Extras

Items will be listed chronologically in reverse, according to date of activity:

2012 – “Doy del Mundo on a Controversy over Maynila: Sa mga Kuko ng Liwanag” is a source interview for my article “Thinking Straight: Queer Imaging in Lino Brocka’s Maynila (1975),” published in the August 2012 issue (volume 9, number 2) of Plaridel: A Philippine Journal of Communication, Media, and Society. A PDF (along with a short introduction) of the article that provoked the controversy can be found here.

2009a – “Velasco’s Legacy,” a review of Johven Velasco’s Huwaran/Hulmahan Atbp., written by filmmaker Jerrold Tarog.

2009b – Film 297 (Special Topics) course titled Skinema, offered at the University of the Philippines Film Institute’s graduate program.

2009c – One more work not my own: an undergraduate research thesis (click here for PDF) by an advisee, whose background is even more fascinating than his choice of topic; uploaded with his permission. The work won a prize at the UP Film Institute, despite some faculty members’ horrendously ignorant objections.

2007a – “Philippine Academics Discuss President Lee Myung-bak’s Policy Proposals on English-Language Training” – video interviews conducted by Jongsuk Ham (first Korean M.A. Film graduate at the University of the Philippines Film Institute); the complete posting, with two other interviewees, was voted best news blog entry by the Daum web community:

2007b – To apply for my current teaching post, I solicited letters of recommendation from women luminaries in Philippine film and culture: Ellen J. Paglinauan (University of the Philippines), Bliss Cua Lim (University of California – Irvine), and Caroline S. Hau (Kyoto University). I also had to present a recommendation from my dissertation adviser at New York University, so I requested Robert Sklar to provide one, available here. Four years later he died in a vehicular accident, before I could acquire tenure and thank him properly. During the winter break of 2013 when the university was deliberating my fitness for tenure, Ellen, my one true film-studies mentor, succumbed to colon cancer.

2004 & 2005 – On exchange at a Korean university, I taught feature writing to students for whom English was a (distant) second language. The goal was to make sure each member of the class could come up with an article. Necessarily this proceeded like a connect-the-dots exercise, with everyone going through the motions one step at a time. The university couldn’t believe the first batch had come up with a class folio, and showcased the results in a slim magazine format (PDF here). The next year’s batch included a couple of foreign students but only a posted, rather than printed, folio (PDF). But when one member of the class failed to complete the requirement and subsequently had what seemed like a psychotic episode, I decided to retire the practice for a while.

2002a – An appendix from my dissertation: the sequence breakdown of Gregorio Fernandez’s Malvarosa (1958).

2002b – Another feature from my dissertation: an “Annual Filipino Film Production Chart,” listing the number of local films produced per year, from the beginning; with sources and a short description, updated annually to the present. (I added, as of January 2016, something I called a Timeline of Philippine Historical and Film Developments.)

2001 & 2002Background to the 2002 Sight & Sound poll contribution.

1996 – “The Reviewer Reviewed”: a reprint of a review of my second book, Fields of Vision, followed by my hasty and rather prickly response.

1995 – The Cinemaya interview with Ishmael Bernal (issue 27, Spring 1995: 16-23), conducted by Aruna Vasudev and titled “Cast in Another Mould.” [Printed out from the microfilm section of the Bobst Library at New York University.] Warning: minimal fact-checking (if any) was apparently conducted and the interview is replete with errors and inaccuracies.

1993Letter from Manila, B&W 16mm. film featuring Chris Millado:

1991 – “Distinguishing the Film Critic from the Reviewer,” an interview article by Vanessa B. Ira, published on March 12, 1991, in the Times Journal and originally arranged by Anvil Publishing to publicize my first book, The National Pastime.

1990 – Full & untranslated (from the Taglish) transcript of an interview with Bienvenido Lumbera.

1987 & 1990 – Blink-and-you’ll-miss audiovisual evidence of movie-industry years, first in Emmanuel H. Borlaza’s Asawa Ko, Huwag Mong Agawin (somewhere to the right of Eddie Gutierrez’s shoulder), then in Gil Portes’s Andrea, Paano Ba ang Maging Isang Ina? (the wooden extension on the table, voiced by the ghost of Vincent Price):

1985 – “My Big Fat Critic Status” – draft of a letter I submitted to the Manunuri ng Pelikulang Pilipino (Filipino Film Critics Circle) in 1985, requesting for a less-active status, meaning non-participation in the annual awards exercise.

1984Kababata [Childhood Friend], hand-processed super-8mm. film co-directed with Milo Paz & Raul Regalado; 1st place in the Short Feature Category of the University of the Philippines’ Alternative Film and Video Festival:

1983aFocus on Filipino Films: A Sampling (1951-1982), the brochure of a Filipino film retrospective during the second regular edition of the Manila International Film Festival, perhaps the best-received module ever accomplished for the otherwise notorious event. Also, the maiden (and only) issue of the Experimental Cinema of the Philippines’ SineManila.

1983b – “Transcription Chapter,” a PDF file scanned from Hermie Rotea’s Marcos’ Lovey Dovie (Los Angeles: Hermie Rotea, 1983). Uploaded in the interest of historical documentation.

1981 – The (originally restricted) 1981 UNESCO Technical Report, prepared by Christopher Roads for the Marcos government, on “The Manila National Film Centre,” which provides insights on the origins of the building that would become the Manila Film Center, as well as the agency that would eventually be called the Experimental Cinema of the Philippines.

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