Special sections will follow the boxed folio on Manila by Night. As in most other areas of this blog, items will generally be listed chronologically in reverse, according to date of activity. Each section will contain its own brief descriptor. In place of scrolling further down, kindly click on any of the following subsequent categories:
• “Philippine Academics Discuss President Lee Myung-bak’s Policy Proposals on English-Language Training” (2007) – 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:
• “Manwal sa Paggawa ng Pelikula” [Manual for Filmmaking] (2007), celebrated graphic designer Karl Castro’s first film, where he cast me, his former teacher, as a teacher – and despite my hesitancy with lines in Filipino, the piece won the Ateneo Video Open prize for Best Ensemble Performance (please click on screen below to open in Vimeo):
• “Letter from Manila” (1993), B&W 16mm. film featuring Chris Millado (then my classmate at New York University’s Sight & Sound summer program, for which this project was completed):
• Movie-industry participation, first in Emmanuel H. Borlaza’s 1987 Asawa Ko, Huwag Mong Agawin (to the right of Eddie Gutierrez’s shoulder), then in Gil Portes’s 1990 Andrea, Paano Ba ang Maging Isang Ina? (as the title character’s human-rights lawyer):
• “Kababata” [Childhood Friend] (1984), 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’s Alternative Film and Video Festival:
• 2017 Glory Awards – the first edition of the University of the Philippines College of Mass Communication Alumni Association’s intended counterpart of the UP Alumni Association’s annual recognition for outstanding graduates
• 2016 FACINE Citation – text of the Gawad Lingap Sining [Art Nurturing Award] given by the 23rd Annual Filipino International Cine Festival of the Filipino Arts & Cinema International (FACINE)
• 2016 FACINE Lecture, read during the opening ceremony of the 23rd FACINE festival on October 18, 2016, at the Diego Rivera Theater, City College of San Francisco
• The announcement of FACINE’s Art Nurturer Prize, on page 18 of the October 2016 issue of YES! magazine. Photo was attributed to me, but was actually taken by Ronald Arguelles, Festival Director of Cinema One Originals:
• Re Ámauteurish! – the top foreign film academic to ever teach film in Pinas (at University of San Carlos), Professor Paul Douglas Grant, asked me about film criticism and blogging for a Special Focus on New Works on Philippine Cinema in Plaridel: A Philippine Journal of Communication, Media, and Society
• Re The National Pastime – journalist Vanessa Ira wrote an article on the occasion of my first book publication, and interviewed me as part of her preparation
• Bien Lumbera – my first Q&A interview, and the only one until my recent exchange with Bernardo Bernardo
• Doy del Mundo – a casual and limited set of questions answered via email by the renowned critic and scholar, on his screenplay adaptation of Lino Brocka’s Maynila: Sa mga Kuko ng Liwanag(1975)
• Rey de la Cruz – the notoriously successful (and successfully notorious) star-builder, no-holds-barred as always
• Pio de Castro III – a film critic and professor whose debut film was produced by the Experimental Cinema of the Philippines (where I happened to be working, hence this assignment)
• Ramon Reyes – first of a planned series of features on outstanding film professionals; the series never materialized, but I did get to cover the best practitioner in the medium’s most overlooked area
• Annual Filipino Film Chart (2016), an expanded and extended illustration from my dissertation (2002).
• Film 297 (Special Topics) course titled Skinema, offered in 2009 at the University of the Philippines Film Institute’s graduate program.
• The sequence breakdown of Gregorio Fernandez’s 1958 Malvarosa, an appendix from my dissertation (2002).
• “The Reviewer Reviewed”: a reprint of a review of my second book, Fields of Vision, followed by my hasty and rather prickly response.
• “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.
• A bit of high-school juvenilia, written about the woman who became the wife of assassinated civic leader Lean Alejandro. The write-up (appearing in the “Camera On” feature on page 3 of the Christmas 1974 issue of Ang Aninag) had to be short enough to allow for a pic and another interview article (please click on the picture to enlarge it):
• One more work not my own: a 2009 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.
• To apply for my current teaching post in 2007, I had to solicit 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.
Robert Sklar (1936-2011;
photo courtesy of the Village Voice)
• “Velasco’s Legacy,” a review of Johven Velasco’s Huwaran/Hulmahan Atbp., written in 2009 by filmmaker Jerrold Tarog.
• 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).
• 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.