Category Archives: Book

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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Á!


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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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.

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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.

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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.

K

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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M

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.

N

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).

O

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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Q

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.

R

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).

S

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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T

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!


Authoring Auteurs: A Bibliographical Essay

Note: This article makes extensive reference to the “Comprehensive Pinas Film Biblio,” listed by author(s), that I posted in two versions. To find any title in the bibliography via its alphabetical arrangement, please click here, and to inspect the categories I used as well as the titles within them, please click here. To jump beyond the introduction, click here for: Methodology; Beginnings; Initial Attempts; Potentials; and Notes.

Click on pic to enlarge. Exact totals may have shifted since the date of posting
(updated to June 2020).

This pair of graphs will be as good a place to start as any. They don’t purport to depict the entire range of books written on Philippine cinema, although as far as I can surmise, they’re as exhaustive as I’ve been able to get so far. I started working on my list, in earnest, over a year ago, although I always had a “comprehensive bibliography” to-do folder on my desktop a few months since I launched Amauteurish! over five years ago. I imagine some pre-2020 titles might be added here and there, and even fewer titles may be deleted.[1]

In my announcement of the project on Facebook, I mentioned that I wrote about Philippine film books a few decades ago, and didn’t need more than a few pages to list everything available then.[2] As it turned out, a few more titles with aspects of Pinas film production as their coverage were printed before the generally acknowledged “first” Filipino film book, Vicente Salumbides’s self-published Motion Pictures in the Philippines, came out in 1952. The Salumbides text continues to stake a qualified claim nevertheless, since it was the country’s first non-institutional film book, although its subjective and self-lionizing perspective didn’t impel me to take better care of the photocopy I made of the now-rare original.

Why two graphs when only one history’s being described? The answer lies in the unusual abundance that crowds the upper graph’s right side. For a more logical starting point, I focused on the portion containing the film-propelled – and film-supportive – presidency of Ferdinand E. Marcos: just as his pre-martial law regime marked the peak period of Philippine film production, including three years (1965, 1970, and 1971) when local output exceeded 200, his martial-law dictatorship (1972-81 though actually extending to 1986) also appeared to coincide with an increasingly active production of books on Philippine cinema, from one or nothing in the beginning to over twenty in the last several years.[3]

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Methodology

My personal collection formed a core of references that I used every so often in the articles I wrote, so the list actually began as a more in-depth annotated bibliography I drew up in fulfillment of a special projects class I took under my dissertation adviser, Robert Sklar. He had planned to incorporate some data in a future update of Film: An International History of the Medium (New York: Harry N. Abrams, 1993). As I narrated in my introduction to the 2014 digital edition of Wages of Cinema: Film in Philippine Perspective, my soft copy of the file was irretrievably lost because of a highly unstable system of digital storage, coupled with my usual carelessness. A far more immeasurable loss, and not just for me, was Professor Sklar’s death from an accident in 2011.

The e-book format enabled me to collect (and, more important, lug around) far more books than I could physically carry in their dead-tree editions. So it would be small exaggeration, at most, to say that I literally held (or beheld) more than half of these texts. I managed to cull a number that were initially unfamiliar to me, although they showed up in one of several online catalogues, and subjected as many as I could to actual confirmations – with their authors, whenever possible, or with researchers or collectors. I also managed to acquire or confirm basic publication details in the same way, with file photos of title and copyright pages.[4]

I devised an admittedly subjective list of categories that I later carefully uploaded to Excel spreadsheets, to be able to watch out for questionable entries and, in one case, determine when the most active publisher, Anvil, moved from one city to another. With two chronological sortings, one for the entire bibliography in general and another for books within each category, I managed to come up with the graphs I mentioned (using the former) and a list of firsts (using the latter). The trickiest qualifier I must disclose is that several titles, foreign as well as local, are not primarily film-specialized, or even film-oriented.

I made a separate list comprising film books as strictly defined, but the more recent publications successfully challenged the assumptions behind such a purist approach: not only because screen cultural studies is definitionally interdisciplinary, but also because authors from other countries and specializations find no problem in interweaving Philippine cinema in their narratives and analyses of nation, culture, and language. Hence I capitulated to the more pleasant (because easier) option of counting each entry as one, regardless of whether it was entirely on cinema, with or without full emphasis on the Philippines.

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First of the Firsts

I already mentioned Vicente Salumbides’s book as still-qualifiably the first Filipino film book. Prior to his publication, what we have is a fascinating array of colonial material – American and, at one point, Japanese. The US publications focus on the industry and its relation to government policy as well as on profit-generation, while the Japanese film book (by Abe Yutaka and Hitō Hankengun) more impressively looks into a singular government production, Abe Yutaka and Gerardo de Leon’s Dawn of Freedom (Eiga Haikyūsha & Toho, 1944). When regarded as colonial models for scholarship, it would be possible to say, discomfortingly for those with even a passing acquaintance of our foreign colonizers, that the US film books in the Philippines set a frankly deplorable and persistent orientation premised on moral anxiety – a continuation of a prefilmic Hispanic tradition, actually – while the Japanese book hewed closer to the tenets of aesthetic film appreciation, notwithstanding the propagandistic intent of the film it covered.

Salumbides’s book should have been followed by similar (and better) texts, but something about its period of emergence – the First Golden Age of roughly the 1950s – was inconducive to such a trend. (Unfortunately, I must give over any further interpretive prerogative here to scholars of Cold War culture. Too many cats to skin, or horses to shoe, or cakes to bake.) It remained then for the country’s self-styled counterfeit messiah and his former aspiring-starlet of a First Lady to provide the impetus for film-book publications. Fortunately, culture was the only area where they were most benign, or least rapacious, and film provided a high-profile means of displaying the democratic values they claimed to uphold.

The first formal film study in book form appeared as a chapter by critic-filmmaker T.D. Agcaoili, endorsing New Criticism, in a textbook co-edited by Gloria D. Feliciano, founding Dean of the then-Institute (now College) of Mass Communication in the national university. Like Agcaoili, none of the Nouvelle Vague-styled aspiring filmmakers who emerged right afterward to write for the Manila Chronicle, comprising Ishmael Bernal, Nestor U. Torre, and Behn Cervantes, had their own book publications, unless we count Torre’s monograph on history for the Cultural Center of the Philippines’s Tuklas Sining [Art Discovery] series as well as Bernal’s planned autobiography, Pro Bernal Anti Bio, passed on to Jorge Arago and completed by Angela Stuart Santiago.

With the declaration of martial law in 1972, one name appears and marks the rest of film-book publication in the Philippines thereafter. For three successive years, a book bore her name, starting with Jose Martinez Reyes’s Nora Aunor: Tagumpay sa Bawat Awit [Triumph in Every Song] during the final pre-martial law year, followed by Rustum G. Quinton’s Ang Tunay na Kasaysayan ni Nora Aunor, Superstar [The True Story of Nora Aunor, Superstar] in 1972, and culminating with Herbert L. Vego’s Getting to Know Nora. With primarily political texts by Guillermo de Vega, Simeon G. del Rosario, and Primitivo Mijares intervening, Aunor figured once again in a series of books by Nick Joaquin (writing as Quijano de Manila), who headlined, as it were, each book with a star interview as its main attraction. Despite spotlighting the youngest entrant (Joaquin’s other books featured Amalia Fuentes, Gloria Diaz, Joseph Estrada, and Fernando “Ronnie” Poe Jr.), Nora Aunor and Other Profiles became the bestselling entry and most prized collectible of the series – a vindication for Joaquin, who once narrated that he was cajoled by his colleagues for opting to write on a bakya or masscult figure.[5]

The abidance of what we may call the Aunor effect continued through the years, and when it might end may be impossible to determine. The first multi-volume non-anthological film book was a biography of hers, written by Baby K. Jimenez. The first auteurial anthologies dealt with a producer (Monina Mercado’s, on Narcisa B. de Leon) and a director (Mario A. Hernando’s, on Lino Brocka) – both of whom, incidentally, were gone by the time the books appeared – but the first anthology on a Filipino performer was Nestor de Guzman’s Si Nora sa mga Noranians [Nora to the Noranians].

Only filmmakers, led by Brocka, Ishmael Bernal, and Kidlat Tahimik, have otherwise showed up in scholarly book collections overseas, with Nora Aunor nearly the only actor mentioned by name; in one instance, a study of Sharon Cuneta by Bliss Cua Lim (in Andrea Bandhauer and Michelle Royer’s Stars in World Cinema), the article is titled “Sharon’s Noranian Turn” – an indication of Aunor’s iconic stature. The first special journal issue (which I edited, for Kritika Kultura’s August 2015 issue) to focus on Philippine stardom was titled On Nora Aunor and the Philippine Star System. A tell-all memoir by Ricardo Lee is in the works, and several other scholars have signaled their intention to provide further book-length entries to the Noraniana Collection (incidentally the name as well of the special section in the Iriga Public Library that features available media materials on Aunor, as well as a Facebook page of de Guzman’s, fully titled the Noraniana Collection Project, that provides information and updates on said materials).

The larger consequence of the Aunor effect is that more books on Filipino film auteurs – almost 80, as of the current count – have been published than in any other category; this includes a number of Who’s Who-styled collections, of which a number that only incidentally feature showbiz personalities might still show up sooner or later.[6] Histories (in the arrangement I provided) follow quite some distance behind, while screenplays managed to catch up only after I included teleplays, novelizations, and behind-the-scenes accounts. I found I also needed to combine books on screen cultural studies and political economy, as well as personal anthologies of reviews and criticism, in order to have totals in each category that did not depart too excessively one from another.

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The Other Firsts

The same year, 1983, that Baby K. Jimenez’s two-volume Ang True Story ni Guy [The True Story of Guy] came out, two anthologies of reviews and criticism were published. The first, Readings in Philippine Cinema (ed. Rafael Ma. Guerrero), deserves to have a longer-lasting impact because of the scholarly usefulness of its selections; the second, The Urian Anthology 1970-1979 (ed. Nicanor G. Tiongson), has become better-known mainly because the critics’ group behind it continued to spew out decadal installments. (Personal disclosure: I was a member of the organization and appeared in some of the later volumes long after I left the group.) The Aunor effect was palpable even in the non-biographical texts: she was the first Best Actress awardee in the critics’ annual awards, and was featured in the only celebrity article, “Cinderella Superstar,” written by National Artist for Literature Virgilio S. Almario (a.k.a. Rio Alma) and anthologized in the Guerrero collection.[7]

The obvious gap left to fill would be for a singular-author anthology – which came out the next year, in Isagani R. Cruz’s Movie Times. Several other authors (including the present one) followed suit, and even writers creating or compiling materials in other areas made sure to include a chapter, if not a section, on cinema. With the banishment of the Marcoses, a new sociological trend, premised on qualitative analysis and engagement with poststructuralist theory, began to make its presence felt. Many of the personal anthologies acknowledged this swing in film studies, although the first volume dedicated entirely to the approach was a slim and now-rare collection published by the Cultural Center of the Philippines, titled Unang Pagtingin sa Pelikulang Bakbakan: Tatlong Sanaysay [A First Glance at the Action Film: Three Essays] and written by Zeus A. Salazar, Agustin Sotto, and Prospero Reyes Covar.

As for the first history text, again Salumbides’s Motion Pictures in the Philippines may be regarded as an initial book-length attempt, enriched and expanded by several article-length accounts in various collections. A number of specialized histories preceded the first general one, Bienvenido Lumbera’s Pelikula: An Essay on the Philippine Film (1989): a problematic defense of martial-law censorship policies in Film and Freedom (1975) by Guillermo de Vega, Ferdinand E. Marcos’s mysteriously assassinated presidential assistant; Joe Quirino’s projected (though not completed) three-volume History of the Philippine Cinema series opener, Don Jose [Nepomuceno] and the Early Philippine Cinema (1983); and Nick Deocampo’s Short Film: Emergence of a New Philippine Cinema (1985).

The first screenplay published in book form was actually a back-to-back edition of Ricky [as Ricardo] Lee’s Brutal/Salome (1981), featuring Marilou Diaz-Abaya’s 1980 film and Laurice Guillen’s 1981 entry respectively (personal disclosure: I was a member of Cine Gang, the outfit that published the text). As in the case of Nora Aunor, the succeeding screenplays published during the decade were also by Lee: Moral (1982), Bukas … May Pangarap [Tomorrow … There’s a Dream] (1984), and Himala [Miracle] (1982) in Si Tatang at mga Himala ng Ating Panahon [Old Man and the Miracles of Our Time] (1988), with only Bienvenido M. Noriega Jr.’s Soltero [Bachelor] managing to intervene in 1985. Surprisingly, the first novelization – of Romy V. Suzara’s Mga Uod at Rosas [Caterpillars and Roses] (1982) – came out after the millennium; not surprisingly, it was by the film’s scriptwriter, Edgardo M. Reyes, whose other novels served as bases for a number of film adaptations.[8] The WWII-era’s only singular film book (by Abe Yutaka and Hitō Hankengun, mentioned earlier) was succeeded by a still, strictly speaking, non-Filipino behind-the-scenes account, of Gene Cajayon’s The Debut (2000), written by Cajayon, John Manal Castro, and Dawn Bohulano Mabalon.

Book chapters on, or descriptions of, Philippine cinema began appearing in foreign-published volumes on Third World (later Third) film and media, from the late 1970s onward, with Fredric Jameson’s controversial lionization of Kidlat Tahimik’s Mababangong Bangungot [Perfumed Nightmare] (1977), in The Geopolitical Aesthetic (1992), considered one of the early high points. The first foreign-published books on the national cinema were about the Marcoses’ involvement in film activities, both of which were part of the anti-dictatorship movement’s output: Primitivo Mijares’s The Conjugal Dictatorship of Ferdinand and Imelda Marcos (1976), with its sensational “The Loves of Marcos” chapter detailing the President’s supposedly multiple dalliances with movie stars and celebrities; and Hermie Rotea’s Marcos’ Lovey Dovie (1983), on the steamy romance between Macoy and Dovie Beams, the American starlet he handpicked to play the woman he loved in Jerr Hopper’s Maharlika (1970), his self-alleged heroic exploits during World War II that were subsequently repudiated by his own US Army superiors. Mijares shortly disappeared under suspicious circumstances, and his teenage son’s corpse was dropped from a plane in a badly mutilated condition.

The first Philippine film book not published in Manila was Stars in the Raw (1982) by Jessie B. Garcia, the same author who wrote “The Golden Decade of Philippine Movies” (1972, reprinted in Rafael Ma. Guerrero’s aforementioned Readings on Philippine Cinema) – the article that first recognized a local Golden Age, in this case the studio-controlled system from after WWII to the 1950s. The book was published in Bacolod, as was his unauthorized Vilma Santos bio Queen Vi (1984), while another book, on tragic sex-film star Claudia Zobel, came out the same year in Iloilo City.[9] Nick Deocampo’s Short Film (1985) was the first non-script film book translated into another language (by Mark Garner and Matxalen Goiria into Spanish), as El Cortometraje (1986).

In the 1990s, two “official” reference materials on Pinas cinema were edited by Nicanor G. Tiongson, then the Director of the Cultural Center of the Philippines: Tuklas Sining [Art Discovery]: Essays on the Philippine Arts (1991) had a chapter by Bienvenido Lumbera titled “Philippine Film” that was in the main a historical summary; while the CCP Encyclopedia of Philippine Art (1994) had a volume, Philippine Film, that was later updated (as simply Film) in the encyclopedia’s second edition, published in 2017. Like the same editor’s Urian Anthology decadal series by the Filipino Film Critics Circle, these publications were bulky, glossy, and extremely expensive even by middle-class standards.

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Quo Vadis

The ubiquity of internet media initially lulled me into thinking that a bibliographic project, even semi-annotated like the one I completed, may no longer be necessary, much less convenient. The constant emergence of new information would be relentless, and the preponderance of false data could prove frustrating to everyone but the most dedicated researchers. Nevertheless, after taking out bibliographical material that I thought were either unwieldy (theses or dissertations) or unnecessary (martial law-era bulletins), I imagined I had a sufficiently manageable list – only to see it growing way beyond the original size I tried cutting down in the first place.

The most active film-book publisher in the country has been Anvil Publishing, which started in 1990 (with The National Pastime, also my first book) and amassed a total of 36 titles, or 43 if we include the earlier National Book Store publications. The university presses come next – the University of the Philippines’s with 31 books, Ateneo de Manila University’s with 16, and the University of Santo Tomas’s with 10. The Cultural Center of the Philippines a.k.a. Sentrong Pangkultura ng Pilipinas had about a dozen, but the title of “most active” can be claimed only by the newly established publishing arms of two studios: Viva Films’ VRJ Books came up with 15 volumes in 2016-19, or nearly four film books per year, while ABS-CBN Publishing had 18-plus books in 2015-19, or about three per year. This would be logical when we consider that both outfits are dedicated to entertainment titles, but it also leads us down another pathway: books that resulted from social-network postings, inasmuch as these sources not only allow drafts to be reviewed (by peers and trolls alike), corrected, and compiled, but also to generate public interest prior to publication.[10]

A so-far final new-media mark is to have books exist exclusively online. At this time, people buy them less and less from on-site stores and book fairs, and increasingly from internet sellers. Younger readers have become resourceful enough to seek out soft copies in a gray area where copyright claimants have become too negligent, or greedy, or both, thereby forfeiting their moral claim to prosecute people who make their products available to less-privileged citizens all over the web. Amauteurish! (pardon the promo) seeks to make as many titles as possible available for free or at minimal cost, while Shonenbat Collective on Facebook provides distribution for a so-far small number of books. These and forthcoming future initiatives have preempted government and academic resources from taking charge of on-the-ground book development, and deserve to prevail for as long as netizens find purchase in discursive activities outside of institutional interferences.

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Notes

[1] The types of books that I took out appear in the bibliography’s landing page. Later exclusions included Bela Padilla’s 100 Tula ni Bela [100 Poems of Bela] (Pasig City: VRJ Books, 2017), since it was a literary entry that was not a novelization, screenplay, or memoir, premised on the film titled 100 Tula Para Kay Stella [100 Poems for Stella], dir. Jason Paul Laxamana (Viva Films, 2017), that the author had starred in; and Gemma Cruz Araneta’s 50 Years in Hollywood: The USA Conquers the Philippines (Quezon City: Gemma Cruz Araneta, 2019), which was essentially a history text whose title intended to draw attention to an expression that the author attributed to her mother, Carmen Guerrero-Nakpil. Stanley Karnow’s description in his book, In Our Image: America’s Empire in the Philippines (New York: Ballantine, 1989), of the Philippines spending “three centuries in a Catholic convent and fifty years in Hollywood” (Chapter 1), has become the most well-known appropriation. An exception I had to include was Queen Elly’s Vince & Kath series, described in endnote 10.

[2] In “Film Book Publishing,” Philippines Communication Journal 3 (June 1987): 76-79. One final category that could constitute a bibliography all its own would be the sources, acknowledged or otherwise, of material used in Philippine film projects. (When the films themselves become the source, as in novelizations or published scripts, they’re included in the listing I made.) Anyone who came of age during the Second Golden Age would understand my reticence: the wider critical community, led mainly by literary scholars, became obsessed over the issue of originality, wrongheadedly regarding it as a form of anticolonial resistance. Local film critics were unfortunately – and (I must add) irresponsibly – unaware of the Cinema Novo movement, as explicated in Robert Stam and Ismail Xavier’s “Transformations of National Allegory: Brazilian Cinema from Dictatorship to Redemocratization” (reprinted in Robert Sklar and Charles Musser’s 1990 collection Resisting Images: Essays on Cinema and History). Of particular relevance here is the movement’s valuation of the symbolic function of anthropophagy, where pop-cultural cannibalism (or the local reappropriation of First World exports) is considered a worthy means of educating the audience about the artificiality of material from colonial centers, as well as of replicating the First World’s exploitation of its colonies from the vantage point of the dispossessed. The concept, for those who wish to delve further, is related to and overlaps with the carnivalesque, an even more prominent quality of Brazilian cinema.

[3] For the rate of total local film production, see the “Annual Filipino Film Production Chart,” covering 1919 to 2015, that I posted on this blog. I may have to add here that I have opted for a more liberal definition of what constitutes a book beyond the standard prescription of the United Nations Educational, Scientific and Cultural Organization of “a non-periodical printed publication of at least 49 pages, exclusive of the cover pages, published in the country and made available to the public” (“Recommendation Concerning the International Standardization of Statistics Relating to Book Production and Periodicals,” adopted during the 1964 General Conference in Paris; italics mine). Typical of several university press series, a non-periodical monograph or collection shorter than 49 inside pages, which presents basic identity markers overtly or implicitly (such as title, author[s], editor[s], publisher[s], copyright claim, and year of publication), ought to suffice in the Philippine context.

[4] A year-long full-time stint, equivalent to a graduate-level internship, where I assisted the editor of the Modern Language Association Bibliography, made me familiar with the basic elements required in bibliographic listings. (Vital missing element in my own sets: total number of pages of body text and preliminaries – generally overlooked in most other biblio lists as well.) The MLA office was just around the block from the Tisch School of the Arts, which would have made it ideal save for the fact that since my coursework was complete by then, I didn’t have any use for its proximity to school. The organization’s political intramurals would be another story altogether, deserving of its own fuller account. For a useful summary of the concept of otraslevaia bibliografiia or the special (or subject) bibliography, as explicated in Soviet-era practice, see the translated entry from The Great Soviet Encyclopedia (3rd edition, 1970-1979), titled “Special Bibliography.”

[5] Click here for the headline article in Nick Joaquin’s bestseller. The term “bakya crowd” was coined by director Lamberto V. Avellana to explain why his quality productions did not make money. Supposedly the members of the audience, who were unsophisticated enough to wear noisy bakya or wooden shoes in movie houses, did not have the capacity to appreciate his works. To refute his argument, Jose F. Lacaba wrote “Notes on Bakya: Being an Apologia of Sorts for Filipino Masscult” for the January 31, 1970 issue of the Philippines Free Press, as well as “Movies, Critics, and the Bakya Crowd” for the March 1979 issue of the Art Association of the Philippines Liham [Letter] – both reprinted in his blog Ka Pete (click here for the former and here for the latter). In response, Avellana claimed in his last interview that he was misunderstood – that he intended the term as an endearment, not an insult (Ernie A. de Pedro, “Portrait of a Director: Lamberto Avellana,” Filipino Film Review, vol. 2, no. 1, January-March 1985, pp. 22-27).

[6] Other artists who have written their own overt autobiographical accounts are Daisy H. Avellana, Mark Bautista, Rustica Carpio, Celso Ad. Castillo, Wenn V. Deramas, Jerry B. Gracio, J. Eddie Infante, Maine Mendoza, Pilar Pilapil, Armida Siguion-Reyna, and Jake Zyrus. Film artists who have been written about in book form include, aside from Lino Brocka and Narcisa B. de Leon, Lamberto V. Avellana (by Simon Godfrey Rodriguez, Nina Macaraig-Gamboa, and Wylzter Gutierrez), Gabby Concepcion (by George Vail Kabristante), Manuel Conde (by Nicanor G. Tiongson), Carmen de la Rosa (by Manuel B. Fernandez and Ronald K. Constantino), Dolphy (by Bibeth Orteza), Mona Lisa (by Celine Beatrice Fabie), Robin Padilla (by Deo J. Fajardo), Piolo Pascual (by David Fabros), Fernando Poe Jr. (by Alfonso B. Deza), and Vicente Salumbides (by Boy Villasanta, in addition to Salumbides’s own first-person text), plus the recently terminated love team of Nadine Lustre and James Reid, a.k.a. Team Real (by Christianne Dizon). More biographical accounts are discussed in endnote 9.

[7] Pointed out in a Facebook comment (January 28, 2020) by the same Aunor scholar, Nestor de Guzman, mentioned earlier. I am indebted to this same person for the details of publication (unavailable in standard bibliographic sources, online or in the real world) of several Aunor volumes in this bibliography.

[8] Emphasizing this in an endnote rather in the body text, so as not to sound too insistent: close observers would have noticed by this point that the Aunor effect had already occurred twice. She was the star of Himala [Miracle] and Mga Uod at Rosas [Caterpillars and Roses] (both 1982 films). The Ricky Lee anthology where Himala first appeared was his first book to be reprinted, in 2009; further to that, Lee also republished his script in an exemplary behind-the-scenes volume, Sa Puso ng Himala [In the Heart of Miracle] in 2012.

[9] In relation to endnote 6, special mention may be made here of two cases: the cited book on Vilma Santos, Queen Vi, by Jessie B. Garcia, that was pulled from circulation for allegedly disparaging her parents; and possibly the most innovative semi-autobiography ever published in the country, titled Pro Bernal Anti Bio, initiated by Ishmael Bernal, passed on to Jorge Arago, and completed by Angela Stuart Santiago. Bernardo Bernardo announced he was at work on a memoir before he passed away in 2018; titled Myth Pa Po Ako! [I’m Still a Myth!], it is projected to be available in 2021 (confirmed by its project manager, Noel Ferrer, via an August 4, 2020, message on Facebook Messenger). Finally, although Brocka is the most cited filmmaking auteur in the bibliography, Aunor not only preceded him, but also exceeds him by a definitive margin.

[10] As of this moment, I am unaware of any other attempts at creating books compiled from social network posts except for Richard Bolisay’s Break It to Me Gently (2019) as well as (partially) Ishmael Bernal, Jorge Arago, and Angela Stuart Santiago’s Pro Bernal, Anti Bio (2017). Millennial Traversals, the digital book I uploaded in 2015, is an unusual case in that it was reprinted in the University of Santo Tomas journal UNITAS’s May 2015 and May 2016 issues, which in turn were reprinted in 2019 as a back-to-back book edition by Amauteurish Publishing. Another trend in the direction of film production is typified by the Vince & Kath series by Queen Elly, originating as fictionalized Facebook exchanges (labeled a “textserye” and later a “social serye”) among its characters, compiled and published in 2016 as a digital volume by ABS-CBN Publishing, and turned into a film, Theodore Boborol’s Vince & Kath & James (Star Cinema, 2016); the book was then followed by six sequels with individual subtitles: Books 2-5, also titled Vince & Kath, were subtitled Remember, Promise, Walang Titibag [None Can Destroy], and Cheer and Var (Vince and Kath’s nicknames), respectively; Books 6-7, titled Vince & Kath & James, were subtitled The Reunion and The Finale, respectively, but it was Books 5 & 6 that were developed in conjunction with the film (from an email reply dated April 1, 2020, by Roumella Nina L. Monge). For this reason I included the series in the bibliography (see Screenplays, Teleplays, Novelizations, Accounts section).

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Entries in the 2 Editions of the CCP Encyclopedia of Philippine Art

The second edition 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, ISBN 978-971-8546-70-3), is a noteworthy improvement over the first – except, again, for the exorbitant selling price. Now comprising 12 volumes, including two for literature, it however overlooked several books on film, an area which has been booming way before the millennium and shows no sign of letting up. (Just in time then for my uploading in Ámauteurish! of a fairly comprehensive bibliography on Philippine cinema.) I had the same contributions in Film (Volume 6, ISBN 978-971-8546-63-5) for this edition, plus an additional one in Theater (Volume 9, ISBN 978-971-8546-63-6). Special thanks to Maricor E. Jesalva, Cultural Attaché, for making available for scanning the set owned by the Embassy of the Republic of the Philippines in Seoul, Korea.

These entries are listed below, starting with a file of the preliminaries of the Film volume, including (for good measure) the page where I’m featured, and ending with General Sources, listing the materials I had written. The same warning I sounded regarding my entries in the first edition still applies: these articles had been co-written, relied on dated auteurist perspectives, and were occasionally outright erroneous. Scanned PDF copies, in order of pagination:

Preliminaries (Vol. 6, Film: cover, frontispiece, title, copyright, staff, contents), to page xv;
• “Aksiyon” (with Lynn Pareja, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Mesandel Arguelles), 112-13;
• “Animation” (with Lynn Pareja, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Michael Kho Lim), 114-17;
• “Horror” (with Lynn Pareja, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Erika Carreon), 134-35;
• “Komedi” (with Lynn Pareja, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Mesandel Arguelles), 136-38;
• “Musical” (with Lynn Pareja & Nicanor G. Tiongson, with notes from Pio de Castro III & Bienvenido Lumbera; updated by Johann Vladimir J. Espiritu), 139-40;
• “Acting in Film” (with Justino Dormiendo, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Johann Vladimir J. Espiritu), 146-47;
• “Cinematography” (with Nick Cruz, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Elvin Valerio and Clodualdo del Mundo Jr.), 161-64;
• “Distribution in Film” (with Rosalie Matilac, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Albert Almendralejo), 179-82;
• “Producing for Film” (with Nick Cruz & Rosalie Matilac, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Jose Javier Reyes, with notes from Johann Vladimir J. Espiritu), 196-99;
• “Sound Recording in Film” (with Nick Cruz, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Rica Arevalo), 210-11;
• “Training and Education for Film” (with Lynn Pareja, with notes from Pio de Castro III, Bienvenido Lumbera, & Nicanor G. Tiongson; updated by Johann Vladimir J. Espiritu), 213-14;
• “Studies” with entries on Isagani R. Cruz’s Movie Times (1984), 386, and Emmanuel A. Reyes’s Notes on Philippine Cinema (1989) and Rafael Ma. Guerrero’s edited volume Readings in Philippine Cinema (1982), 388, plus an entry covering my first three books – The National Pastime: Contemporary Philippine Cinema (1990), Fields of Vision: Critical Applications in Recent Philippine Cinema (1995), and Wages of Cinema: Film in Philippine Perspective (1998) – by Eileen Ang, 386-87;
• “David, Joel” (by Rosalinda Galang, updated by Elmer L. Gatchalian), 427;
• “General Sources,” 566-67; and
• “Velasco, Johven” (Vol. 9, Theater, including cover; updated from Bonifacio P. Ilagan’s text), 796.

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For those interested in looking further (or going further back), the following are my entries in the first edition of the CCP Encyclopedia of Philippine Art, ed. Nicanor G. Tiongson (Manila: Cultural Center of the Philippines, 1994, ISBN 971-8546-23-5). Scanned PDF copies, in order of pagination, from Philippine Film, Volume 8 (of 10 volumes, ISBN 971-8546-31-6):

• “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;
• “Studies and Training” (with Lynn Pareja), 136-37.

Finally, a batch of material I forgot about and recently rediscovered from the same encyclopedia edition’s Volume 9, titled Philippine Literature (ISBN 971-8546-32-4). Most were written by me, but I included the entries on my first book as well as on me as author, plus a film-book entry (Bien Lumbera’s) that I did not write:

• Isagani R. Cruz’s Movie Times, 473;
• Joel David’s The National Pastime, 474;
• Emmanuel A. Reyes’s Notes on Philippine Cinema, 475;
• Rafael Ma. Guerrero’s (as ed.) Readings in Philippine Cinema, 484-85;
• Bienvenido Lumbera’s Revaluation: Essays on Philippine Literature, Cinema and Popular Culture (entry written by M.T. Wright), 485-86;
• Nicanor G. Tiongson’s (as ed.) The Urian Anthology 1970-1979, 495; and
David, Joel (entry written by Rosalinda Galang), 575.

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Á!


Manila by Night: A Queer Film Classic

Please click on image for enlargement.
To order from the publisher, please click here.
To access the corrigenda & problematics, please click here.

From the INTRODUCTION (pp. 17-24):

As soon as I started the professional life that I had yet to fully chart, Manila by Night was ready to mark my steps. I had just completed the first of two bachelors degrees  at the University of the Philippines (declared the national university in 2008), but my preparation for a career in journalism did not work out as I (and my circles of friends) thought it would. The anti-dictatorship movement I had participated in prescribed a brand of Marxism that I later learned went by a few names, with “orthodox” being the less-offensive term. I decided to distance myself from the political and economic analyses on which I’d built my name as a campus journalist, and focused on cultural reporting. My internships also alerted me to the existence of values that I knew I could never take seriously – the cultivation of sources (the more exclusive or exceptional, the better), for example, and the drive to out-scoop everyone else. I decided to give freelancing a shot, and when I couldn’t shape a sufficiently interesting story out of a cultural (usually film) event, I’d turn in a review instead.

By late 1979, I’d made enough of a buzz to be invited to the award-giving film critics circle. I also heard of a movie about Manila nightlife – which I’d been discovering on my own as a restless, hyperactive insomniac. When I was invited to a preview of Manila by Night, I was stunned to discover a lot of the personalities, locales, and lingo that I’d familiarized myself with since college. It was like I didn’t have to wait until nightfall any longer: I could just step into the screen, and that would be the city I had come to know. It wasn’t a pretty sight, but it was electric, erotic, vulgar, violent, dangerous, and loving, all in ways that the US-supported and Catholic Church-sanctioned dictatorship of Ferdinand E. Marcos would find embarrassing, if not outright immoral. It was too good to be untrue, so to speak, so I resolved to watch it as often as I could in case the regime decided to destroy all existing copies and consign the film to oblivion.

Which nearly came to pass. Before I could arrange to watch another preview, news came out that the movie had been banned by the then-militarized Board of Censors for Motion Pictures, a body that had tussled with Manila by Night director-writer Ishmael Bernal a few times already for too-earthy sex scenes in his previous films. “No worries,” said those in charge of the film, since the movie would be making its debut in an international venue anyway, having just been personally selected by Moritz de Hadeln to compete at the Berlin International Film Festival. Bernal, whom I’d met as a critics circle member, provided me with cassette tapes on which a playback of the audio track was recorded, with instructions to transcribe the dialog and provide a literal translation to be used as a guide by the German subtitler. The tapes were low-end, obviously second-hand, and I had to return them right after using them; if I’d known they would be the source of the only available “integral” version of the film, I would have asked for a better recording. A “where-are-they-now” epilogue was also hastily assembled by the producers for the Berlinale screening, to mollify the censors by making the claim that the intransigent characters were punished while the rest became upright citizens worthy of Ferdinand Marcos’s “New Society.”

After I turned in my work, a grapevine report circulated in film circles, about Imelda Marcos, with her typical flair for the dramatic, watching the movie and breaking down afterward. Everyone’s worst fear was confirmed: the movie would remain in limbo until the First Lady could be persuaded otherwise. I requested the copy of the transcription I made from Bernal so it could be printed, “uncensored,” in the March 1981 issue of The Review, a now-defunct monthly periodical in which I wrote and occasionally edited special issues. In November 1980, a few months before the script came out, the movie itself was approved for local release, with a four-page censors’ permit – the longest that had ever accompanied a Philippine screening. Since all mention of “Manila” (dubbed “City of Man” by the increasingly unstable Imelda) was disallowed, the movie’s title was changed to City after Dark.

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The deliberation session for the critics’ annual awards was understandably turbulent. Along with a few other members, I insisted that any recognition given to City after Dark would be tantamount to validating what the censors had done. This resulted in a surprising inconsistency in the awards results, including a win for Best Picture but a loss for Best Director (one senior member mentioned that Bernal deserved to be “taught a lesson” regarding the lack of surface polish in his work). The logic was certainly bizarre – if the mangled version of the film deserved to win, then its strength derived primarily from its directorial virtues. From this point onward I began to question the Hollywoodian logic behind the critics’ awards activities, and have since sworn to premise my critical output on the assumption that, among other things, their earlier methods of multiple screenings and intensive deliberations may be useful, but their divisive, formalist, and canonical social-realist approach to award-giving deserved nothing but condemnation, if not contempt.

Meanwhile, the publicity team behind Manila by Night continued to conduct previews of the uncensored version – and I continued to attend as many of them as I could. I’d seen Robert Altman’s Nashville (1975), Bernal’s takeoff text, during its week-long run in Manila, and began paying close attention to attempts by other filmmakers, as well as by Bernal himself, to replicate this specific approach to the multiple-character film narrative. Despite the trauma experienced by Manila by Night, the multicharacter film format succeeded so well that it became a recognizable and distinct genre in Philippine film practice, with filmmakers (and a few critics) describing its samples as “milieu movies” and producers as well as talent managers introducing new faces in batches meant to appear as equal lead performers in as many film projects as they could sustain.

A few years later, the anti-dictatorship movement began to pose a serious challenge to Ferdinand Marcos’s presidency. I was working at the Experimental Cinema of the Philippines (ECP), the government film agency, and was surprised by the ease by which I was able to circulate a request to screen Manila by Night (not City after Dark) and process the paperwork for its release. The agency also assigned me to complete the then newly introduced undergraduate film program at the national university. Even before the people-power uprising of February 1986, the ECP was dissolved, but my new degree enabled me to start teaching as an instructor, and eventually helped me wangle a Fulbright grant for graduate studies in the US. My doctoral dissertation dealt, predictably enough, with the multicharacter film format.

During my last trip to Manila, I had an informal discussion with Bernal (a mini-interview of sorts), and managed to extract from him a promise to sit for an interview for my dissertation on multicharacter cinema. I told him I’d be drafting a set of questions and would send them to him before my next trip home. While I was away, he passed away from cerebral aneurysm, joining the legendary realm where Manila by Night continues to flourish. I decided to forgo all trips outside the US until I had completed my dissertation. My residency deadline was looming, and I was hastily drafting my manuscript on September 11, 2001, when my parents called to ask if everything was all right. The first tower crashed right after I turned on the television, and from that point on I knew that returning to the Philippines might not be the best option, but it was the only definite line of action that would be open to me in the near future. Bernal had been gone for over half a decade, and Philippine cinema was about to abandon celluloid production and embrace the digital era for good.

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From ACKNOWLEDGMENTS (pp. 9-10):

Profuse thanks to Patricio N. Abinales, Thelma E. Arambulo, Tina Baluyut, Joey Baquiran, Vicky Belarmino, Bernardo Bernardo, Pete Bilderback, Karen Blackstein, Marivic Buquis-Tjardes, Flor Caagusan, Patrick F. Campos, Veronica Caparas, Robert Cerda, Mel Chionglo, Leloy Claudio, Sylvia Estrada Claudio, Divine Go David, Gigi Felix-Velarde David, Jek Josue David, Nestor de Guzman, Nicolo del Castillo, Archie del Mundo, Lizbeth de Padua, Jojo Devera, Cynthia Estrada, Patrick D. Flores, Peque Gallaga, Alfredo Garcia, Melanie Joy C. Garduño, Paul Grant, Ju-Yong Ha, Maurine Haver, J. Pilapil Jacobo, Marne Kilates, Ricardo Lee, Bliss Cua Lim, Sergio Lobo, Jo-Ann Q. Maglipon, Juan Miguel Manansala, Gina Marchetti, Ibarra Mateo, Joe McElhaney, Toby Miller, Carla Montemayor, Roselle Monteverde, Jude Ortega, Ellen Ongkeko-Marfil, Ellen J. Paglinauan, Vanessa Pallarco, Haesuk Park, Inkyu Park, Shin-gu Park, Sybil Jade Peña, Elwood Perez, Theo Tisado Pie, Benjamin Pimentel, Ethel Pineda, Jane Po, Rowena Raganit, Winston Raval, Lore Reyes, Ramon Reyes, Roselle Leah K. Rivera, Ninotchka Rosca, Filomeno S. Sta. Ana III, Angela Stuart Santiago, Aida Santos, Bayani Santos Jr., Teresita Santos, Ophelia Miller Segovia, Vincenz Serrano, Minsun Shim, Irene Balucos Sia, Boemshik Son, Robert Sklar, Francis Sollano, Robert Stam, Lauren Steimer, Chris Straayer, Lulu Torres-Reyes, Mauro Feria Tumbocon Jr., Violeda A. Umali, Charmian Uy, JC Velasquez, Taeyun Yu, Jovy Zarate, and Zhang Zhen.

I’ve been fortunate to work with some outstanding editors in the past, but with Matthew Hays and Thomas Waugh, I saw my early manuscript shape-shift in ways I couldn’t always anticipate, with the revised version always a new text whose acquaintance I was happy to make. They’ve been at this task for nearly a decade, without any remuneration, so while I imagine that the impending end of the Queer Film Classics series may be a relief of sorts, it would also open up a gap that other people ought to consider filling. Publishers Brian Lam and Robert Ballantyne, editors Susan Safyan and Tara Nykyforiak, and designer Oliver McPartlin are also part of the series, and while I interact mainly with professors Waugh and Hays, I occasionally correspond with the other participants in the project; as the book begins to take final shape, I can only be grateful that their commitment is just as complete and indispensable. (Portions of this manuscript have appeared in my articles in Kritika Kultura and Plaridel.)

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Contents of the Queer Film Classics Edition
© 2017 by Joel David & Arsenal Pulp Press; All Rights Reserved

PRELIMINARIES

Title Page; Copyright; Table of Contents; Dedication: For Ishmael Bernal (1938-96); Acknowledgments; Synopsis; Credits; Introduction (1-24)

BODY TEXT

Chapter I. Manila by Day: Fifty Years of Hollywood (25-69)

Movies and the Philippines
Master’s Tool
Language without Words
“Ishma” and Manila by Night
The Origin of Manila by Night
Controversies
The Berlinale Connection
The Other Manila Movie

Sidebar: A Pinoy Queer-Cinema Mini-Canon (70-75)

Chapter II. Manila by Night: City of Mania (76-115)

Many-Peopled Narratives
The Philippine Moviegoer
A Perverse Approach
Technique as Politics
Voyeuristic Restlessness
The Queering of Technique
The Mirror Effect
Sound Logic
Wow and Flutter

Sidebar: A Multicharacter-Movie Supplementary List (116-119)

Chapter III. Beyond Manila: Cinema & Nation in Crisis (121-158)

Locale as an Entity
Babies and Beauties
Triangulations
The Multicharacter Movie Genre
Road Not Taken
Milieu Realism
A “Straight” Way Forward
Gender Types
The Other(ed) Queer Character
Radical Potential

END MATTER

Conclusion; Appendix: Manay Revisits Manila by Night: An Interview with Bernardo Bernardo; References; Filmography & Theater Productions; Index; About the Author; About the Editors; Titles in the Queer Film Classics Series (159-208)

Related Links

• A special folio on the film now opens this blog’s Extras section.
• To read the book lecture “Queerness as Defiance in Manila by Night,” please click here.
• For a detailed storyline originally drafted for this book, please click here.

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Book Launch Lecture: Millennial Traversals

Millennial Traversals had a long and involved narrative behind its emergence. Invited to lecture during the website launch of the University of Santo Tomas’s UNITAS journal, I took the opportunity to discuss what turned out to be two volumes’ worth of special UNITAS journal issues. This occurred less than a week after I delivered a lecture on another recent book of mine, Manila by Night: A Queer Film Classic. (To enlarge the pics at the bottom, please click on them. To go to the Millennial Traversals book feature on this blog, please click here.)

THE MILLENNIAL TRAVERSALS OF MILLENNIAL TRAVERSALS

Thank you for attending this occasion and allowing me the honor to speak in commemoration of the launch of the UNITAS website. My own contribution comprises two volumes of Millennial Traversals, which I had originally uploaded as an open-access book on my own website. I’d had occasion to go over this book several times – from conceptualizing it to finalizing it for its digital version to correcting, revising, and updating it further for what would now be its so-far final version.

Some of you might be able to read the finer (or shall we say bloodier) details of how Millennial Traversals took shape in its present form on the UNITAS website, so I might as well own up to certain motivations that I had to be careful in expressing on the page. Since the originally intended volume was non-print, I wanted to take advantage of certain freedoms unavailable to me during the times I was preparing my earlier book manuscripts for what we now call dead-tree publications. That explains the extra-long complete title, which goes Millennial Traversals [colon] Outliers [comma] Juvenilia [comma, ampersand] Quondam Popcult Blabbery – all this even before we get to the title of each part. For the same reason, I put together a digital manuscript that was a few times longer than any book I had previously published, whether as author or as editor.

What I did not anticipate, of course, was the fact that UNITAS was now being handled by a long-term acquaintance of mine. Professor Lulu Torres-Reyes and I had been coordinating since the start of the current decade, on articles, lectures, and special issues for Kritika Kultura, the journal she founded and edited at the Ateneo de Manila University. But we had actually started out as casual acquaintances for almost four decades, when we would join informal film screenings and discussions organized by mutual friends of ours. So it was no surprise to me that she had proved receptive to film-studies materials, and that when she tried her own hand at film scholarship, she met with resounding success here and in Korea, the country where I work.

When the process of transforming Millennial Traversals into the edition that can now be found on the UNITAS website was completed, I stepped back and considered what significance the project might have had, if any. I was of course thrilled that I could claim to have a book that first took shape as an open-access digital text, and wound up in a printable version afterward. All my previous books took the opposite course – from print editions in their original incarnations, to online versions on my website. I don’t know of any instance of a Philippine text that observed the format shift that Millennial Traversals underwent, although the possibility might exist somewhere. At this point, all I care to announce is that it happens to be the first local film publication that first came out in digital format. It would also be the first that passed through a print format, and wind up in still another digital format, in another website.

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What proved uncanny for me was when I finally stared at the book covers, I flashed back to the first few journal issues I ever bought, as a high-school student at the University of the Philippines. I realized later that these must have been dissertations that were deemed outstanding at the time, but each one provided me with the double satisfaction of collecting a book as well as a journal copy in one volume. Millennial Traversals is of course an anthology of my output, in keeping with the nature of all my previous sole-authored publications. It marks my farewell to this arrangement, and has been followed by the manuscripts for a film monograph on Manila by Night (recently published by Arsenal Pulp Press in Canada) and for a canonical listing of Philippine film entries for the publisher of YES! magazine, Summit Media.

Hence Millennial Traversals is and isn’t a book volume publishable as a journal issue. It is physically a UNITAS publication, in two separate issues in fact. But in its original incarnation, it was intended as a blog feature, then-unique in the Philippines, with several ambitious and probably ultimately imperfectible goals:

• first, it sought to compile my responses to Filipino films from the late 1970s to the present: of over 30 titles covered, about ten are hard to track or possibly permanently lost;

• second, it also aimed to demonstrate certain ethical functions that were part of my self-valuation as a film critic, including my insistence on financial independence from investors, the attendance of theatrical screenings with a paying audience, the re-watching of titles I planned to review in order to take down detailed notes on the text and its spectators, and the cultivation of an audience perspective that requires the readers’ participation by watching any film being commented on, regardless of my subjective response;

• third, it refused the then-fashionable practice of standing apart from practitioners in the industry, because of the so-called intentional fallacy – when in fact the author should be a primary source of the work’s always-complicated journey from conception to exhibition; and

• fourth, it gestured toward basic critical attempts concerning certain cherished beliefs among film critics, starting with certain notions that implicated myself and resulting in a few awkward examples of self-deconstruction.

The urgency of foregrounding these values was conveyed to me by friends who were closely observing the then-burgeoning film-blogging scene, complicated by the top academic and critics’ official’s statement that film bloggers deserved to be dismissed if they could not present any degree that would qualify them as film commenters. Considering that baccalaureate-level film education was either too exclusivist (available at the national university) or too expensive (in private universities), the remark was unfair and ironically elitist, given the author’s leftist bona fides.

A few critic and filmmaker friends attempted to convince me to intervene directly, by pointing out the problem in such an assumption, among other horrendous conclusions made by the same official. I opted to time my confrontations carefully, in the form of a book review and a rare exclusive blog statement. But the option of leading by example was always best practice for me, so I set about looking over the never-before-anthologized materials I could compile. I did not expect that the entire undertaking would be treated as a book, but a few netizens informed me that they were printing out the pages I had put together and binding them as voluminous textual collectanea.

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I made sure to warn people on social media that Millennial Traversals existed first and foremost as an open-access internet upload. I preferred that people would explore various categories according to whatever piqued their interest, maybe moving forward or back if any of the contiguous articles seemed worth inspecting further, or returning to the table of contents via a readily available hyperlink in case they wanted to check out another section or approach or issue. Within certain articles I also provided links to other articles, in the same book or in my other volumes, or sometimes to other websites.

I knew that this qualified notion of interactivity could be replicated in a printout of the text, but with much more difficulty. Yet I was also aware that the strictly open-access arrangement was an unstable format. Every semester I would receive a query or two from new social network acquaintances asking whether the digital editions of my books would be downloadable. My answer for nearly the past half-decade has always been the same: eventually. The transformation of digital text files into downloadable material is complicated by the fact that e-books exist in various formats. I would need to set up my own business firm in order to transact businesses with a cover designer and layout artist as well as apply for International Standard Book Numbers, one for each freaking format including the open-access version.

Needless to say, I don’t have the full luxury of attending to these concerns as speedily as I’d prefer. This accounts for my relief in UNITAS enabling Millennial Traversals to reside on its website. The original digital edition is gone for good, except for the few enthusiasts who printed it out. About 20 to 30 percent of the content was revised, since certain indeterminate or open-ended articles could last longer on the internet, given the medium’s wonderful capacity for self-correction or self-updating – a property that academics of my generation are just starting to realize and exploit. On the other hand, a book, even in journal’s clothing, is meant to be forever. As those of us who’ve been publishing might already know, perfection only appears to be an ideal, but it turns out to be too utopic to reach, the more ambitious the writing project becomes.

I’d also proffer here the wisdom I picked out from all the senior authors who’d anthologized their own articles before I started with my first volume in 1990, and which might prove useful to those considering the same kind of project. The principle of perfection-as-mirage applies: it would be impossible to identify your best entries and expect the rest to aspire to the same level of achievement. It would also be highly inadvisable to rank your articles according to your or others’ perception from best to worst or vice versa, and follow that order in anthologizing. The other obvious sequence, the time-determined one of following the articles’ chronology or reverse-chronology, similarly poses the question of the author’s rising or falling level of competence.

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Yet, from my earliest attempt onward, I found that following these problematic procedures worked best in helping me arrive at a useful structure. Counter-intuititively, I also felt more confident whenever I had more material than I could use, rather than picking out only the ones that fit a preconceived theme or thesis. This is because when you start reading more closely in order to fix typos and observe the publisher’s style requirements, you may realize that a section may require the equivalent of breathing space, or that an intensively discursive exercise could do with a stylistic coda – a function best fulfilled by a relatively throwaway article or two.

I apologize to colleagues of mine for whom these so-called lessons might already be old news. I found myself wandering down this introspective path regarding Millennial Traversals, by way of letting everyone know that I’m aware of the manifold difficulties a journal staff undergoes, on a seemingly endless basis. As soon as one issue, essentially an anthology, is completed, the next one has to be set in motion, preferably overlapping with the previous one. I once went through this kind of grind during my undergraduate and early-graduate years, and it brought out a side of me that I prefer to forget. I cannot even imagine having to contend with the additional challenge of preparing multiple volumes for uploading online.

The only source of comfort for me is that Professor Torres-Reyes could not have been any more qualified for this kind of challenge than she is at this moment. When you see her supervising the day-to-day requisites of the job with her usual humor and light touch, you can take my word that her approach comes from a long-drawn-out and contentious experience in her previous station at Kritika Kultura. Thanks to everyone for your attention, and more particularly to Lulu, the UNITAS staff, and the University of Santo Tomas.

Announcement of the event, along with a photo of the turnover of complimentary copies (pic courtesy of Cory Quitoriano); as well as a commemorative pose with UNITAS editor Lulu Torres-Reyes, filmmaker Ellen Ongkeko-Marfil, and contributor and educator Bayani Santos Jr. (pic courtesy of E. Ongkeko-Marfil).

(Delivered on August 16, 2018, at the UNITAS Seminar Room, St. Raymund de Peñafort Building, University of Santo Tomas, España Boulevard, Sampaloc, Manila)

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Book Launch Lecture: Manila by Night

The summer of 2018 marked my first visit home after three of my four book volumes (actually two of my three books) had come out. I was invited to speak at the book launch of Pro Bernal, Anti Bio, Angela Stuart Santiago’s completion of Jorge Arago’s interrupted biography of Ishmael Bernal; the occasion was titled Queer & Defiant: Ishmael Bernal, Bernardo Bernardo, & Manila by Night. I took the occasion to talk about Manila by Night, the movie as well as the monograph I contributed to Arsenal Pulp Press’s Queer Film Classics series. About a week later I was guest speaker once more, this time at the website launch of the University of Santo Tomas’s UNITAS journal, where I was requested to speak about the two volumes of Millennial Traversals. The Manila by Night lecture below was followed by a percipient set of questions by my colleague, Patrick D. Flores, but unfortunately I was unable to take time to recall them after the event. (To enlarge the pics, please click on them. To go to the Manila by Night book feature on this blog, please click here.)

QUEERNESS AS DEFIANCE IN MANILA BY NIGHT

Facebook announcements. (Courtesy of Katrina Stuart-Santiago)

Many thanks for making the effort to trek all the way to what was once known as the centerpiece of the City of Man, the [Cultural Center of the Philippines] Complex. I used to work at one of the edifices here, the now-condemned Manila Film Center, and even though public transportation then was far more efficient and inexpensive, coming all the way here is not something I can be easily persuaded to do, now that I can find all the excuses I want.

Katrina Stuart-Santiago was extremely patient and encouraging in making all the necessary arrangements, but my interaction with her goes all the way back, in discussing the botched National Artist Awards procedure during the second Aquino regime, and later in going over some points of the book that she worked on with her mother, Angela. My association with Patrick Flores goes even further back, nearly three decades if I’m not mistaken. We were contributors to the review section of National Midweek, and when his review of Bilangin ang Bituin sa Langit came out, friends asked me if I resorted to using a pen name again. I told them no – I wasn’t ready to write anything as accomplished as he did on the subject of local melodrama.

We had a conflicted and sometimes contentious relationship, but I bring out this history here so that I might be able to demonstrate to you that the lessons I learned, some of them painful, helped me evolve further as a film commenter and scholar. Some of these lessons still have to be played out more fully – and again, this is not in the spirit of TMI (or too much information) but rather in pointing out that the movie that will be screened after this talk, also suffered and continues to suffer from several hard-to-resolve problems.

As everyone here who lived through the middle period of Marcos martial law would remember, Manila by Night was subjected to the worst censorship case ever visited on a Philippine movie. It was banned for nearly a year, disallowed from participating as a competition entry in the Berlin International Film Festival, and released with the longest listing ever of visual cuts and aural deletions. Since all reference to Manila was prohibited, the title itself was changed, to City After Dark. Unknown to the public, the director had intended to prepare a definitive cut for the thwarted Berlin screening. He was discouraged from doing so by the festival director of the Berlinale – although after Imelda Marcos decided that the movie could not be permitted to represent the country on foreign screens, that issue was no longer even relevant from that point onward.

I provide a more extensive explanation of how Ishmael Bernal arrived at the particular stylistic decisions he used during the period when he made Manila by Night, roughly from 1979 to 1981. What matters in our looking back on this same period is how his approach was misconstrued as a lack, an inability to measure up to the level of competence exhibited by his contemporaries, including his friendly rival, Lino Brocka. His stylistic choices, which were drawn from Third-World cinema samples as well as his documentary training and internship, resulted in his being penalized by reviewers as well as the award-giving critics. You have the jaw-dropping anomaly of the group acknowledging Manila by Night as the best film they were privileged to recognize, but Bernal losing the prize for direction. After Brocka made a splash at the Cannes Film Festival, the next Filipino lined up for that supposedly most prestigious of all film venues was a much younger aspirant, rather than the filmmaker who was definitely Brocka’s equal, and in all possibility his superior.

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There is one more historical detail that recently re-emerged, as proof of the queerness of Manila by Night’s existence: Bernal made what we might call Manila by Day – a documentary, rather than a feature film, that upheld rather than critiqued the city, commissioned by Madame Iron Butterfly Imelda Marcos, rather than Mother China, Lily Monteverde. A few netizens expressed disappointment with what Bernal did, since it contrasted with the decision by Lino Brocka and Mike de Leon to boycott anything associated with the Marcos martial-law regime. But this overlooks several matters, from Bernal’s sense of duty in securing the good standing of his producers, to the later news of his active participation in the left underground during and after the people-power uprising of 1986.

So the generally positive development of intensive film study and training in the Philippines, an option unavailable during Bernal’s time, also holds a disadvantage for older critics and historians of film. What we have among us is a generation of film participants and observers not only schooled in film, but also adhering to film-school values without the need to start from a wider historical, cultural, and philosophical analysis of their place in the world – a set of values that an earlier generation like Bernal’s and Bernardo Bernardo’s had no choice except to pursue. Instead of measuring friends by their choices of favorite films or music or books as social-network folks do today, they would start by articulating their social or political positions vis-à-vis urgent local or global issues, and proceed to infer which contemporary or classical philosophers, if any, informed their new acquaintances’ opinions.

Bernal and Bernardo – but if you’ll permit me I’d prefer to call them Ishma and BB respectively, to distinguish between them more easily – were exponents of a queer sensibility way before the word “queer” was recuperated in lesbian and gay activism via the AIDS Coalition to Unleash Power’s even more radical breakaway group, Queer Nation. Formed in 1990, the group was credited with reversing the derogatory connotation of the word in mainstream media. The term “queer” is intended for oppositional activism, wherein a practitioner can be anyone who or anything that challenges whatever happens to be the acceptable or decent set of values of the moment. As an example, when I mentioned to BB the word and how it was defined in gender politics, in the context of his self-identification as a gay man who had a few celebrated heterosexual romances, he said, “Then I’m definitely not bisexual, but I’m also more queer than gay.”

We would therefore be correct in describing Manila by Night as a queer text even before New Queer Cinema first emerged in the 1990s. (I would even argue that many of the so-called queer cinema films are really nothing more than rom-coms with same-sex pairings, but that would open up a can of worms that we in this kind of event would not be able to wriggle out of.) Crucial to this description would be the kind of bohemian lifestyle that people like Ishma and BB designed for themselves, and that would be evident in their artistic output. They readily crossed boundaries of class – and gender, in BB’s case – and were consequently fluent in a wide variety of lingos, costumes, mentalities, and professions. To paraphrase Terence, nothing Filipino was alien to them.

Yet Manila by Night possesses a distinction shared in fainter degrees by any number of exceptional Filipino movies, including Bernal’s own follow-up projects. Even by global-cinema standards, one would be hard-put to put together a canon of films with multiple-lead characters whose achievement equals or exceeds Manila by Night’s. Robert Altman’s Nashville, Bernal’s direct inspiration, would be part of that list, as would Jean Renoir’s Rules of the Game, Mizoguchi Kenji’s last film Street of Shame, and an obscure Italian title, Liliana Cavani’s La Pelle. These are all multicharacter movies, but they move beyond the depiction of a small group or community that has become one of the standard formats of independent cinema. They make use of types rather than characters, since the number of protagonists is so large that it would be impossible to develop any one of them unless the filmmaker abandons everyone else to focus on a few, sometimes on only one, the singular hero.

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And yet, rather than failing from this inability to provide a classically well-rounded character, these films give us a weird, or shall we say queer, impression that a characterization has been achieved. A characterization that does not reside in any of the characters, but rather in the social impression they create, via their couplings and conflicts, their onscreen interactions and offscreen further developments. The impression we get is that of an abstract super-character, one that we may define according to geography – the city of Nashville in Nashville, Manila in Manila by Night, Tokyo’s Yoshiwara district in Street of Shame, Naples in La Pelle. And because no single character is privileged, it becomes possible to define and redefine society according to the perspective of any character we choose to identify with.

Most people would get the impression that queerness in Manila by Night resides in BB’s character, Manay. BB himself affirmed that Manay was meant to function as the movie’s conscience – an unusual one, considering that this moral center indulged in promiscuity without batting the proverbial eyelash. Yet when we pick out Manay as our reference point, we find that the men he sleeps with are straight-identified, and that the women he tries to help occasionally turn out to be undeserving of his kindness. From Manay and through one of his charity cases, we arrive at the figure of Kano, the lesbian drug pusher, the only character in Manila by Night who (as described by my colleague Libay Linsangan Cantor) is never seen during daytime, much less in a home of her own, so totally liminal that all we can do is guess, from her name and origin in the US naval base, about her parentage and childhood. And as if this experience of trauma weren’t enough, several more come up, one worse than the other.

Ishma took pains to explain that all the unusual events in the film were drawn from his or his friends’ experiences. (I won’t go into too much detail so as to avoid ruining your experience of the revelations in the film.) With Kano, he had no definite real-life model, at least from what I remember. Yet it is Kano who resonates with the burning issue of our time – worsening poverty, homelessness, the drug war and its concomitant extrajudicial executions. In the monograph I wrote for the Queer Films Series of Arsenal Pulp Press, I claimed that Kano, by herself and as a focalizer who allows us to reconfigure the other characters, displays the radical potential described by such lesbian theorists like Judith Butler, Teresa de Lauretis, and Peggy Phelan, who argue in favor of invisibility, constant reinvention, and dangerous sexualization.

All that I would like to point out, by way of ending this elaborate argument, is that these qualities, in a Third-World context, raise the specter of guerrilla resistance. For me, this poses a challenge to scholarly colleagues who assert that nothing of political import arises from Manila by Night. It may be not completed according to the preference of its director, it may suffer from the technical weaknesses inherent in its deployment of unpolished surfaces and improvised performances, it may partake of a nihilistic vision packaged with a comically incongruous happy ending. Like some of the most gifted people we’ve known, Ishma and BB included, it is a difficult movie to love, yet it makes itself impossible to dismiss. Thank you everyone for listening.

Above: The author and Patrick D. Flores await their turn during the program. Below: The author, Angela Stuart-Santiago, and Rodolfo Vera (who performed a reading with Noel Añonuevo) pose before a picture of Ishmael Bernal. (Photos courtesy of Dempster P. Samarista)

(Delivered August 7, 2018, at the Silangan Hall, Cultural Center of the Philippines, Roxas Blvd, Pasay City)

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