 1995); discusses Sharon Cuneta’s stature as “arguably the most popular female movie star in the Philippines today”; and erroneously ascribes the “Second Golden Age” concept to an essay by Bienvenido Lumbera.

Tiongson, Nicanor G., ed. Media and Folklore. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 6, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines. Patrick F. Campos, “The Fantasy-Adventure Films as Contemporary Epics, 2000-2007”; Alvin Yapan, “Nang Mauso ang Pagpapantasya: Isang Pag-aaral sa Estado ng Kababalaghan sa Telebisyon [When Fantasizing Was in Vogue: A Study on the State of Wonderment on Television].”

Velasco, Johven. Huwaran/Hulmahan Atbp. [Model/Mold Etc.]: The Film Writings of Johven Velasco. Ed. Joel David. Quezon City: University of the Philippines Press.

Villasanta, Boy. Seksinema. San Pedro, Laguna: World Publishing.

Young Critics Circle. Sining ng Sineng Filipino [Art of the Filipino Film]. Aklat Sanyata series. Quezon City: University of the Philippines Sentro ng Wikang Filipino.

2008

Aguila, Almond Pilar, Danilo Araña Arao, Alfonso Deza, Lourdes Portus, and Fernando Paragas, eds. Proceedings of the 8th ASEAN [Association of Southeast Asian Nations] Inter-University Conference on Social Development. CD-ROM format. Quezon City: University of the Philippines, Union Network International – Asia and Pacific, Free Trade Alliance, & National University of Singapore. Sheryl Rose M. Andes, “A Peek at the Winners of the Most Gender-Sensitive Film Awards of the Metro Manila Film Festival”; David R. Corpuz, “Subverting Zsa-Zsa Zaturnnah: A Critique of the Original Graphic Novel and Stage and Film Adaptations of Ang Kagila-gilalas na Pakikipagsapalaran ni Zsa-Zsa Zaturnnah [The Spectacular Adventures of Zsa-Zsa Zaturnnah]”; Joel David, “The Cold War and Marcos-Era Cinema in the Philippines”; Jongsuk Ham, “Online Games and Gender Issues in South Korea and the Philippines”; Roy Nicolas R. Molon Jr., “Women in a Better Light”; Danny Yu, “Gun-Toting Orientals: Global and Local Media Coverage of Andrew Cunanan and Cho Seung Hui.”

Carpio, Rustica C. Shuttling through Stage and Screen. Manila: Far Eastern University Publications. Veteran performer’s memoir.

Deocampo, Nick, ed. Sinegabay: A Film Study Guide. Pasig City: Anvil Publishing.

Enriquez, Elizabeth L. Appropriation of Colonial Broadcasting: A History of Early Radio in the Philippines, 1922-1946. Quezon City: University of the Philippines Press.

Fernandez, Marie P. My Life with My Brother Rudy Fernandez. [City unkn.]: Marie P. Fernandez. On the late action star, son of film director Gregorio Fernandez.

Garcia, J. Neil C. Philippine Gay Culture: Binabae to Bakla, Silahis to MSM [Invert to Gay, Bisexual to Men Who Have Sex with Men]. Quezon City: University of the Philippines Press. Reprint of Philippine Gay Culture, the Last Thirty Years: Binabae to Bakla, Silahis to MSM (1996). Mentions problematic depictions of queer sexualities in Philippine commercial cinema.

Holmlund, Chris, ed. American Cinema of the 1990s. New Brunswick: Rutgers University Press. José B. Capino, “Cinema and the Usable Past.”

Martin, Fran, Peter A. Jackson, Mark McLelland, and Audrey Yue, eds. AsiaPacifiQueer: Rethinking Genders and Sexualities. Urbana: University of Illinois Press. Ronald Baytan, “Bading na Bading [Really Queer]: Evolving Identities in Philippine Cinema.”

Orteza, Bibeth. Dolphy: Hindi Ko Ito Narating Mag-isa [I Did Not Attain This by Myself]. Quezon City: Kaizz Ventures. Authorized biography of actor-producer Rodolfo Vera Quizon, a.k.a. Dolphy.

Patajo-Legasto, Priscelina, ed. Philippine Studies: Have We Gone Beyond St. Louis? Quezon City: University of the Philippines Press. Joel David, “Awake in the Dark: Philippine Film during the Marcos Era”; Eleanor Sarah D. Reposar, “Carlo Vergara’s Zsazsa Zaturnnah and the Tradition of Subversion in Philippine Komiks”; Johven [as Jovenal] D. Velasco, “‘Feminized’ Heroes and ‘Masculinized’ Heroines: Changing Gender Roles in Contemporary Phiippine Cinema?”

Perdon, Renato. Footnotes to Philippine History. Manila: Manila Prints. Includes a citation of Himala [Miracle], dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), in discussing religious belief.

Remoto, Danton. Rampa: Mga Sanaysay [Sashay: Essays]. Pasig City: Anvil Publishing. Includes discourses on Freddie Aguilar, Nora Aunor, Ishmael Bernal, Darna, Joel Lamangan, Manila by Night [dir. Ishmael Bernal (Regal Films, 1980)], and Miss Saigon.

San Juan, E. Jr. From Globalization to National Liberation: Essays of Three Decades. Quezon City: University of the Philippines Press. “Allegories of National Liberation” discusses Savage Acts and Fairs – possibly Savage Acts, dir. Pennee Bender, Joshua Brown, and Andrea Ades Vasquez (American Social History Productions, 1995) – as well as Lino Brocka’s opposition to Imelda Marcos’s edifice complex; similar passages appear in a number of earlier books by the author.

Sarmenta, Severino R. Jr., ed. Movies that Matter: A Festschrift in Honor of [film critic & professor] Nicasio D. Cruz, S.J. [Quezon City]: Office of Research and Publications, Loyola Schools, Ateneo de Manila University.

Tiongson, Nicanor G. The Cinema of Manuel Conde. Manila: University of Santo Tomas Publishing House. On the director, producer, and actor a.k.a. Juan Urbano, including a filmography of his productions.

Yu-Jose, Lydia N., ed. The Past, Love, Money and Much More: Philippines-Japan Relations since the End of the Second World War. Quezon City: Ateneo de Manila University Press. Tito Genova Valiente, “The Japanese in the Filipino Cinematic Space.”

2007

Almario, Virgilio S., ed. 101 Filipino Icons. Quezon City: Adarna House.

Avecilla, Victor, and Josefina Santos, eds. Media and Freedom. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 4, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines. Armida Vallejo Santiago, “The Liberative Role of Discourse in Articulating Women’s Issues and Concerns in Filipino Melodramatic Films from 1990 to 2000”; Leticia Tojos, “Empowering Marginalized Filipinos Through Participatory Video Production.”

Baumgärtel, Tilman, ed. Kino-Sine: Philippine-German Cinema Relations. Makati City: Goethe-Institut Manila.

Deocampo, Nick. Cine: Spanish Influences on Early Cinema in the Philippines. Vol. 1 of Reflections on One Hundred Years of Cinema in the Philippines series. Manila: Cinema Values Reorientation Program, National Commission for Culture and the Arts. Succeeded by Film (2011) and Eiga (2016).

Fabros, David. Piolo, Believing: A Pictorial Biography of Piolo Pascual. Quezon City: Vibal Foundation. On the contemporary producer & actor.

Film Development Council of the Philippines. Philippine Film Catalogue. Pasig City: Film Development Council of the Philippines.

Fujiwara, Chris, ed. The Little Black Book [of] Movies: Over a Century of the Greatest Films, Stars, Scenes, Speeches and Events that Rocked the Movie World. London: Cassell Illustrated. “Part expert selection of [1,000] seminal moments, part glorious celebration of 100 years of cinema” (product description); includes contributions by Nick Deocampo and Noel Vera.

Marchetti, Gina, and Tan See Kam, eds. Hong Kong Film, Hollywood and the New Global Cinema. London: Routledge. Bliss Cua Lim, “Generic Ghosts: Remaking the New ‘Asian Horror Film.’”

Orsal, Cesar D. Movie Queen: Pagbuo ng Mito at Kapangyarihang Kultural ng Babae sa Lipunan [Formation of the Myth and Cultural Dominance of Women in Society]. Quezon City: New Day Publishers.

Tolentino, Rolando B. Sipat Kultura: Tungo sa Mapagpalayang Pagbabasa, Pag-aaral at Pagtuturo ng Panitikan [Culture View: Toward the Liberative Reading, Study and Teaching of Literature]. Quezon City: Ateneo de Manila University Press.

Villasanta, Boy. Exposé: Peryodismong Pampelikula sa Pilipinas [Movie Journalism in the Philippines]. Manila: University of Santo Tomas Publishing House.

Yeatter, Bryan L. Cinema of the Philippines: A History and Filmography, 1897-2005. Jefferson, NC: McFarland.

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2006

Arriola, Joyce L. Postmodern Filming of Literature: Sources, Contexts, and Adaptations. Manila: University of Santo Tomas Publishing House.

Beller, Jonathan. Acquiring Eyes: Philippine Visuality, Nationalist Struggle, and the World-Media System. Quezon City: Ateneo de Manila University Press. “Directing the Real: Orapronobis [Fight for Us, dir. Lino Brocka (Bernadette Associates International, 1989)] against Philippine Totalitarianism (2000)”; “Third Cinema in a Global Frame: Curacha[: Ang Babaeng Walang Pahinga / A Woman without Rest, dir. Chito Roño (Regal Films, 1998)], Yahoo! and Manila by Night [dir. Ishmael Bernal (Regal Films, 1980)].”

Ciecko, Anne Tereska, ed. Contemporary Asian Cinema: Popular Culture in a Global Frame. Asian Cinema series. New York: Berg. José B. Capino, “Philippines: Cinema and Its Hybridity (Or You’re Nothing but a Second-Rate, Trying Hard Copycat).”

David, Joel, ed. Proceedings of the Whither the Orient: Asians in Asian and Non-Asian Cinema Conference, Kimdaejung Convention Center, Gwangju, Korea, 28-29 October 2006. Seoul: Asia Culture Forum.

Deocampo, Nick, ed. Lost Films of Asia. Pasig City: Anvil Publishing.

Deza, Alfonso B. Mythopoeic Poe: Understanding the Masa as Audience through the Films of Fernando Poe Jr. Manila: Great Books Publications.

Dimaranan, Irma V. Naglalayag [Silent Passage]. Quezon City: University of the Philippines Press. Screenplay of Naglalayag, dir. Maryo J. de los Reyes (Angora Films, 2004).

Encanto, Georgina, ed. Media and History. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 3, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines. Michael Hawkins, “The Colonial Past in the Postcolonial Present: Eddie Romero’s Cavalry Command [Cirio H. Santiago Film Organization & Premiere Productions, 1958]”; Joyce Arriola, “The Impact of United States Colonization on the Rizalian Tradition in Cinema and Literature: A View of the Popular Arts as Postcolonial Historiography.”

Guardiola, Juan. El Imaginario colonial: Fotografia en Filipinas durante el periodo Español 1860-1898 [The Colonial Imaginary: Photography in the Philippines during the Spanish Period 1860-1898]. Barcelona: Casa Asia.

Halili, Servando D. Jr. Iconography of the New Empire: Race and Gender Images and the American Colonization of the Philippines. Quezon City: University of the Philippines Press.

Higgins, Steve. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: Museum of Modern Art. Features Bona, dir. Lino Brocka (NV Productions, 1980).

Isaac, Allan Punzalan. American Tropics: Articulating Filipino America. Critical American Studies Series. Minneapolis: University of Minnesota Press. Includes discussions of Philippines-set mid-century Hollywood productions as well as of Andrew Cunanan, subject of several films & TV specials as the spree killer whose last victim was Gianni Versace.

Kramer, Paul A. The Blood of Government: Race, Empire, the United States, and the Philippines. Chapel Hill: University of North Carolina Press. Includes accounts of Dean C. Worcester’s activities and banning in the Philippines of the newsreel coverage of the heavyweight championship fight between Jack Johnson and James J. Jeffries, where Johnson (a black man) defeated his white contender.

Lehman, Peter, ed. Pornography and Culture. New Brunswick: Rutgers University Press. José B. Capino, “Asian College Girls and Oriental Men with Bamboo Poles: Reading Asian Pornography.”

Pasadilla, Gloria O., ed. The Global Challenge in Services Trade: A Look at Philippine Competitiveness. Makati City: Philippine Institute for Development Studies and German Technical Cooperation. Gloria O. Pasadilla and Angelina M. Lantin, “Audiovisual Services Sector: Can the Philippines Follow ‘Bollywood’?”

Pilapil, Pilar V. The Woman without a Face: The Life Story of Pilar Pilapil. Pasig City: Pilar Pilapil Foundation. Autobiography of the beauty queen and actor.

Torres-Yu, Rosario, ed. Kilates: Panunuring Pampanitikan ng Pilipinas [Appraisal: Critical Literature of the Philippines]. Quezon City: University of the Philippines Press. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic].”

2005

De Guzman, Nestor, ed. Si Nora Aunor sa mga Noranian: Mga Paggunita at Pagtatapat [Nora Aunor to the Noranians: Remembrances and Confessions]. Quezon City: Milflores Publishing.

Deocampo, Nick. Films from a “Lost” Cinema: A Brief History of Cebuano Films. Quezon City: [Movie Workers Welfare Fund] Film Institute.

Tolentino, Rolando B., ed. Media and Popular Culture. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 2, no. 2. Quezon City: College of Mass Communication [of the] University of the Philippines. Emil Flores, “The Concept of the Superhero in Filipino Films.”

Vera, Noel. Critic after Dark: A Review of Philippine Cinema. Singapore: BigO Books.

2004

De Guzman, Nestor, and Albert M. Sunga, eds. Nora Aunor: Through the Years…. San Juan City: Ace Entertainment. Commemorative volume for the Through the Years concert.

Garcia, Jessie B. A Movie Album Quizbook. Iloilo City: Erehwon Books & Magazines.

Presidential Decree No. 1986 Creating the Movie & Television Review and Classification Board and Implementing Rules and Regulations, 2004. [Manila]: MTRCB.

Tadiar, Neferti X.M. [as Neferti Xina M. Tadiar]. Fantasy-Production: Sexual Economies and Other Philippine Consequences for the New World Order. Hong Kong: Hong Kong University Press. “Himala, Miracle [dir. Ishmael Bernal (Regal Films, 1980)]: The Heretical Potential of Nora Aunor’s Star Power.”

Tiongson, Nicanor G., and Violeda A. Umali, eds. Critical Voice in Media Studies. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 1, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines. José B. Capino, “Prosthetic Hysteria: Staging the Cold War in Filipino/American Docudrama”; Johven [as Jovenal] Velasco, “Filipino Film Melodrama of the Late 1950s: Two Case Studies of Accommodation of Hollywood Genre Models”; Anne Marie G. de Guzman, “Philippine Experimental Film Practice: Influences and Directions through the Films of Roxlee.”

Tolentino, Rolando B. Si Darna, ang Mahal na Birhen ng Peñafrancia, si Pepsi Paloma [Darna, the Blessed Virgin of Peñafrancia, (and) Pepsi Paloma]. Kulturang Popular Series No. 3. Pasig City: Anvil Publishing.

———. Paghahanap ng Virtual na Identidad [The Search for Virtual Identity]. Kulturang Popular Series No. 5. Pasig City: Anvil Publishing.

2003

Guneratne, Antony R., and Wimal Dissanayake, eds. Rethinking Third Cinema. New York: Routledge. Sumita S. Chakravarty’s “The Erotics of History: Gender and Transgression in the New Asian Cinema” closes with a discussion of Ishmael Bernal’s Himala [Miracle] (Experimental Cinema of the Philippines, 1982) as an example of the “relationship between eroticism and spirituality, [exploring] its implications for Filipino constructions of history and identity.”

Gutierrez, Ben Paul B., ed. Cases on Arts and Culture Management in the Philippine Setting. Quezon City: University of the Philippines Press. Manuel C. Dioquino Jr., “E-mail Conversations with Keith [Sicat] and Sari [Dalena]” (married film directors).

Laurel, Pedro C. Jr., Ramonfelipe A. Sarmiento, and Rody [as Rodolfo C.] Vera. Tatlong Dulang Pampelikula [Three Screenplays]. Quezon City: University of the Philippines Press. Pedro C. Laurel Jr., “Ang Diego at Gabriela: Lagablab sa Ilocos [The (story of) Diego and Gabriela: Firestorm in Ilocos]”; Ramonfelipe A. Sarmiento, “Batingaw [Chime]”; Rody [as Rodolfo C.] Vera, “Senyor Pascual.”

Lico, Gerard. Edifice Complex: Power, Myth, and Marcos State Architecture. Quezon City: Ateneo de Manila University Press. “The Cultural Center of the Philippines Complex,” with emphasis on the catastrophic construction history of the Manila Film Center.

The National Artists of the Philippines 1999-2003. Manila: Cultural Center of the Philippines & Anvil Publishing, 2003. Preceded by National Artists of the Philippines (1998). Justino Dormiendo, “Ishmael Bernal (Film, 2001): The Finest Poet of Philippine Cinema”; Lena S. Pareja, “Eddie Romero (Film, 2003): World-Class Filmmaker.”

Rivera, Frank G., and Mars Ravelo. Frank G. Rivera’s Darna, Etc.: Screenplays Based on Characters Created by Mars Ravelo. Manila: University of Santo Tomas Publishing House. Adaptations by Frank G. Rivera of Mars Ravelo stories, including two produced films: Darna, dir. Joel Lamangan (Viva Films, 1991); and Dyesebel, dir. Emmanuel H. Borlaza (Viva Films, 1995; co-written with Borlaza).

Shohat, Ella, and Robert Stam, eds. Multiculturalism, Postcoloniality, and Transnational Media. Rutgers Depth of Field Series. New Brunswick: Rutgers University Press. Talitha Espiritu, “Multiculturalism, Dictatorship, and Cinema Vanguards: Philippine and Brazilian Analogies.”

Tobias, Mel. Life Letters: Stories of a Wanderer. Vancouver: New Hogarath Press.

Zafra, Jessica. Twisted Flicks. Pasig City: Anvil Publishing.

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2002

De la Torre, Visitacion “Chit” R. Cultural Icons of the Philippines. Makati City: Tower Book House.

Feng, Peter X., ed. Screening Asian Americans. New Brunswick: Rutgers University Press. Rolando B. Tolentino, “Identity and Difference in ‘Filipino/a American’ Media Arts.”

Holt, Elizabeth Mary. Colonizing Filipinas: Nineteenth-Century Representations of the Philippines in Western Historiography. Quezon City: Ateneo de Manila University Press. “History as Visual Spectacle”; “Filipinas and Photography.”

King, Jenny. Great & Famous Filipinos. [Cainta, Rizal]: Worldlink Marketing Corp. Includes a number of pop-culture figures.

Parks, Lisa, and Shanti Kumar, eds. Planet TV: A Global Television Studies Reader. New York: New York University Press. José B. Capino, “Soothsayers, Politicians, Lesbian Scribes: The Philippine Movie Talk Show.”

Pulido, Rod. The Flip Side: A Filipino American Comedy. Chicago: Tulitos. Screenplay of The Flip Side, dir. Rod Pulido (Pure Pinoy, 2001).

Rodell, Paul A. Culture and Customs of the Philippines. Culture and Customs of Asia series. Westport, CT: Greenwood Press. “Festivals, Theater, Film, Media, and Other Entertainment.”

Shaw, Angel Velasco, and Luis H. Francia, eds. Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999. New York: New York University Press. In conjunction with an exhibit titled Vestiges of War, “a project of Asian/Pacific/American Studies Program and Institute, New York University”; includes Nick Deocampo, “Imperialist Fictions: The Filipino in the Imperialist Imaginary.”

Tam Kwok-kan, Wimal Dissanayake, and Terry Siu-han Yip, eds. Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. Hong Kong: Chinese University Press. Rolando B. Tolentino, “Subcontracting Imagination and Imageries of Bodies and Nations: The Philippines in Contemporary Transnational Asia Pacific Cinemas.”

Vasudev, Aruna, Latika Padgaonkar, and Rashmi Doraiswamy, eds. Being & Becoming: The Cinemas of Asia. New Delhi: MacMillan. Clodualdo del Mundo Jr., “Philippines: Liver & Alive (1990s-2001)”; Luis H. Francia, “Side-stepping History: Beginnings to 1980s.”

Villasanta, Boy [as Julianito “Boy” Villasanta]. Tio Ticong: Pelikula at Pulitika (Vicente Salumbides) [Uncle Ticong: Film and Politics (of) Vicente Salumbides]. Manila: University of Santo Tomas Publishing House.

Young Critics Circle[’s Film Desk]. Sampúng Taóng Sine [Ten Film Years]: Philippine Cinema 1990-1999. Manila: National Commission for Culture and the Arts.

2001

Bernard, Carlo, and Doug Miro. The Great Raid. [City & publisher unkn.]. Screenplay of The Great Raid, dir. John Dahl (Miramax, Marty Katz Productions, and Lawrence Bender Productions, 2005).

Cajayon, Gene, John Manal Castro, and Dawn Bohulano Mabalon. The Debut: The Making of a Filipino American Film. Chicago: Tulitos. Regarding The Debut, dir. Gene Cajayon (5 Card Productions, Celestial Pictures, Center for Asian American Media, National Asian American Telecommunications Association, Visual Communication, 2000).

Cordero-Fernando, Gilda, and M.G. Chaves. Pinoy Pop Culture. [Manila]: Bench/Suyen Corp., G.C. Fernando, and M.G. Chaves.

Cowie, Peter. TheApocalypse Now Book. 2000 (1st edition). Boston, Mass.: Da Capo Press. “The making of Francis Ford Coppola’s epic [American Zoetrope, 1979], based on unprecedented access to his private archives,… with 80 photographs, and exclusive detailed descriptions of material restored by Coppola for Apocalypse Now Redux (2001)” [cover description].

Film in South East Asia: Views from the Region (Essays on Film in 10 South East Asia – Pacific Countries). Hanoi: South East Asia – Pacific Audio Visual Archive Association.

Garcellano, Edel E. Knife’s Edge: Selected Essays. Ed. Caroline S. Hau. Quezon City: University of the Philippines Press.

Goquingco, Leonor Orosa. Curtain Call: Selected Reviews, 1957-2000. Quezon City: University of the Philippines Press. Includes reviews of performances of film actor Nora Aunor at the Philippine Educational Theater Association.

Hanan, David, ed. Film in South East Asia: Views from the Region. Hanoi: Southeast Asia-Pacific Audiovisual Archive Association. Agustin Sotto, “Philippines: A Brief History of Philippine Cinema.”

Lo, Ricardo F. Conversations with Ricky Lo. Mandaluyong City: Anvil Publishing. Followed by Conversations Pa More (2016).

Mella-Salvador, Shaira, Raymond Lee, and Laurice Guillen. Tanging Yaman [A Change of Heart], the Film Book: Screenplay. Pasig City: Anvil Publishing, ABS-CBN Consumer Products & Star Cinema. Screenplay of Tanging Yaman, dir. Laurice Guillen (Star Cinema, 2001).

Orellana, Ricky. Mowelfund Film Institute Catalog. Quezon City: [Movie Workers Welfare Fund] Film Institute.

Shiel, Mark and Tony Fitzmaurice, eds. Cinema and the City: Film and Urban Societies in a Global Context. Oxford: Blackwell Publishers. Rolando B. Tolentino, “Cityscape: The Capital Infrastructuring and Technologization of Manila.”

Tiongson, Nicanor G., ed. The Urian Anthology 1980-1989. Manila: Antonio P. Tuviera. Includes filmography of 1980-89 Philippine film releases.

Tolentino, Rolando B. National/Transnational: Subject Formation and Media in and on the Philippines. Quezon City: Ateneo de Manila University Press. “‘Inangbayan’ (Mother-Nation) in Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Clutching a Knife [Malaya Films & Stephan Films], 1985) and Orapronobis (Fight for Us [Bernadette Associates International], 1989)”; “Issues of the ‘Filipino/a’ in Asia-Pacific American Media Arts”; “Kidlat Tahimik in the Rhetoric of First World Theory”; “Subcontracting Imagination and Imageries of Bodies and Nations.”

2000

Del Mundo, Clodualdo Jr., and Mike de Leon. Rizal [and] Bayaning 3rd World [3rd World Hero]: Dalawang Dulang Pampelikula [Two Screenplays]. Manila: De La Salle University Press. Screenplays of Rizal, dir. Mike de Leon (unfinished); and Bayaning 3rd World, dir. Mike de Leon (Cinema Artists, 2000).

Grossman, Andrew, ed. Queer Asian Cinema: Shadows in the Shade. New York: Harrington Park Press. Co-published simultaneously as Journal of Homosexuality’s vol. 39, nos. 3-4 issues; Rolando B. Tolentino, “Transvestites and Transgressions: Panggagaya [Mimicry] in Philippine Gay Cinema.”

Hau, Caroline S. Necessary Fictions: Philippine Literature and the Nation, 1946-1980. Quezon City: Ateneo de Manila University Press. “Alien Nation” discusses the characters of Quiroga in José Rizal’s Noli Me Tángere [Touch Me Not] (1887), Ah Tek in Edgardo M. Reyes’s Sa mga Kuko ng Liwanag [In the Claws of Neon] (1967), and Wei-fung in Ricardo Lee’s short story “Huwag, Huwag Mong Kukuwentuhan ang Batang si Wei Fung [Don’t, Don’t Tell Stories to Young Wei Fung]” (1969) – works and/or authors associated with films; Necessary Fictions is complemented by another text by the same author, titled On the Subject of the Nation: Filipino Writings from the Margins, 1981-2004 (2004).

Hedman, Eva-Lotta E., and John T. Sidel. Philippine Politics and Society in the Twentieth Century: Colonial Legacies, Postcolonial Trajectories. Politics in Asia series. London: Routledge. Discusses the “mockery of mimicry” in the films of Joey de Leon and Rene Requiestas.

Kalaw-Tirol, Lorna. Above the Crowd. Pasig City: Anvil Publishing. More showbiz-focused than Public Faces, Private Lives.

———. Public Faces, Private Lives. Pasig City: Anvil Publishing. Emphasizes less prominent celebrities than Above the Crowd.

Lacaba, Jose F., ed. The Films of ASEAN. Quezon City: Association of Southeast Asian Nations Committee on Culture and Information. Clodualdo del Mundo Jr., “Philippines.”

Lumbera, Bienvenido. Writing the Nation / Pag-akda ng Bansa. Quezon City: University of the Philippines Press. Revision of several previously anthologized film articles.

Rafael, Vicente L. White Love and Other Events in Filipino History. American Encounters/Global Interactions series. Durham: Duke University Press. “Patronage, Pornography, and Youth: Ideology and Spectatorship during the Early Marcos Years.”

Tolentino, Rolando B., ed. Geopolitics of the Visible: Essays on Philippine Film Cultures. Quezon City: Ateneo de Manila University Press.

———. Richard Gomez at ang Mito ng Pagkalalake, Sharon Cuneta at ang Perpetwal na Birhen at Iba Pang Sanaysay ukol sa Bida sa Pelikula Bilang Kultural na Texto [Richard Gomez and the Myth of Masculinity, Sharon Cuneta and the Perpetual Virgin and Other Essays about Movie Stars as Cultural Texts]. Pasig City: Anvil Publishing.

Varnedoe, Kirk, Paola Antonelli, and Joshua Siege, eds. Modern Contemporary: Art Since 1980 at MOMA. New York: Museum of Modern Art. Features Bona, dir. Lino Brocka (NV Productions, 1980).

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1999

Buensalido, Joy, and Abe Florendo. 100 Women of the Philippines: Celebrating Filipino Womanhood in the New Millennium. Makati City: Buensalido & Associates. Including Ophelia Alcantara-Dimalanta, Zeneida Amador, Nora Aunor, Marilou Diaz-Abaya, Laurice Guillen, Lea Salonga, Vilma Santos, Sharon Cuneta, Regine Velasquez, Monique Wilson, et al.

Coronel, Sheila S., ed. From Loren to Marimar: The Philippine Media in the 1990s. Quezon City: Philippine Center for Investigative Journalism.

Cultural Center of the Philippines in Cooperation with the Centennial Commission. The CCP Centennial Honors for the Arts. Manila: CCP. Includes entries for Nora Aunor, Daisy H. Avellana, Ishmael Bernal, Salvador F. Bernal, Amelia L. Bonifacio, Ryan Cayabyab, Benjamin H. Cervantes, Manuel Conde, Ernani J. Cuenco, Mike de Leon, Narcisa B. de Leon, et al.

Diaz-Abaya, Marilou. José Rizal. Quezon City: University of the Philippines College of Mass Communication. Commemorative volume for José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).

Lanot, Marra PL. Deja Vu & Other Essays. Quezon City: University of the Philippines Press.

———. The Trouble with Nick [Joaquin] & Other Profiles. Philippine Writers series. Quezon City: University of the Philippines Press. Includes “That Gal Named Guy” (nickname of film actor Nora Aunor).

Solomon R. Guggenheim Museum. Empire and Memory: Repercussions and Evocations of the 1899 Philippine-American War. [New York: Solomon R. Guggenheim Museum.]

Sulong Pilipina! Sulong Pilipinas! [Forward Filipina! Forward Philippines!] A Compilation of Filipino Women Centennial Awardees. Manila: Women Sector [of the] National Centennial Commission. Includes Liwayway A. Arceo, Fides S. Asensio, Nora Aunor, Daisy H. Avellana, Susana C. de Guzman, Narcisa B. de Leon, et al.

1998

David, Joel. Wages of Cinema: Film in Philippine Perspective. Book edition. Quezon City: University of the Philippines Press. Revised & updated for a digital edition in 2014.

De la Cruz, Enrique B., and Pearlie Rose S. Baluyut, eds. Confrontations, Crossings, and Convergence: Photographs of the Philippines and the United States, 1898-1998. Los Angeles: Asian American Studies Center Press. A “companion to the photographic display [titled] Confrontations, Crossings and Convergence, on exhibit at UCLA’s Fowler Museum from August 19, 1998 to January 3, 1999[, as] curated by Enrique B. de la Cruz and Pearlie Rose Baluyut of UCLA’s Asian American Studies Center and art history department respectively, and Rico Reyes, an innovative, San Francisco-based artist” (from Augusto Fauni Espiritu’s review in the Journal of Asian American Studies).

Del Mundo, Clodualdo Jr. Native Resistance: Philippine Cinema and Colonialism, 1898-1941. Manila: De La Salle University Press.

Garcellano, Edel E. Interventions. Manila: Polytechnic University of the Philippines Press.

Intellectual Property Code of the Philippines and Related Laws: With Movie and Television Review and Classification Board (PD 1986), Videogram Regulatory Board (PD 1987), Children’s Television Act of 1997 and Others. Manila: Central Book Supply.

Kasaysayan at Pelikula [History and Film]: 100 Years of Cinema in the Philippines. Manila: National Centennial Commission, Presidential Management Staff, and Movie and Television Review and Classification Board.

Lee, Ricky. Trip to Quiapo: Scriptwriting Manual. Quezon City: Bagong Likha Publishing.

Lim, Jonah Añonuevo. Creative Imaging: An Introduction to Film. [Dumaguete City]: Jonah Lim.

The National Artists of the Philippines. Manila: Cultural Center of the Philippines & Anvil Publishing, 1998. 1972-97 coverage, followed by The National Artists of the Philippines 1999-2003 (2003). Lena S. Pareja, “Lamberto V. Avellana (Theater/Film, 1976): An Innate Love for Truth and Beauty”; Amadis Ma. Guerrero, “Gerardo de Leon (Film, 1982): Views from the Master Filmmaker”; Ramil Digal Gulle, “Rolando S. Tinio (Theater/Literature, 1997): The Song of Rolando: Creative Genius.” The entry “Lino Brocka (Film/Broadcast Arts, 1997): Human Being, Artist, Filipino” contains the following tagline credits: the Ramon Magsaysay Awards Foundation program brochure (September 1985), Mario A. Hernando, and Marilou Diaz-Abaya.

Patajo-Legasto, Priscelina, ed. Filipiniana Reader: A Companion Anthology of Filipiniana Online. Quezon City: University of the Philippines Open University. Clodualdo del Mundo Jr., “Komiks: An Industry, a Potent Medium, Our National ‘Book,’ and Pablum of Art Appreciation” & “Philippine Television: A History of Politics and Commerce”; Patrick D. Flores, “Philippine Cinema and Society”; Bienvenido Lumbera, “Brocka, Bernal & Co.: The Arrival of New Filipino Cinema” & “Problems in Philippine Film History”; Soledad S. Reyes, “The Philippine Komiks”; Nicanor G. Tiongson, “Becoming Filipino: 1565-1898”; Rolando B. Tolentino, “‘Inangbayan’ (Mother-Nation) in Lino Brocka’s Bayan Ko: Kapit sa Patalim (My Country: Clutching a Knife [Malaya Films & Stephan Films], 1985) and Orapronobis (Fight for Us [Bernadette Associates International], 1989).”

Tobias, Mel. One Hundred Acclaimed Tagalog Movies: Sineng Mundo [Film World], Best of Philippine Cinema. Vancouver: Peanut Butter Publishing.

1997

Deocampo, Nick. Beyond the Mainstream: The Films of Nick Deocampo. Ed. Lolita R. Lacuesta. Pasig City: Anvil Publishing. Production notes and essays on short filmmaking, plus the screenplays of the following short films by the author: “Oliver” (Deocampo, 1983); “Children of the Regime” (Deocampo, 1985); “Revolutions Happen Like Refrains in a Song” (Deocampo, 1987); “Ynang-Bayan [Mother-Country]: To Be a Woman Is to Live in a Time of War” (Deocampo, 1991); “Memories of Old Manila” ([Movie Workers Welfare Fund] Film Institute, 1993); “Isaak” (Metro Manila Film Festival Executive Committee, 1994); and “Sex Warriors and the Samurai” (Deocampo, 1995).

Flores, Patrick D., and Cecilia Sta. Maria de la Paz. Sining at Lipunan [Art and Society]. Aklat Sanyata series. Quezon City: Sentro ng Wikang Filipino – Diliman. 2nd edition (2014) is listed as de la Paz & Flores.

Lumbera, Bienvenido. Revaluation 1997: Essays on Philippine Literature, Cinema and Popular Culture. Manila: University of Santo Tomas Publishing House. Reprint of 1984 edition with additional 22 articles and interview.

Movie and Television Review and Classification Board. Implementing Rules and Regulations Pursuant to Section 3(a) of Presidential Decree No. 1986: The Movie and Television Review and Classification Board (MTRCB). Quezon City: Office of the President, Republic of the Philippines.

1996

Flores, Patrick D. Sites of Review: Critical Practice in Media. San Pablo City: Oraciones.

Kenny, James, and Isabel Enriquez Kenny. Making Documentaries & News Features in the Philippines. Pasig City: Anvil Publishing.

Kintanar, Thelma B., “and Associates.” The University of the Philippines Cultural Dictionary for Filipinos. Quezon City & Pasig City: University of the Philippines Press & Anvil Publishing, 1996. “Communication and Mass Media.”

Reyes, Emmanuel A. Malikhaing Pelikula: Mga Sanaysay Tungkol sa Pelikulang Pilipino [Creative Film: Essays on Philippine Cinema]. Makati: Media Plus. Includes the screenplays of Dreaming Filipinos (Manny Reyes Productions, 1991) and Suwapings [The Laughing Barrio] (Safari Films, 1994), both directed by the author [as Manny Reyes].

Trzcinski, Kevin, and Owen Hughes. Philippines Media Yearbook. Hong Kong: Cornerstone Associates Ltd.

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1995

Coppola, Eleanor. Notes: On the Making of Apocalypse Now. 1979 (1st printing). London: Faber and Faber. Regarding Apocalypse Now, dir. Francis Ford Coppola (American Zoetrope, 1979).

David, Joel. Fields of Vision: Critical Applications in Recent Philippine Cinema. Book edition. Quezon City: Ateneo de Manila University Press. Revised & updated for a digital edition in 2014.

Garcia, Fanny A., and Armando Lao, eds. Pitong Teleplay [Seven Teleplays]. Pasig City: Anvil Publishing. TV scripts by Ricky Lee, Armando Lao, Lualhati Bautista, Jose F. Bartolome, Rosalie Matilac, Dado C. Lumibao, and Fanny A. Garcia.

Garcia, Jessie B. Showbiz Uncensored. [Iloilo City]: Moviola Publishing House.

Ishizaka Kenji, ed. Symposium on Gerardo de Leon. Tokyo: Japan Foundation & [Association of Southeast Asian Nations] Culture Center.

Lo, Ricardo F. Star Studded. Makati City: Virtusio Books.

Ocampo, Ambeth. Bonifacio’s Bolo. Pasig City: Anvil Publishing. Includes “The Nora Aunor Mystique.”

Reyes, Soledad S. Pagbasa ng Panitikan at Kulturang Popular: Piling Sanaysay, 1976-1996 [Reading Literature and Popular Culture: Selected Essays, 1976-1996]. Quezon City: Ateneo de Manila University Press.

Sotto, Agustin, and Marilou Diaz-Abaya. Political and Social Issues in Philippine Film: Two Perspectives. Political and Social Change Working Paper Series, No. 12. Canberra: Department of Political and Social Change, Division of Politics and International Relations, Research School of Pacific and Asian Studies, Australian National University.

Vergara, Benito M. Displaying Filipinos: Photography and Colonialism in Early 20th Century Philippines. Quezon City: University of the Philippines Press.

1994

Aitken, Stuart C., and Leo E. Zonn, eds. Place, Power, Situation and Spectacle: A Geography of Film. Lanham, MD: Rowman & Littlefield. Gerald M. Macdonald’s “A Mapping of Cinematic Places: Icons, Ideology, and the Power of (Mis)Representation” provides an assessment of Kidlat Tahimik’s Mababangong Bangungot [Perfumed Nightmare] (Zoetrope Studios, 1977).

Constantino, Ronald K., and Ricardo F. Lo, eds. The Golden Years: Memorable Tagalog Movie Ads 1946-1956 (From the Collection of Danny Dolor). Manila: Danny Dolor.

Diamond Anniversary of Philippine Cinema. Brochure for the 43rd awards ceremony of the Filipino Academy of Movie Arts and Sciences. Manila: [Movie Workers Welfare Fund]. Includes a filmography of Philippine productions from the beginning to 1993 prepared by Lynn Pareja; significant for being the first published listing of Filipino movies made during the 1960s.

Pelikula at Lipunan [Film and Society]: Festival of Filipino Film Classics and Short Films. [Quezon City]: National Commission for Culture and the Arts Cinema Committee, Film Academy of the Philippines, and Movie Workers Welfare Fund.

Pertierra, Raul, and Eduardo F. Ugarte, eds. Cultures and Texts: Representations of Philippine Society. Quezon City: University of the Philippines Press.

Sklar, Robert. Movie-Made America: A Cultural History of American Movies. Revised and updated. New York: Vintage Books. First published as Movie-Made America: A Social History of the American Movie (New York: Random House, 1975); Sklar observed that “because whenever wars were in progress the US government would pressure Hollywood to assist in the war effort, ‘echoes and shadows’ of the Viet Nam conflict could only be provided” via the Blood-Island film cycle initiated by Gerardo de Leon’s Terror Is a Man, a.k.a. Creature from Blood Island (Lynn-Romero Productions & Premiere Productions, 1959), a takeoff from H.G. Wells’s The Island of Doctor Moreau (1896) (from Joel David, “Phantom Limbs in the Body Politic,” Plaridel, vol. 11, no. 1, February 2014).

Tiongson, Nicanor G., ed. Philippine Film. Vol. 8 (of 10 vols.) of CCP [Cultural Center of the Philippines] Encyclopedia of Philippine Art. 1st edition. Manila: Sentrong Pangkultura ng Pilipinas. 2nd edition’s equivalent volume is titled Film.

Torre, Nestor U. Pelikula: An Essay on Philippine Film, Touchstones of Excellence. Tuklas Sining series. [Manila]: Sentrong Pangkultura ng Pilipinas. Supplementary to Agustin Sotto’s and Bienvenido Lumbera’s 1992 Pelikula accounts.

1993

Fajardo, Deo J. Robin Padilla: Bad Boy ng Showbiz [Bad Boy of Showbiz]. [Manila]: Concept Society. On the controversial lifestyle of a member of the respected Padilla clan.

Gever, Martha, John Greyson, and Pratibha Parmar, eds. Queer Looks: Perspectives on Lesbian and Gay Film and Video. New York: Routledge. Nick Deocampo, “Homosexuality as Dissent / Cinema as Subversion: Articulating Gay Consciousness in the Philippines.”

Hernando, Mario A., ed. Lino Brocka: The Artist and His Times. Manila: Sentrong Pangkultura ng Pilipinas.

Lee, Ricky [as Ricardo Lee]. Salome: A Filipino Filmscript by Ricardo Lee. Trans. Rofel G. Brion. Madison: Center for Southeast Asian Studies, University of Wisconsin, Madison. Screenplay of Salome, dir. Laurice Guillen (Bancom Audiovision, 1981). Originally published untranslated in 1981.

Maglipon, Jo-Ann Q. Primed: Selected Stories 1972-1992. Reportage on an Archipelago series. Pasig City: Anvil Publishing. “MIFFed [Manila International Film Festival]”; “Free the Artist!”; “The Republic of the Philippines vs. Lino Brocka, et al.”; “Canuplin: The Little Tramp Time Left Behind”; “Erap [Joseph Estrada]”; “Phantoms of the Cinema”; “Starlight, Starbright”; “Mega Mother Lily [Monteverde]: Superstar for All Seasons.”

1992

Barte, Gina V., ed. Panahon ng Hapon: Sining sa Digmaan, Digmaan sa Sining [The Japanese Period: Art in War, War in Art]. Studies on Philippine Art and Society, 1942-1945 series. Manila: Sentrong Pangkultura ng Pilipinas. Exhibition & conference publication, including Agustin Sotto, “War and the Aftermath in Philipine Cinema”; and Motoe Terami-Wada, “Strategy in Culture: Cultural Policy and Propaganda in the Philippines, 1942-1945.”

Del Mundo, Clodualdo Jr. Maynila: Sa mga Kuko ng Liwanag [Manila: In the Claws of Neon], ’Merika [with Gil Jose Quito], at Alyas Raha Matanda [with Herky del Mundo]: Tatlong Dulang Pampelikula [Three Screenplays]. Manila: De La Salle University Press. Screenplays of Maynila: Sa mga Kuko ng Liwanag, dir. Lino Brocka (Cinema Artists, 1975); and ’Merika, dir. Gil Portes (Adrian Films, 1984).

Directory of Filipino Women in Radio, TV & Film Media. [Manila]: National Commission on the Role of Filipino Women, National Printing Office, and Philippine Information Agency.

Jameson, Fredric. The Geopolitical Aesthetic: Cinema and Space in the World System. Perspectives series. Bloomington: Indiana University Press. “Art Naïf and the Admixture of Worlds” is an appreciation of Kidlat Tahimik’s Mababangong Bangungot [Perfumed Nightmare] (Zoetrope Studios, 1977).

Lumbera, Bienvenido. Pelikula: An Essay on the Philippine Film, 1961-1992. Tuklas Sining series. [Manila]: Sentrong Pangkultura ng Pilipinas. Continuation of Agustin Sotto’s Pelikula: An Essay on the Philippine Film, 1897-1960 and supplemented by Nestor U. Torre’s Pelikula: An Essay on Philippine Film, Touchstones of Excellence.

Reyes, Soledad S., ed. Kritisismo: Mga Teorya at Antolohiya para sa Epektibong Pagtuturo ng Panitikan [Criticism: Theories and an Anthology for the Effective Teaching of Literature]. Pasig City: Anvil Publishing. Isagani R. Cruz, “Si Lam-ang, si Fernando Poe Jr., at si Aquino: Ilang Kuro-Kuro tungkol sa Epikong Filipino [(Mythological figure) Lam-ang, (film auteur) Fernando Poe Jr., and (Benigno S.) Aquino (Jr.): A Few Ideas on the Philippine Epic].”

Sotto, Agustin. Pelikula: An Essay on the Philippine Film, 1897-1960. Tuklas Sining series. [Manila]: Sentrong Pangkultura ng Pilipinas. Continued in Bienvenido Lumbera’s Pelikula: An Essay on the Philippine Film, 1961-1992 and supplemented by Nestor U. Torre’s Pelikula: An Essay on Philippine Film, Touchstones of Excellence.

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1991

Goodman, Grant K., ed. Japanese Cultural Policies in Southeast Asia During World War II. New York: MacMillan. Motoe Terami-Wada, “The Japanese Propaganda Corps in the Philippines: Laying the Foundation.”

Infante, J. Eddie. Inside Philippine Movies, 1970-1990: Essays for Students of Philippine Cinema. Quezon City: Ateneo de Manila University Press.

Ishizaka Kenji, ed. Philippine Film Festival: Fiesta of the Filmmakers. Introducing Southeast Asian Cinema series no. 3. Tokyo: Masaru Inoue.

Reyes, Soledad S., ed. Reading Popular Culture. Quezon City: Office of Research and Publications [of the] Ateneo de Manila University. Papers presented at the First National Conference on Popular Culture at the Ateneo de Manila University on November 17-19, 1988; includes Ruth Elynia Mabanglo, “Mula sa Altar nina Huli at Maria Clara: Imahen ng Babae sa Ilang Dramang Pilipino [From the Altar of (José Rizal characters) Huli and Maria Clara: Images of Women in Selected Philippine Dramas]”; and Soledad S. Reyes, “Women on Television.”

Tiongson, Nicanor G., ed. Tuklas Sining [Art Discovery]: Essays on the Philippine Arts. Manila: Sentrong Pangkultura ng Pilipinas.

1990

AMAUAN Filipino American Multi-Arts Center and Anthology Film Archives. Films by Lino Brocka: A Retrospective, November 14 [to] December 2, 1990, American Film Archives. AMAUAN Notebook series 7.1. New York: AMAUAN Filipino American Multi-Arts Center.

Cultural Center of the Philippines Library. Union Catalog on Philippine Culture: Film. CCP Library Research Guide Series no. 4. Manila: Cultural Center of the Philippines Library.

David, Joel. The National Pastime: Contemporary Philippine Cinema. Book edition. Pasig City: Anvil Publishing. Revised & updated for a digital edition in 2014.

Lent, John A. The Asian Film Industry. Texas Film Studies Series. Austin: University of Texas Press. “Philippines” (case study).

1989

Export Trade Promotion, Philippines Bureau of. A Profile on Motion Pictures. Product Profile series. [Manila]: Product Research and Strategy Group, Bureau of Export Trade Promotion, Department of Trade & Industry.

Lumbera, Bienvenido. Pelikula: An Essay on the Philippine Film. [Manila]: Sentrong Pangkultura ng Pilipinas. Later expanded in the Tuklas Sining series by Lumbera, Agustin Sotto, and Nestor U. Torre.

Reyes, Emmanuel A. Notes on Philippine Cinema. Manila: De La Salle University Press. Includes an interview conducted for the documentary Vic Silayan: An Actor Remembers, dir. Manny Reyes (Manny Reyes, 1984).

Salazar, Zeus A., Agustin Sotto, and Prospero Reyes Covar. Unang Pagtingin sa Pelikulang Bakbakan: Tatlong Sanaysay [A First Glance at the Action Film: Three Essays]. Manila: Sentrong Pangkultura ng Pilipinas.

1988

Guillermo, Alice. Images of Change: Essays and Reviews. Quezon City: Kalikasan Press.

Lee, Ricky [as Ricardo Lee]. Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda [Old Man and the Miracles of Our Time: Collection of Writings]. Quezon City: Bagong Likha Publications. Screenplay of Himala, dir. Ishmael Bernal (Experimental Cinema of the Philippines, 1982), reviews of other films, and interview articles; reprinted in 2009.

1987

Andres, Tomas D. How to Enjoy a Film Intelligently for Value Education. [Manila]: Our Lady of Manaoag Publishers.

Armes, Roy. Third World Film Making and the West. Berkeley: University of California Press.

Garcellano, Edel E. First Person, Plural: Essays. Quezon City: Edel E. Garcellano.

Lumbera, Bienvenido. Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan [Purview: Glancing and Critiquing a Changing Culture and Society]. Quezon City: Linangan ng Kamalayang Makabansa.

1986

Del Mundo, Clodualdo Jr., and Jose Mari Magpayo, eds. Philippine Mass Media: A Book of Readings. Manila: Communication Foundation for Asia. Mario A. Hernando, “Against All Odds: The Story of the Filipino Film Industry (1978-1982)”; Bienvenido Lumbera, “Problems in Philippine Film History”; Eduardo Sazon, “Film Distribution and Exhibition.”

Deocampo, Nick. El Cortometraje: Surgimiento de un nuevo cine filipino. Trans. Mark Garner & Matxalen Goiria. Bilbao: Certámen Internacional del Cine Documental y Cortometraje. Spanish translation of Short Film (1985).

Downing, John, ed. Film & Politics in the Third World. New York: Autonomedia. Luis Francia, “Philippine Cinema: The Struggle against Repression.”

Screenwriters Guild of the Philippines. Artista sa Pelikula ’85 / Actors’ Yearbook ’85. [Manila]: Fil-Asia Graphics.

1985

David, Rina, and Pennie Azarcon de la Cruz. Towards Our Own Image: An Alternative Philippine Report on Women and Media. PWRC Pamphlet Series no. 1. [Manila]: Philippine Women’s Research Collective. Continued in Wilhelmina S. Orozco’s Towards Our Own Image.

Deocampo, Nick. Short Film: Emergence of a New Philippine Cinema. Ed. Alfred A. Yuson. Manila: Communication Foundation for Asia. Translated to Spanish as El Cortometraje (1986).

Noriega, Bienvenido M. Jr. Soltero [Bachelor]. Trans. Rolando S. Tinio. Quezon City: New Day Publishers. Screenplay of Soltero, dir. Pio de Castro III (Experimental Cinema of the Philippines, 1984).

Orozco, Wilhelmina S. Towards Our Own Image: An Alternative Philippine Report on Women and Media. PWRC Pamphlet Series no. 2. [Manila]: Philippine Women’s Research Collective. Continued from Rina David and Pennie Azarcon de la Cruz’s Towards Our Own Image.

Thompson, Kristin. Exporting Entertainment: America in the World Film Market, 1907-34. London: British Film Institute Publishing. Describes how the Philippines, as the sole US colony, became the regional center for distribution of Hollywood film prints – which were flawed or easily damaged, since the Orient was regarded as a “junk” market: “90% of the prints from American exchanges were worn almost beyond being showable, with splices, torn sprockets, ends and titles missing” (per an exhibitor’s account).

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1984

Constantino, Renato. Synthetic Culture and Development. Quezon City: Foundation for Nationalist Studies. Only direct mention of cinema in the nationalist author’s texts (from Patrick D. Flores’s findings), aside from his introduction (as publisher) to Bienvenido Lumbera’s Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan (1987).

Cruz, Isagani R. Movie Times. Manila: National Book Store.

Garcia, Jessie B. Claudia Zobel: An Untold Story. Iloilo City: [publisher unkn.]. On the short life of the sex-film star.

———. Queen Vi: An Intimate Biography. Bacolod City: Jessie B. Garcia. On film star Vilma Santos; allegedly unauthorized and pulled from distribution after initial sales.

Lee, Ricky [as Ricardo Lee]. Bukas … May Pangarap [Tomorrow … There’ll Be a Dream]. [Quezon City: Markenprint]. Screenplay of Bukas … May Pangarap, dir. Gil Portes (Tri Films, 1984).

Lumbera, Bienvenido. Revaluation: Essays on Philippine Literature, Cinema and Popular Culture. [Quezon City]: Index. Reprinted as Revaluation 1997.

1983

ASEAN Country Reports on Film. Manila: Office of Media Affairs [of the] National Media Production Center. “A project of the Working Group on Film of the [Association of Southeast Asian Nations] Committee on Culture and Information” (self-description); includes “The Film Industry in the Philippines.”

Film Academy of the Philippines. Filmography of Filipino Films, 1982. [Manila]: Film Academy of the Philippines. Launch publication for what has been subsequently called the Luna Awards, first held in 1984.

Focus on Filipino Films: A Sampling, 1951-1982. Manila: Manila International Film Festival. Brochure for a special module selected by the Filipino Film Screening Committee and presented during the second MIFF edition, accompanied by freshly struck positive prints subtitled in English & French.

Guerrero, Rafael Ma., ed. Readings in Philippine Cinema. Manila: Experimental Cinema of the Philippines.

Guevara-Fernandez, Pacita, ed. Keeping the Flame Alive: Essays in the Humanities. Diamond Jubilee Publication. Quezon City: University of the Philippines Press. Behn Cervantes’s “Ganyan Lang Talaga Yan [That’s Just How It Is]” describes the Philippine situation as “a large market that can be redirected in its tastes and attitudes so that they [sic] can dictate what types of movies should be made.”

Jimenez, Baby K. Ang True Story ni Guy, Ikalawang Aklat [The True Story of Guy, Volume Two]. Quezon City: Mass Media Promotions. On film actor Nora Aunor; in 2 vols.

———. Ang True Story ni Guy, Unang Aklat [The True Story of Guy, Volume One]. Quezon City: Mass Media Promotions. On film actor Nora Aunor; in 2 vols.

Quirino, Joe. Don Jose [Nepomuceno] and the Early Philippine Cinema. History of the Philippine Cinema series no. 1. Quezon City: Phoenix Publishing House. First in the author’s projected 3-volume history series; no other volumes followed.

Rotea, Hermie. Marcos’ Lovey Dovie. Los Angeles: Liberty Publishing. On the affair between then-President Ferdinand E. Marcos and Dovie Beams, leading lady of Maharlika, dir. Jerr Hopper (Roadshow Films International & Solar Films, 1970).

Tiongson, Nicanor G., ed. The Urian Anthology 1970-1979. Quezon City: Manuel L. Morato. Title page descriptor: “selected essays on tradition and innovation in the Filipino cinema of the 1970s by the Manunuri ng Pelikulang Pilipino: with about 550 photos and illustrations and a filmography of Philippine movies, 1970-1979.”

1982

The First Experimental Cinema of the Philippines Annual Short Film Festival: November 16-21, 1982, Manila Film Center, [Cultural Center of the Philippines] Complex. Manila: ECP.

Garcia, Jessie B. Stars in the Raw. Bacolod City: [publisher unkn.].

Kabristante, George Vail. Gabby [Concepcion]. Quezon City: Jingle Clan Publications. On the then-emerging teen star.

Lee, Ricky [as Ricardo Lee]. Moral. [Quezon City]: Seven-Star Productions. Screenplay of Moral, dir. Marilou Diaz-Abaya (Seven Stars Productions, 1982).

Tobias, Mel. Memoirs of an Asian Moviegoer. Hong Kong: South China Morning Post.

1981

Del Mundo, Clodualdo Jr. Writing for Film. [Manila]: Communication Foundation for Asia.

Film Blockbusters from the Philippines. [Manila]: Manila International Film Festival. “Dry run” for the regular MIFF, to be held starting the next year.

Lee, Ricky [as Ricardo Lee]. Brutal/Salome. [Quezon City]: Cine Gang. Back-to-back screenplays of Brutal, dir. Marilou Diaz-Abaya (Bancom Audiovision, 1980); and Salome, dir. Laurice Guillen (Bancom Audiovision, 1981). The script of Salome was reprinted and translated in a foreign edition in 1993.

Velarde, Emmie G. All-Star Cast. Quezon City: Cine Gang.

1979

Momblanco, Maria Carmencita A. “Philippine Motion Pictures, 1908-1958: A Checklist of the First Fifty Years.” Master’s thesis, 2 vols. University of the Philippines.

1978

Fernandez, Ricardo V., ed. Film Directory of the Philippines. [Manila: Philippine Motion Pictures Producers Association?].

Hosillos, Lucila V. Movies in a Third World Country. Third World Studies Dependency series no. 15. [Quezon City]: Third World Studies Program [of the] University of the Philippines College of Arts and Sciences.

Infante, J. Eddie. All the Stars in the Sky: An Autobiography. Manila: Front Page Newsmakers. On the actor and director Eddie Infante, whose heyday was during the First Golden Age of the 1950s.

Lent, John A, ed. Broadcasting in Asia and the Pacific: A Continental Survey of Radio and Television. International and Comparative Broadcasting series. Philadelphia: Temple University Press.

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1977

Alatas, Syed Hussein. The Myth of the Lazy Native: A Study of the Image of the Malays, Filipinos and Javanese from the 16th to the 20th Century and Its Function in the Ideology of Colonial Capitalism. London: Frank Cass.

Joaquin, Nick [as Quijano de Manila]. Amalia Fuentes and Other Etchings. [Manila]: National Book Store.

——— [as Quijano de Manila]. Gloria Diaz and Other Delineations. [Manila]: National Book Store.

——— [as Quijano de Manila]. Joseph Estrada and Other Sketches. [Manila]: National Book Store.

——— [as Quijano de Manila]. Nora Aunor and Other Profiles. [Manila]: National Book Store.

——— [as Quijano de Manila]. Ronnie Poe and Other Silhouettes. [Manila]: National Book Store. “Ronnie Poe” is the nickname of actor, director, and producer Fernando Poe Jr.

Mercado, Monina A., ed. Doña Sisang and Filipino Movies. [Quezon City]: Vera-Reyes. Articles on Narcisa Buencamino de Leon (founder of LVN Pictures), her professional principles, and the films she produced; includes a filmography of LVN productions from 1939 to 1961.

1976

Del Rosario, Simeon G. The Subversive Impact: Sakada [Plantation Laborer] of Behn Cervantes (A Critique). Quezon City: Simeon G. del Rosario. A study of Sakada, dir. Behn Cervantes (Sagisag Films, 1976).

Makabenta, Yen, ed. Book of the Philippines. Manila: Research and Analysis Center for Communications and Aardvark Associates. Includes biographies for Nora Aunor, Lamberto V. Avellana, et al.

Mijares, Primitivo. The Conjugal Dictatorship of Ferdinand and Imelda Marcos. San Francisco: Union Square Publications. “The Loves of Marcos,” on Ferdinand Marcos’s predilection for movie stars, having married a beauty queen and aspiring film performer. Revised & annotated in 2017.

United States Information Agency Office of Research. Audience Reaction to IMV Films. Series E-7-76. [Washington, DC]: USIA Office of Research. Audience tests in the Philippines, Colombia, and Lebanon.

1975

De Vega, Guillermo. Film and Freedom: Movie Censorship in the Philippines. Manila: De Vega. Includes reviews of Tubog sa Ginto [Dipped in Gold], dir. Lino Brocka (Lea Productions, 1970); and Kung Bakit Dugo ang Kulay ng Gabi [Why Blood Is the Color of Night], dir. Celso Ad. Castillo (AA Productions, 1973).

McCarthy, Todd, and Charles Flynn. Kings of the B’s: Working within the Hollywood System. New York: E.P. Dutton. “Eddie Romero.”

1973

Silverio, Julio F. Sulyap sa Buhay ng mga Artistang Pilipino [Glimpse into the Life of Philippine Movie Actors]. Manila: National Book Store.

Vego, Herbert L. Getting to Know Nora. Manila: Herbert L. Vego. On film actor Nora Aunor, published “with permission from Philippines Daily Express” (cover text).

1972

Quinton, Rustum G. Ang Tunay na Kasaysayan ni Nora Aunor, Superstar [The True History of Nora Aunor, Superstar]. Manila: RMD&A Publishing.

Robledo, Aniceto. Artist Becomes Delegate of God (Artistang Naging Alagad ng Diyos): Completely Authorized and Illustrated Biography of Msgr. Aniceto Robledo. Quezon City: Fidimica Enterprises. Religious testimonial of film actor Aniceto Robledo, known for Ang Lumang Simbahan [The Old Church], dir. Jose Nepomuceno (Malayan Movies, 1928).

1971

Martinez, Jose Reyes, ed. Nora Aunor: Tagumpay sa Bawat Awit [Triumph in Every Song]. Sitsiritsit Special No. 1. Quezon City: Asia-Pacific Publications. “Book-length fully illustrated biography” featuring various topics plus “her songs, with guitar chords” (cover description).

1967

Feliciano, Gloria D., and Crispulo J. Icban Jr., eds. Philippine Mass Media in Perspective. Quezon City: Capitol. T.D. Agcaoili, “Movies.”

1958

United States Business and Defense Services Administration’s Scientific, Motion Picture, and Photographic Products Division. Motion Pictures Abroad: Philippines. Washington, DC: US Government Printing Office.

1952

The Philippine Screen Golden Book Album ng mga Artista [Album of Actors]: Favorite Movie Stars with Autographed Fotos. [Manila: Philippine Screen Publishing Co.]

Salumbides, Vicente. Motion Pictures in the Philippines. Manila: V.S.

1949

Silver Book: A Movie Directory of the Philippines. [City & publisher unkn.].

1943

Yutaka Abe, and Hitō Hakengun. Dawn of Freedom: A Toho Super Production. [Manila: Eiga Haikyūsha.] Commemorative volume for Dawn of Freedom, dirs. Abe Yutaka and Gerardo de Leon (Eiga Haikyūsha & Toho, 1944).

1938

Virrey, Teodoro. Ang Pelikulang Tagalog… [The Tagalog Movie…]. Publications of the Institute of National Language, vol. 4, no. 11. Manila: Bureau of Printing.

1929

Way, Eugene Irving. Motion Pictures in Japan, Philippine Islands, Netherland East Indies, Siam, British Malaya, and French Indo-China. Trade Information Bulletin No. 634, series of the United States Bureau of Foreign and Domestic Commerce. Washington, DC: Government Publishing Office.

1918

Internal Revenue, Philippines Bureau of. Cinematographic Film Regulations: Administrative Order No. 50. Manila: Bureau of Internal Revenue.

1912

A Campaign for Public Decency and Civic Morality. Manila: Santo Tomas.

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Corrigenda & Problematics for Manila by Night: A Queer Film Classic

The editing process for Manila by Night: A Queer Film Classic was the most difficult and complicated I ever underwent – and these included the peer reviews I had to solicit and help finalize for the special journal issues that I edited. The text underwent one extensive revision whose directions I had not anticipated, plus at least one minor overhaul for style and tone. The final editing stage was also difficult in itself: it involved reading through the manuscript with all the changes tracked in Microsoft Word. I still print out my drafts and edit the hard copy at every opportunity, so I thought this would be the digital equivalent of that practice, but gurl was I wrong. This accounts for a few oversights in the final version, while one major wrinkle involved the clarification of a picture source (now listed in the Problematics section). Where the corrections involved the addition of words or punctuation marks, they’re indicated here by highlighted entries.(Since all my other sole-authored books were either out of print or generated from this blog, they benefited from my typically obsessive correcting and updating processes.)

Strictly speaking, corrigenda refer to errors of the author while errata would be errors that arose during the process of production. I prefer the former term for its association with “correction” – i.e., during an earlier analogue period, readers would correct their texts via reference to such a list as this. I use the term problematics to refer to issues that occasionally are unresolved, or that otherwise would be too cumbersome to attend to within the physical and/or editorial limits of the publication. Most of these issues already inhered in the material during the process of its creation, although in one instance, the problem arose some time after publication. They range from the aforementioned complication in attribution, to a queer controversy involving a different film, to the usual quirks in historical interpretation. These are listed below, after the shortish list of errata.

CORRIGENDA

Page 23, second paragraph:

“I was working at the Experimental Cinema of the Philippines…”.

Page 38, Figure 4 caption:

“… (bottom, Sampaguita Pictures’ still of Iginuhit ng Tadhana: The Ferdinand E. Marcos Story [Conrado Conde, Jose de Villa, and Mar S. Torres, 1965]).”

Page 39, second paragraph:

Replace “policies” in “… involved the selective withdrawal of censorship prerogatives…”.

Page 42, last paragraph, second sentence:

Replace “were” in “After Bernal died in 1996, the bulk of the material he had compiled … was lost in a fire….”

Page 72, end of first paragraph:

This sentence must be added: “Meanwhile, out filmmaker Jun Lana has been steadily accumulating a growing record number of Filipino queer projects, performing for the mainstream what Crisaldo Pablo used to do for independent production.

Page 82, Figure 15, last sentence:

Replace “Lee Kumchong” in “Photos: Kumchong Lee (top)…”.

Page 104, second paragraph, second sentence:

“…, in which her character was named Manay Sharon. (Duplex is considered significant among queer scholars of Philippine TV for featuring the first out gay character, performed by the late theater and film director Soxie Topacio.)

Page 114, first paragraph:

“… (… played on park speakers), provides ironic contrast…”.

Page 140, first paragraph, first sentence:

“… a comparison with the genuinely subversive exposés of Manila by Night, with the more recent project paling in comparison.”

Page 142, first paragraph, last sentence:

“… planned sequels to Macho Dancer (1988), titled Midnight Dancers (1994, a multicharacter narrative), Burlesk King (1999), and Twilight Dancers (2006).”

Page 144, first paragraph, third sentence:

The comma after the film title Caught in the Act has to be deleted.

Page 151, second paragraph, third sentence:

“… soft and hard-core gay movies were produced…”.

Page 184, Footnote 23:

Replace “127” in “See Figure 25, p. 125.”

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PROBLEMATICS

Page 50, Figure 9:

The pic came from a framed entry in Cinema Paraiso (Film Paradise), an exhibit of Filipino movie memorabilia with film screenings and lectures, held February to April 2003 at the National Commission for Culture and Arts gallery in Intramuros, Manila. According to historian and archivist Teddy Co, one of the organizers, “It’s actually from my collection of bomba magazines, ca. 1969-70. I cannot find the issue anymore so I cannot name the magazine and what month it was in. The other exhibit curators were Josephine Atienza and Cesar Hernando…. The pic was in a section called A History of Kissing in Filipino Movies, starting from the first smooch between Dimples Cooper and Luis Tuazon to a digitally rendered kiss from Lastikman (dir. Tony Y. Reyes, 2003)” (Facebook Messenger exchange, June 5, 2020). The explanation may be too long for a caption and should probably be written as a footnote.

Pages 53-59:

I ought to express with utmost care the dynamics behind censorship as a political process during the Marcos martial-law era. When the Philippines began to acquire a higher global profile and a then-upstart studio, Regal Films, made its bid for overseas presence via Manila by Night, only someone with the right combination of motives and connections could step up and make sure that the powers-that-be develop an animosity toward the film. Why against Ishmael Bernal but not against the Cannes Film Festival celebrants, Lino Brocka and Mike de Leon? The person in question may have been connected as much with Brocka, or at least with the Philippine Educational Theater Association, as with the Marcoses. Brocka, Bernal, and de Leon may have worked for this person’s then-aging outfit, but Bernal had a celebrated falling-out over his film project. This means that reports of the behavior of this person in mediating between the conflicting sides in the censorship controversy must be subjected to intensive critical scrutiny.

I had the opportunity to observe, as an insider in the Marcos film agency, how this person opted for the program that directly handled the disbursement of funds to favored film projects. When a project she produced potentially conflicted with the output of Bernal’s associates, I heard her make the same claim to mediating between the creative team and the forces of censorship. The artists carefully demonstrated deference for someone who was after all part of the inner circle of the First Lady, but condemned her in the strongest terms for once more finding ways to advance her political and financial standing at the expense of some of the most outstanding films of the time. The Philippine critical community continues to hold this person in high esteem, mainly because of her association with a noteworthy period in film history; for this reason it may take some time before she can be named and directly denounced.

Page 56, second (parenthesized) sentence:

Bernal’s familiarity with official government communication policy derived from his working relation with another functionary, similar in terms of access to power as the two-faced censoring agent in the preceding entry, but benevolent for a change. Marita Manuel, whose tracks since the end of the Marcos dispensation have become scarce, ran Metro Manila Commission, one of many agencies that accommodated people with radical backgrounds who needed to be “rehabilitated” after a spell in political detention. By this means Marcos was able to harness talent that would have otherwise remained dormant or that would have returned to underground activities. In 1980, apparently as a means of mollifying the government, she initiated a “documentary” project titled Manila, with Bernal directing and several of the Manila by Night talents appearing. Rediscovered in 2018, the 45-minute curiosity was more of a travelogue that purported to attract foreign viewers to tour the city. See Edwin P. Sallan, “Ishmael Bernal’s ‘Lost’ Manila Docu Evokes Nostalgia,” Daily Tribune (July 8, 2018).

Page 61, end of 1st paragraph:

The out-of-court settlement between the author of the novel Sa mga Kuko ng Liwanag and the production team of the film adaptation Maynila: Sa mga Kuko ng Liwanag may have involved a demand from the novelist to delete the improvised gay-hustler sequences. The current existing product, including the Blu-ray versions released by the British Film Institute and the Criterion Collection, contains the section from Julio (Rafael Roco Jr.) wandering the Metropolitan Theater’s adjacent Mehan Garden, where he is befriended by Bobby (Jojo Abella), through his first night at Bobby’s apartment where he witnesses Bobby accommodating a client, to his initial attempt at gay-for-pay sex in the brothel where Bobby works.

We may be allowed to speculate here (based on scriptwriter Clodualdo del Mundo Jr.’s account) that Edgardo Reyes, the novelist, demanded that the entire rentboy detour be excised, while Lino Brocka held fast on retaining its opening section. The fact that a literary figure insisted on anti-queer censorship while a filmmaker immersed his material in homophobic imaging – both artists left-identified and left-supported – may be reflective of a period when perversion was regarded as immoral rather than potentially transgressive. Hence unlike Manila by Night, Maynila’s censorial difficulties were internal, waged by one progressive side against another, one outraged by the attempt “to sissify a manly novel about an ever-masculine city” (actual words used by a defender of the novelist’s claims) and the other insistent on presenting the underworld of male hustling in the worst possible light.

Page 88, Figure 18:

The “first” smorgasbord title is nominal; Sampaguita Pictures had been known for multi-performer presentations as early as the late 1950s, with Tony Cayado’s Mga Ligaw na Bulaklak [Wildflowers] (1957). A sampling of titles up to and including the year of Maraming Kulay ang Pag-ibig [Love Has Many Colors] (1966), featuring large casts in “epic” narratives: Ding M. de Jesus’s Ginang Hukom [Madame Judge] (1960); Octavio Silos’s Mga Kwela sa Eskwela [The Cool Kids of School] (1963); Tony Santos’s Pinakamalaking Takas (ng 7 Atsay) [Biggest Escape (of 7 Helpers)] (1963); Mar S. Torres’s Bathing Beauties and Mga Bata ng Lagim [Kids of Horror] (1964); Tony Cayado’s Mga Batang Iskwater [Slum Kids] and Pitong Desperada [Seven Women Bandits] (1964); Octavio Silos’s Mga Batang Bakasyonista [Vacationing Kids], Mga Batang Milyonaryo [Millionaire Kids], and Mga Batang Artista [Showbiz Kids] (1964); Conrado Conde’s Apat na Kagandahan [Four Daughters] (1965); Octavio Silos’s Mga Batang Turista [Tourist Kids] (1965); Jose de Villa’s Paano Kita Lilimutin [How Will I Forget You] (1966); and Luciano B. Carlos’s Jamboree ’66 (1966).

Closer to the multiply directed example of Maraming Kulay ang Pag-ibig would be Sweet Valentines, directed by Tony Cayado, Conrado Conde, Rosa Mia, Octavio Silos, Carlos Vander Tolosa, Jose de Villa, and Romy Villaflor (1963); and Umibig Ay Di Biro [Love Is No Joke], directed by Emmanuel H. Borlaza, Luciano Carlos, Conrado Conde, Rosa Mia, Octavio Silos, Carlos Vander Tolosa, and Romy Villaflor (1964). All were produced by Sampaguita Pictures and/or its subsidiary, VP Pictures; in the instance of Pinakamalaking Takas, Sampaguita linked up with a rival studio’s subsidiary, Dalisay Pictures. Pitong Desperada was by Ambassador Productions, but its talents and stars were all also identified with Sampaguita. In a manner of speaking, the first Ferdinand Marcos biopic that Sampaguita produced (see pp. 36-38) had the trappings of a smorgasbord production – multi-episodic and multi-directed – except where it mattered: it featured a singular (pseudo-)heroic character.

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Page 111, 1st paragraph:

Around the time I was drafting the book, Manila by Night production designer Peque Gallaga reminisced, on his own and on others’ Facebook posts, regarding his participation in the project. He expressed extreme frustration with the cinematographer’s failure to use the proper filters for the breakwater sequence. Ishmael Bernal also mentioned this as one of the scenes he wanted to trim for the print expected to be finalized for the film’s Berlinale participation – which Moritz de Hadeln overruled (see page 55).

Gallaga’s recollection of his problem went as follows: “I talked to Sergio Lobo who was the cameraman. I said, ‘For their LSD sequence what I want to do is to get those little cups for the candles and float them by fitting them in small Styropors. But is it possible if you can put Vaseline around your lens so that it will just be out-of-focus lights and it’s only the faces of Cherie and William that are going to be seen, so that all of a sudden these lights come on?’ He said ‘Yeah just paint the Styropor orange so that the lights would still be warm.’ So we bought about 200 [candles on Styropor] and on two [small outrigger boats], we lit each and every one of them and swept them with bamboo so that as the scene goes on these things start floating in. When we saw the rushes, I said, ‘Bernie, that’s shit! He didn’t defocus it in any way!’ All of a sudden they were surrounded by stupid candles and Styropors. ‘It’s ridiculous. This is really bad. We have to reshoot it!’ He said ‘No, just remember this scene will keep you humble the rest of your life’” (“Brocka-Bernal Interviews, 2018-2019,” for the exhibit Brocka, Bernal, and the City, January 24 to April 29, 2019, at the De La Salle – College of Saint Benilde’s School of Design and Arts).

Page 127, Figure 26:

Upon the prompting of a close associate of the accused comedians (one of whom had died), I reread available material on the controversy and was surprised to find that the case for reasonable doubt was strong. Pepsi Paloma advanced her accusation of rape in the media on the basis of a photograph where she was apparently being kissed against her will. The photographer, an actress who was also a ward of talent manager Rey de la Cruz, has since refused to speak on the matter, as do the surviving accused. The rape story attracted renewed attention from an extended article that was subsequently withdrawn by the Philippine newspaper that published it, after the current Philippine Senate President, who was part of the comedy team but not present during the incident, successfully contested the timeline of events claimed in the article.

I had to conclude that the rape accusation may have been one of the publicity gimmicks de la Cruz was known for. Since the softdrink beauties and the comedy trio had regular projects with Regal Films (also Manila by Night’s production outfit), and the production company severed its ties with de la Cruz and his talents, this would have indicated that the accused had enough of a strong case to demand that Regal take their side or risk a lawsuit. The circumstances behind the incident, where the alleged rapists invited the actresses to visit a room in a five-star hotel, had no indication of coercion or the use of an incapacitating agent; each side claimed that the other was enthusiastic about extending invitations to visit the room. The last few weeks before Paloma announced she was dropping her case, only de la Cruz continued to denounce the comedians. The Senate President, unfortunately, is a right-wing pro-Church bigot with the expected irrational trains of thought; the condition gives rise to less-informed liberals readily believing that he shares the same type of malevolence with his associates – which, according to people within showbiz circles, is far from true.

Page 148-49, paragraph in common:

I ought to have proposed considering Ishmael Bernal as a comic filmmaker, with Manila by Night as black comedy. The perspective would have been unthinkable for people who approach the text with advanced knowledge of its censorship troubles. The notion of laughter as subversive force, however, would have considerably explained why its persecution by the Marcos administration exceeded that of the other city movie, Lino Brocka’s Maynila: Sa mga Kuko ng Liwanag. This would also have enabled me to raise issues of masquerade and irony more logically.

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Á!


Transcript of a Mobile Phone Interview of Peque Gallaga by Monchito Nocon

The following material was provided by Monchito Nocon for the research I was conducting on the making of Ishmael Bernal’s Manila by Night (1980). On the occasion of Peque Gallaga’s demise on May 7, 2020, I requested Monchito’s permission to post the content on Ámauteurish! for its research value. Everything that follows is as he provided. To further enlarge on some of his points, I added some excerpts from interviews he gave for the Brocka, Bernal, and the City exhibit at the De La Salle – College of Saint Benilde in 2019; these appear as endnotes.

Background: In 2012, I was connected with the Film Development Council of the Philippines (FDCP), where I was in charge of the Media Desk that, among other responsibilities, published the official newsletter, with me serving as editor-writer. Prior to this in 2009, the Philippines was presented a most generous gift by the Pusan International Film Festival: a scanned copy (2K) of Manila by Night.

The FDCP was thus looking at completing Manila by Night’s full restoration, leading up to a possible premier on the big screen. It was to be a potentially big event, and I was tasked with doing a cover story on the film for the newsletter. So I immediately sent an email to Peque Gallaga, Manila’s production designer, who graciously promised to write me something posthaste.

However, as it happened, Peque was in the midst of moving house in his native Bacolod, and, in the frenzy, couldn’t find the chance to sit down and write. He offered instead to do a long-distance phone interview, which I welcomed and arranged (Figure 1).

Figure 1. Email reply from Peque Gallaga.

The following is the transcript of that interview, which I did on my own volition. As there was no way for me then to record a mobile phone conversation, I had to transcribe everything in real time, by longhand! I also took the liberty of adding headings to make it more comprehensible. Alas, I failed to save the article draft, the publication of which was eventually scrapped as the restoration project never got off the ground.

Peque gives a behind-the-scenes peek into working on Manila by Night

  • [I first worked] with Bernie in Girlfriend – it was love at first sight! We got along well and I brought with me my Bacolod team.
  • It was an ambitious project!
  • [Scriptwriter] Ricky Lee – he marked the whole year [in the film] through the feasts
  • Douglas Quijano, I, and Bernie went to all the night spots – it was an eye-opener – to pick up information.
  • All scenes were shot in Manila after midnight – at 2 a.m. – with the crowd directed [to appear as if it was earlier in the evening].
  • We recreated the vibe [of Manila].
  • We went to a masahista [massage] joint.
  • Bernie did a sit-down with the masahista – did an interview – picking up on what they do. He got into the daily minutiae.
  • She [Cherie Gil] ran the whole stretch in different takes, and covered the geography.[1]
  • They really swam in Manila Bay!
  • [Quotes Bernal in relation to a scene Peque wanted to have reshot – the one with floating candles on Manila Bay. Sergio Lobo, the DOP, failed to properly get his instructions in shooting that scene, and instead of a fuzzy, surreal scene, you could actually see the candles afloat]: “A film can never be perfect. There has to have a rough edge … a mistake … a human aspect.”[2]
  • Does that scene (referring to the above) make sense to you? Concerned with reality.
  • [Along] San Pedro etc. – William [Martinez] pours water over his head – a cleansing – a religious statement.

Peque on Manila, the city

  • It’s not the Manila that it used to be – [you now have] drugs, fringe elements. It just shows that Manila hasn’t changed – the city that hasn’t worked.

Peque on Bernal’s directing style

  • [Bernal] wanted to show reality, not a polished version.
  • He was very classical – close-ups with actors – makes them more dramatic.
  • Long shots tell the story.
  • [He would] sit down with the actors to talk with them regarding the script.
  • Don’t be afraid to ask them [the actors] the most intimate questions.
  • [He created] an intimate bond with performers – not on a boss-employee level but something more personal.[3]

Note

[1] When her character Kano starts being chased by narcotics police, she runs from Sauna Turko along Roxas Blvd. toward Rizal Park, turns right at Mabini Bridge (the side street that traverses the estero of Fort San Antonio de Abad between Bangko Sentral ng Pilipinas and Ospital ng Maynila Medical Center) and around the former Harrison Plaza, until she gets cornered and caught at the intersection of Mabini and Vito Cruz (now P. Ocampo) Streets. [Thanks to Dr. Juan Martin Magsanoc for determining the formal name of the Mabini Bridge stretch.]

[2] “I talked to Sergio Lobo who was the cameraman [for Manila by Night]. I said, ‘For their LSD sequence what I want to do is to get those little cups for the candles and float them by fitting them in small Styropors. But is it possible if you can put Vaseline around your lens so that it will just be out-of-focus lights and it’s only the faces of Cherie and William that are going to be seen, so that all of a sudden these lights come on?’ He said ‘Yeah just paint the Styropor orange so that the lights would still be warm.’ So we bought about 200 [candles on Styropor] and on two [small outrigger boats], we lit each and every one of them and swept them with bamboo so that as the scene goes on these things start floating in. When we saw the rushes, I said, ‘Bernie, that’s shit! He didn’t defocus it in any way!’ All of a sudden they were surrounded by stupid candles and Styropors. ‘It’s ridiculous. This is really bad. We have to reshoot it!’ He said ‘No, just remember this scene will keep you humble the rest of your life.’” [From “Brocka-Bernal Interviews, 2018-2019,” for the exhibit Brocka, Bernal, and the City, January 24 to April 29, 2019, at the De La Salle – College of Saint Benilde’s School of Design and Arts.]

[3] “It’s very funny. He called me up and said ‘Peqs! Listen, I’ve been talking bad about you okay, but you have to understand, I’m the old guy, you’re coming up, your movie’s beautiful, I’m jealous, and … it’s only human, OK? We’re still friends.’ And I said, ‘Okay Bernie. I haven’t heard you say anything about it.’ He answered ‘Well I’ll be quoted … but beyond all that, I love you.’ I said ‘I love you too Bernie.’

“I don’t think I saw him after that anymore. So much so that when Marilou Diaz-Abaya called me up and said, ‘We need your help, Bernie’s dead,’ I said, ‘I’m busy, I can’t make it, I have to finish something first.’ She said, ‘Come on, that’s Bernie, he’s your friend.’ I said ‘I’m sorry I can’t make it, I can’t make it,’ so she hung up [after] she told me where it was. I stayed there for a while and I said ‘That’s right, Bernie’s my friend.’ So I got in the car and went, not to the wake. His body had just been brought in [to the morgue]. Mel Chionglo was there, Marilou, one or two others. And they said, ‘Oh you’re here, you should be here, we’re his friends.’ I said ‘Yeah, what do you want me to do?’ ‘Well we’re choosing coffins now and everything we seem to choose are six figures – 300,000 [pesos], 250,000. We have to work this out, what can you do?’ I said, ‘I’ll watch his body.’ So I went and sat down and I watched them not only dress him up, but put the big needle to remove all the dead blood, wash him, et cetera. I just stayed there until everything was done and they dressed him up and I remember combing his hair. That’s the last time I saw Bernie.” [From “Brocka-Bernal Interviews, 2018-2019,” for the exhibit Brocka, Bernal, and the City, January 24 to April 29, 2019, at the De La Salle – College of Saint Benilde’s School of Design and Arts.]

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