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

2017a – The extensive storyline I originally drafted for my 2017 book Manila by Night’s synopsis section, that had to be eventually reduced to two medium-length paragraphs. An entry in Arsenal Pulp Press’s Queer Film Classics series, the book may now be ordered online via Amazon.

2017bThe First Glory Awards (2017): A Mini-Album is my memento of the first batch of awardees of the College of Mass Communication Alumni Association at the University of the Philippines. I couldn’t attend the event for a myriad of reasons, but I also found the warmth and support of old friends to be a value worth any number of trophies and citations.

2016 – “Cold Word Wars: Philippine Film as a Critical Activity” is the 2016 Filipino Arts & Cinema International (FACINE) Gawad Lingap Sining Lecture that I delivered at the Diego Rivera Theater, City College of San Francisco, on October 18, as recipient of the Gawad Lingap Sining [Art Nurturer Prize], awarded for film scholarship and criticism, and bestowed during the 23rd Annual FACINE Festival’s opening ceremony at the City College of San Francisco’s Diego Rivera Theater.

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. For a larger image, please click on the picture.

2014Ámauteurish! goes live on June 13. Blog has been in existence in WordPress since April 2011.

2013 – “Tribute to Bangy Dioquino” was a short speech I read to the outgoing chair of the group now known as the Association of Filipino Educators in Korea: Manuel “Bangy” Dioquino Jr. (1960-2015).

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. Some articles that Velasco wrote but that arrived too late for book publication may be accessed here.

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.

Robert Sklar (1936-2011;
photo courtesy of the
Village Voice)

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.

1981a – 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.

1981b – The initial transcription I made of Ishmael Bernal’s masterwork Manila by Night, which was improvised on movie locations, completed in 1979 but banned by the local censors, disallowed from competing at the 1980 edition of the Berlin International Film Festival by then-First Lady Imelda Marcos, and eventually released, also in 1980, in a severely mutilated version. The “uncensored version” of the script came out in The Review, with Celina S. Cristobal as its editor-publisher; cover pics were taken by Romeo M. Gacad. The present file is from the personal collection of Bernal’s designated heir Bayani Santos Jr., with pics taken by Vince Cuizon. A more carefully corrected version, with English translation by Alfred A. Yuson, came out in 2012, in the literary section of the special issue devoted to the movie by Kritika Kultura.

1974 – 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):

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