Tag Archives: Bibliography

Comprehensive Pinas Film Biblio: Chronologized

Important: To see these entries in reverse-chronological order, click here; to see them grouped by category, click here; the entries in alphabetical order, listed by author, can be found here; for an alphabetical listing by title, please click 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 beyond the 1910s: 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, 2019, and 2020.

1912

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

1918

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

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.

1938

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

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).

1949

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

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.

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.

1967

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

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).

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).

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).

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.”

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.

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.

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.

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.

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.

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.

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.”

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 Constantino’s 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.

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).

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.

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.

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.

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.

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).

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.

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.

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.”

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.

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.

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.

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.

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.

Murray, Raymond. Images in the Dark: An Encyclopedia of Gay and Lesbian Film and Video (Revised and Updated). London: Titan Books. Originally published 1994; includes an entry on Macho Dancer, dir. Lino Brocka (Award Films, Special People Productions, & Viva Films, 1988).

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.

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).

Lee, Ricky [as Ricardo Lee], Jun Lana, & Peter Ong. Ang Screenplay ng José Rizal [The Screenplay of José Rizal]. Makati City : Butz Jimenez and Jimmy Duavit for GMA Network. Screenplay of José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).

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.

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).

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. The Apocalypse 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).

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 (Essays on Film in 10 South East Asia – Pacific Countries). Hanoi: Southeast Asia-Pacific Audio Visual 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.”

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.

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.

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.

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.

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].”

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.

Malone, Peter, ed. Through a Catholic Lens: Religious Perspectives of 19 Film Directors from Around the World. Communication, Culture, and Religion Series. Lanham, MD: Rowman & Littlefield Publishers. Nicasio Cruz, “The Legacy of Lino Brocka.”

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.

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. Includes a CD-ROM of available audio samples.

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; book has “Daboy” (Rudy Fernandez’s nickname) on cover but not on title page.

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.

Samson, Laura, Brenda V. Fajardo, Cecilia B. Garrucho, Lutgardo L. Labad, and Ma. Gloriosa Santos Cabangon. A Continuing Narrative on Philippine Theater: The Story of PETA (Philippine Educational Theater Association). Quezon City: Philippine Educational Theater Association. “PETA’s Foray into Broadcast Theater.”

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.”

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.

2010

Arao, Danilo, ed. Global Makeover: Media and Culture in Asia. Seoul: 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.

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., ed. Vaginal Economy. Special issue of Positions: Asia Critique, vol. 19, no. 2. Durham: Duke University Press. On “Cinema and Sexuality in the Post-Marcos, Post-Brocka Philippines” (guest editor’s introduction).

Velarde, Emmie G. Show Biz, Seriously: A Collection of Essays and Feature Articles. Manila: University of Santo Tomas Publishing House.

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)].”

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.

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)].”

Cañete, Reuben Ramas. Masculinity, Media, and Their Publics in the Philippines: Selected Essays. Media and Communication series. Quezon City: University of the Philippines Press. “Subjects of [the] essays in the book include post-EDSA homoerotic cinema, outright pornography, Bench billboard ads, Manny Pacquiao, and the [University of the Philippines’s symbolic] Oblation” (UP Press Facebook announcement).

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 film director 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].”

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.

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. Intellectuals, the Public Arena, and the Nation. 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).

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.

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.

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.”

Icabandi, Arlo. Clarita: Hanggang Saan Ka Kayang Dalhin ng Iyong Pananampalataya? [How Far Can Your Faith Take You?]. Quezon City: ABS-CBN Publishing. Novelization of Clarita, dir. Derick Cabrido (Black Sheep, Purple Pig, & Clever Minds, 2019).

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; “jowa” is a contraction of “jowawa,” originally gay lingo for asawa or spouse, with the first sound replaced by “j-” (sometimes “sh-”) as a pseudo-French affectation from the 1970s.

2020
[as of May 2020]

Bolisay, Richard, ed. Daang Dokyu: A Festival of Philippine Documentaries. Philippines [city unkn.]: FilDocs. A “DokBook” for the eponymous film festival; available as an Issuu digital file at the Daang Dokyu website.

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.

Gimenez-Maceda, Teresita, Amado Anthony G. Mendoza III, and Galileo S. Zafra, eds. Bien! Bien! Alagad ng Sining, Anak ng Bayan [Art’s Adherent, the Nation’s Offspring]. Festschrift for Bienvenido L. Lumbera. Quezon City: University of the Philippines Sentro ng Wikang Filipino. Roland B. Tolentino, “Desire, Neoliberalism, Hollywood, and Asian Cinemas”; Romulo P. Baquiran Jr, “Pagtagos ng Mitiko at Modernidad sa mga Piling Metasineng Tula/Sugidanon [Infusion of Myth and Modernity in Selected Metafilmic Poetry / Panay Epics].”

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

Kung, Kaby Wing-Sze, ed. Reconceptualizing the Digital Humanities in Asia: New Representations of Art, History and Culture. Digital Culture and Humanities series no. 2 (Challenges and Developments in a Globalized Asia). Singapore: Springer Nature. Jose Gutierrez III, “Cinematic Contemplation Online: The Art and Philosophy of Life-world Series (2017).”

Labiste, Ma. Diosa, ed. Duterte and Disinformation. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 17, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines. Adjani Guerrero Arumpac, “Regenerative Documentary: Posthuman Art in the Context of the Philippine Drug War”; Carlo Gabriel “Choy” Pangilinan, “Mula kay GMA Hanggang kay Duterte: Kritika sa Ilang Dokumentaryong Politikal at Pagmamapa sa Tunguhin ng Dokumentaryo sa Panahong Pinapaslang ang Politikal [From (Philippine Presidents Gloria Macapagal Arroyo) to (Rodrigo Roa) Duterte: A Critique of Selected Political Documentaries and a Mapping of Documentary Trends during the Slaughter of Political (Participants)].”

Lacuesta, Angelo Rodriguez (as Sarge Lacuesta), and Mookie Katigbak-Lacuesta. Walking The City of Literature: A Film and Literary Guide to Quezon City. Quezon City: Office of the City Mayor.

Lee, Ricky. Kulang na Silya at Iba Pang Kuwentong Buhay [Missing Chairs and Other Life Stories]: Essays on Life and Writing. Quezon City: Philippine Writers Studio Foundation. Reminiscences and lessons by the country’s premiere scriptwriter.

Lico, Gerard. PA(ng)LABAS: Architecture + Cinema – Projection of Filipino Space in Film. 2nd ed. Quezon City: Arc Lico International Services. “A new essay tracing the development and decline of Filipino cinema houses, referred to in this book as Popcorn Palaces, is the main highlight of this book and features rare archival images” (author’s Facebook announcement).

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].”

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Comprehensive Pinas Film Biblio: Alphabetized by Title

Important: To see these entries alphabetized by author, click here; to see them grouped by category, click here; 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 titles beyond the initial (Numerals & A) group: B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, Y.

Numerals & A

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

100 Women of the Philippines: Celebrating Filipino Womanhood in the New Millennium. By Joy Buensalido and Abe Florendo. 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.

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

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

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

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

Acquiring Eyes: Philippine Visuality, Nationalist Struggle, and the World-Media System. By Jonathan Beller. 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)].”

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

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

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

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

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

American Tropics: Articulating Filipino America. By Allan Punzalan Isaac. 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.

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

Amigo [Friend]: Screenplay. By John Sayles. 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.

The Anthropology of New Media in the Philippines. By Raul Pertierra. Quezon City: Institute of Philippine Culture, Ateneo de Manila University, 2010.

The Apocalypse Now Book. By Peter Cowie. 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].

The Apocalypse of Marlon Brando: Death and Retribution in the Philippine Jungle. By Michael Coenen. 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).

Appropriation of Colonial Broadcasting: A History of Early Radio in the Philippines, 1922-1946. By Elizabeth L. Enriquez. Quezon City: University of the Philippines Press, 2008. Includes a CD-ROM of available audio samples.

Armida. By Armida Siguion-Reyna and Nelson A. Navarro. 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.

Artist Becomes Delegate of God (Artistang Naging Alagad ng Diyos): Completely Authorized and Illustrated Biography of Msgr. Aniceto Robledo. By 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).

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

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

AsiaPacifiQueer: Rethinking Genders and Sexualities. Ed. Fran Martin, Peter A. Jackson, Mark McLelland, and Audrey Yue. Urbana: University of Illinois Press, 2008. Ronald Baytan, “Bading na Bading [Really Queer]: Evolving Identities in Philippine Cinema.”

[Association of Southeast Asian Nations] 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 ASEAN Committee on Culture and Information” (self-description); includes “The Film Industry in the Philippines.”

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

Autohystoria: Visioni postcoloniali del nuovo cinema filippino [Postcolonial Visions of the New Filipino Cinema]. By Renato Loriga. Studi postcoloniali di cinema e media series no. 4. Canterano, RM: Aracne editrice, 2016. A study of Autohystoria, dir. Raya Martin (Cinematografica, 2007).

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Bagay Tayo [We’re Compatible]. By Jerry B. Gracio. 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].

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

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

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

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

Beyond the Mainstream: The Films of Nick Deocampo. By 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).

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

Bhin Desher Cinema [Cinema from Foreign Countries]. By Nirmal Dhar. 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).

Bien! Bien! Alagad ng Sining, Anak ng Bayan [Art’s Adherent, the Nation’s Offspring]. Ed. Teresita Gimenez-Maceda, Amado Anthony G. Mendoza III, and Galileo S. Zafra. Festschrift for Bienvenido L. Lumbera. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 2020. Roland B. Tolentino, “Desire, Neoliberalism, Hollywood, and Asian Cinemas”; Romulo P. Baquiran Jr., “Pagtagos ng Mitiko at Modernidad sa mga Piling Metasineng Tula/Sugidanon [Infusion of Myth and Modernity in Selected Metafilmic Poetry / Panay Epics].”

The Blood of Government: Race, Empire, the United States, and the Philippines. By Paul A. Kramer. 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.

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

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

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

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

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

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

Broadcast Arts. Ed. Nicanor G. Tiongson. 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.

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

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

Brutal/Salome. By Ricky Lee [as Ricardo Lee]. [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.

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

Burador [Draft]. Ed. Alvin Yapan and Glenda Oris. Quezon City: Ateneo de Manila University Press, 2010. Classical & contemporary studies on Philippine popular culture.

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

Cases on Arts and Culture Management in the Philippine Setting. Ed. Ben Paul B. Gutierrez. Quezon City: University of the Philippines Press, 2003. Manuel C. Dioquino Jr., “E-mail Conversations with Keith [Sicat] and Sari [Dalena]” (married film directors).

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

Centennial Anniversary of the Philippine Cinema: Cinema, as a Response to the Nation. Ed. Kim Young-woo. Busan: Busan International Film Festival, 2018. Retrospective volume, with Korean translations.

The Chinese Question: Ethnicity, Nation, and Region in and Beyond the Philippines. By Caroline S. Hau. 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).

Cine: Spanish Influences on Early Cinema in the Philippines. By Nick Deocampo. 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).

Cinema and the Archives in the Philippines. Ed. Benedict Salazar Olgado. 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.”

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

Cinema Filipinas: Historia, teoría y crítica fílmica (1999-2009) [Philippine Cinema: History, Theory, and Film Criticism (1999-2009)]. Ed. Juan Guardiola. [Andalucía]: Juna de Andalucía, Consejería de Cultura Fundación El Legado Andalusí, [2010]. Retrospective volume, with English translations.

The Cinema of Manuel Conde. By Nicanor G. Tiongson. 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.

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

Cinematographic Film Regulations: Administrative Order No. 50. By the Philippine[ Island]s Bureau of Internal Revenue. Manila: Bureau of Internal Revenue, 1918.

Cirio H. Santiago: Unbekannter Meister des B-Films [Unknown Master of B-Films]. By David Renske. 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).

Clarita: Hanggang Saan Ka Kayang Dalhin ng Iyong Pananampalataya? [How Far Can Your Faith Take You?]. By Arlo Icabandi. Quezon City: ABS-CBN Publishing, 2019. Novelization of Clarita, dir. Derick Cabrido (Black Sheep, Purple Pig, & Clever Minds, 2019).

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

A Closer Look at Manila by Night. Ed. Joel David. 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.

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

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

Communication and Media Studies in Asia. Ed. Lourdes M. Portus. 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.”

Communication and Media Theories. Ed. Rolando B. Tolentino, Patrick F. Campos, Randy Jay C. Solis, and Choy S. Pangilinan. 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].”

Confrontations, Crossings, and Convergence: Photographs of the Philippines and the United States, 1898-1998. Ed. Enrique B. de la Cruz and Pearlie Rose S. Baluyut. 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).

The Conjugal Dictatorship of Ferdinand and Imelda Marcos. By Primitivo Mijares. 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. By Primitivo Mijares. Quezon City: Bughaw, 2017. Original published in 1976.

Contemporary Asian Cinema: Popular Culture in a Global Frame. Ed. Anne Tereska Ciecko. 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).”

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

A Continuing Narrative on Philippine Theater: The Story of PETA (Philippine Educational Theater Association). By Laura Samson, Brenda V. Fajardo, Cecilia B. Garrucho, Lutgardo L. Labad, and Ma. Gloriosa Santos Cabangon. Quezon City: Philippine Educational Theater Association, 2008. “PETA’s Foray into Broadcast Theater.”

Contra Mundum [Against the World]: On the Film Restoration of Nick Joaquin’s A Portrait of the Artist as Filipino. Ed. Angelo Rodriguez Lacuesta. [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 Ang Larawan [The Portrait]: From Stage to Screen, ed. Girlie Rodis, for the text of the play.

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

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

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

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

Crazy Beautiful You: The Novel. By Iris Lacap. 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).

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

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

Critical Voice in Media Studies. Ed. Nicanor G. Tiongson and Violeda A. Umali. 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.”

The [Cultural Center of the Philippines] Centennial Honors for the Arts. By the Cultural Center of the Philippines in Cooperation with the Centennial Commission. 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 Icons of the Philippines. By Visitacion “Chit” R. de la Torre. Makati City: Tower Book House, 2002.

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

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

Cultures at War: The Cold War and Cultural Expression in Southeast Asia. Ed. Tony Day and Maya H.T. Liem. 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.”

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

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Daang Dokyu: A Festival of Philippine Documentaries. Ed. Richard Bolisay. Philippines [city unkn.]: FilDocs, 2020. A “DokBook” for the eponymous film festival; available as an Issuu digital file at the Daang Dokyu website.

Darna & Other Idols. By Marra PL. Lanot. 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.

Si Darna, ang Mahal na Birhen ng Peñafrancia, si Pepsi Paloma [Darna, the Blessed Virgin of Peñafrancia, (and) Pepsi Paloma]. By Rolando B. Tolentino. Kulturang Popular Series No. 3. Pasig City: Anvil Publishing, 2004.

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

Deadma Walking [Superciliously Walking]. By Eric Cabahug. 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.

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

The Debut: The Making of a Filipino American Film. By Gene Cajayon, John Manal Castro, and Dawn Bohulano Mabalon. 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).

Deja Vu & Other Essays. By Marra PL. Lanot. Quezon City: University of the Philippines Press, 1999.

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.

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

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.

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

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

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

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

Don Jose [Nepomuceno] and the Early Philippine Cinema. By Joe Quirino. 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.

Doña Sisang and Filipino Movies. Ed. Monina A. Mercado. [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.

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

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

Dream Factories of a Former Colony: American Fantasies, Philippine Cinema. By José B. Capino. Minneapolis: University of Minnesota Press, 2010.

Duterte and Disinformation. Ed. Ma. Diosa Labiste. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 17, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2020. Adjani Guerrero Arumpac, “Regenerative Documentary: Posthuman Art in the Context of the Philippine Drug War”; Carlo Gabriel “Choy” Pangilinan, “Mula kay GMA Hanggang kay Duterte: Kritika sa Ilang Dokumentaryong Politikal at Pagmamapa sa Tunguhin ng Dokumentaryo sa Panahong Pinapaslang ang Politikal [From (Philippine Presidents Gloria Macapagal Arroyo) to (Rodrigo Roa) Duterte: A Critique of Selected Political Documentaries and a Mapping of Documentary Trends during the Slaughter of Political (Participants)].”

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Early Cinema in Asia. Ed. Nick Deocampo. Bloomington: Indiana University Press, 2017.

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

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

Edifice Complex: Power, Myth, and Marcos State Architecture. By Gerard Lico. 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.

Eiga: Cinema in the Philippines during World War II. By Nick Deocampo. 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).

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

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

Empire and Memory: Repercussions and Evocations of the 1899 Philippine-American War. By the Solomon R. Guggenheim Museum. [New York: Solomon R. Guggenheim Museum, 1999.]

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

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

Exporting Entertainment: America in the World Film Market, 1907-34. By Kristin Thompson. 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).

Exposé: Peryodismong Pampelikula sa Pilipinas [Movie Journalism in the Philippines]. By Boy Villasanta. Manila: University of Santo Tomas Publishing House, 2007.

Expressions of Tagalog Imaginary: The Tagalog Sarswela and Kundiman in Early Films in the Philippines (1939-1959). By Antonio P. Africa. 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.

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Fandom and Cinephilia in Southeast Asia. Ed. Wikanda Promkhuntong and Bertha Chin. 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.”

Fantasy-Production: Sexual Economies and Other Philippine Consequences for the New World Order. By Neferti X.M Tadiar [as Neferti Xina M. Tadiar]. Hong Kong: Hong Kong University Press, 2004. “Himala, Miracle [dir. Ishmael Bernal (Regal Films, 1980)]: The Heretical Potential of Nora Aunor’s Star Power.”

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

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

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

Filipiniana Reader: A Companion Anthology of Filipiniana Online. Ed. Priscelina Patajo-Legasto. 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).”

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

Filipino Studies: Palimpsests of Nation and Diaspora. By Martin F. Manalansan and Augusto F. Espiritu. 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).

Film. Ed. Nicanor G. Tiongson. 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.

Film: American Influences on Philippine Cinema. By Nick Deocampo. 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).

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

Film and Freedom: Movie Censorship in the Philippines. By Guillermo de Vega. 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).

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

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 Criticism in the Philippines. Ed. Joel David and Joyce Arriola. 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.

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

Film in South East Asia: Views from the Region (Essays on Film in 10 South East Asia – Pacific Countries). Ed. David Hanan. Hanoi: Southeast Asia-Pacific Audio Visual Archive Association, 2001. Agustin Sotto, “Philippines: A Brief History of Philippine Cinema.”

Filmography of Filipino Films, 1982. By the Film Academy of the Philippines. [Manila]: Film Academy of the Philippines, [1983]. Launch publication for what has been subsequently called the Luna Awards, first held in 1984.

Films by Lino Brocka: A Retrospective, November 14 [to] December 2, 1990, American Film Archives. By the AMAUAN Filipino American Multi-Arts Center and Anthology Film Archives. AMAUAN Notebook series 7.1. New York: AMAUAN Filipino American Multi-Arts Center, 1990.

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

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

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.

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

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

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

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.

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

Frank G. Rivera’s Darna, Etc.: Screenplays Based on Characters Created by Mars Ravelo. By Frank G. Rivera and 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).

Frisson: The Collected Criticism of Alice Guillermo. By 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.

From Darna to Zsazsa Zaturnnah: Desire and Fantasy (Essays on Literature and Popular Culture). By Soledad S. Reyes. Pasig City: Anvil Publishing, 2009. Includes studies on komiks-to-film crossovers including the title texts.

From Globalization to National Liberation: Essays of Three Decades. By E. San Juan Jr. 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.

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

The Future of Film: 100 New Directors. By Cameron Bailey, Frederic Maire, Piers Handling, Sergio Wolf, Wieland Speck, Kim Dong-Ho, Marco Muller, Michel Ouedraogo, and Li Cheuk-to. 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).

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

The Geopolitical Aesthetic: Cinema and Space in the World System. By Fredric Jameson. 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).

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

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

Ginhawa, Kapalaran, Dalamhati: Essays on Well-being, Opportunity/Destiny, and Anguish. Ed. Consuelo J. Paz. 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].”

Glimpses: Essays, Letters, Memoirs (A Selection from the Writing Class from February to April, 2009). Ed. Letty T. Sala and Felipe L. Reyes. “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.

Glimpses of Freedom: Independent Cinema in Southeast Asia. Ed. May Adadol Ingawanij and Benjamin McKay. 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.”

The Global Challenge in Services Trade: A Look at Philippine Competitiveness. Ed. Gloria O. Pasadilla. 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’?”

Global Makeover: Media and Culture in Asia. Ed. Danilo Arao. Seoul: 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.”

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

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

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).

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

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

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

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Hallyu in and for Asia. Ed. Ha Ju-yong. 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.”

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

Heneral Luna: The History Behind The Movie. Ed. Ruby Rosa A. Jimenez. 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).

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

Hong Kong Screenscapes: From the New Wave to the Digital Frontier. Ed. Esther M.K. Cheung, Gina Marchetti, and Tan See-Kam. 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).

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

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

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

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

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

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

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

Images in the Dark: An Encyclopedia of Gay and Lesbian Film and Video (Revised and Updated). By Raymond Murray. London: Titan Books, 1998. Originally published 1994; includes an entry on Macho Dancer, dir. Lino Brocka (Award Films, Special People Productions, & Viva Films, 1988).

Images of Change: Essays and Reviews. By Alice Guillermo. Quezon City: Kalikasan Press, 1988.

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]. By Juan Guardiola. Barcelona: Casa Asia, [2006].

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

Indie Cinema at mga Sanaysay sa Topograpiya ng Pelikula ng Filipinas [Indie Cinema and Essays on the Topography of Philippine Cinema]. By Rolando B. Tolentino. Manila: University of Santo Tomas Publishing House, 2016.

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

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

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.

Inter/Sections: Isagani R. Cruz and Friends. Ed. David Jonathan Y. Bayot. 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).

Interdisciplinarity in the Philippine Academia: Theory, History, and Challenges. Ed. Francis Sollano and Jose Mari B. Cuartero. 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].”

Interventions. By Edel E. Garcellano. Manila: Polytechnic University of the Philippines Press, 1998.

Isa Pa, With Feelings [Once More, with Feelings]: The Original Screenplay. By Jen Chuaunsu and Katherine Labayen. 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).

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

José Rizal. By Marilou Diaz-Abaya. Quezon City: University of the Philippines College of Mass Communication, 1999. Commemorative volume for José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).

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

Jowable [Lover Material]. By Darryl Yap. Pasig City: VRJ Books, 2019. Novelization of #Jowable, dir. Darryl Yap (Viva Films & VinCentiments, 2019). Based on videos first posted on Facebook; “jowa” is a contraction of “jowawa,” originally gay lingo for asawa or spouse, with the first sound replaced by “j-” (sometimes “sh-”) as a pseudo-French affectation from the 1970s.

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

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

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.

Keeping the Flame Alive: Essays in the Humanities. Ed. Pacita Guevara-Fernandez. 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.”

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

Kidlat Tahimik. By Edgar San Juan, Son-hwa Yi, Aramch’an Yi, and Hye-jong Mok. JIFF ch’ongso series. [Jeonju]: Jeonju International Film Festival, 2011. On film director Kidlat Tahimik.

Kilates: Panunuring Pampanitikan ng Pilipinas [Appraisal: Critical Literature of the Philippines]. Ed. Rosario Torres-Yu. 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].”

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

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

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

Knife’s Edge: Selected Essays. By Edel E. Garcellano, ed. Caroline S. Hau. Quezon City: University of the Philippines Press, 2001.

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]. By Epoy Deyto. Pasig City: TollidBilly & Shonenbat Collective, 2018. Available at the author’s Missing Codec blog.

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

Kritisismo: Mga Teorya at Antolohiya para sa Epektibong Pagtuturo ng Panitikan [Criticism: Theories and an Anthology for the Effective Teaching of Literature]. Ed. Soledad S. Reyes. 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].”

Kulang na Silya at Iba Pang Kuwentong Buhay [Missing Chairs and Other Life Stories]: Essays on Life and Writing. By Ricky Lee. Quezon City: Philippine Writers Studio Foundation, 2020. Reminiscences and lessons by the country’s premiere scriptwriter.

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Ang Larawan [The Portrait]: From Stage to Screen. Ed. Girlie Rodis. 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).

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

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

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

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

The Little Black Book [of] Movies: Over a Century of the Greatest Films, Stars, Scenes, Speeches and Events that Rocked the Movie World. Ed. Chris Fujiwara. 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.

Lost Films of Asia. Ed. Nick Deocampo. Pasig City: Anvil Publishing, 2006.

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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]. By Noel D. Ferrer. Mandaluyong City: Anvil Publishing, 2015. Filipino version of Sisikat Din Ako!

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

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

Malikhaing Pelikula: Mga Sanaysay Tungkol sa Pelikulang Pilipino [Creative Film: Essays on Philippine Cinema]. By Emmanuel A Reyes. 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].

Manila by Night. By Ishmael Bernal. Screenplay of Manila by Night, dir. Ishmael Bernal (Regal Films, 1980). See A Closer Look at Manila by Night, ed. Joel David.

Manila by Night: A Queer Film Classic. By Joel David. 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).

Marcos’ Lovey Dovie. By Hermie Rotea. 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).

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

Martin Heidegger’s Being and Time and Manuel Silos’s Biyaya ng Lupa [Blessings of the Land]. By Edward delos Santos Cabagnot. 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).

Masculinity, Media, and Their Publics in the Philippines: Selected Essays. By Reuben Ramas Cañete. Media and Communication series. Quezon City: University of the Philippines Press, 2014. “Subjects of [the] essays in the book include post-EDSA homoerotic cinema, outright pornography, Bench billboard ads, Manny Pacquiao, and the [University of the Philippines’s symbolic] Oblation” (UP Press Facebook announcement).

Maxie: Book & Lyrics by Nicolas B. Pichay, Adapted from the Screenplay of Michiko Yamamoto. By Nicolas B. Pichay. 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).

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]. By Clodualdo del Mundo Jr. 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).

Media and Communication Discourse. Ed. Danilo Arao. 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.”

Intellectuals, the Public Arena, and the Nation. Ed. Patrick F. Campos. 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.”

Media and Folklore. Ed. Nicanor G. Tiongson. 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].”

Media and Freedom. Ed. Victor Avecilla and Josefina Santos. 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.”

Media and Gender Identity. Ed. Elizabeth L Enriquez. 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.].”

Media and History. Ed. Georgina Encanto. 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.”

Media and History. Ed. Nicanor G. Tiongson. 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.”

Media and Popular Culture. Ed. Rolando B. Tolentino. 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.”

Media and the Diaspora. Ed. Joel David and Violeda A. Umali. 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.”

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

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

Memoirs of an Asian Moviegoer. By Mel Tobias. Hong Kong: South China Morning Post, 1982.

Millennial Traversals: Outliers, Juvenilia, & Quondam Popcult Blabbery. By Joel David. 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.

Miracle in Cell No. 7. By Viva Films. 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).

Miss Granny. By Rinka Sycip. 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).

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

Modern Contemporary: Art Since 1980 at MOMA. Ed. Kirk Varnedoe, Paola Antonelli, and Joshua Siege. New York: Museum of Modern Art, 2000. Features Bona, dir. Lino Brocka (NV Productions, 1980).

MOMOL Nights: The Original Screenplay. By Benedict Mique. 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.

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

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

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

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

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

A Movie Album Quizbook. By Jessie B. Garcia. Iloilo City: Erehwon Books & Magazines, 2004.

Movie-Made America: A Cultural History of American Movies. By Robert Sklar. 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).

Movie Queen: Pagbuo ng Mito at Kapangyarihang Kultural ng Babae sa Lipunan [Formation of the Myth and Cultural Dominance of Women in Society]. By Cesar D. Orsal. Quezon City: New Day Publishers, 2007.

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

Movies in a Third World Country. By Lucila V. Hosillos. 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.

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

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

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

My Filipino Connection: The Philippines in Hollywood. By Ruben Nepales. 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.

My Life with My Brother Rudy Fernandez. By Marie P. Fernandez. [City unkn.]: Marie P. Fernandez, 2008. On the late action star, son of film director Gregorio Fernandez; book has “Daboy” (Rudy Fernandez’s nickname) on cover but not on title page.

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. By Syed Hussein Alatas. London: Frank Cass, 1977.

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

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

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.”

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

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

National/Transnational: Subject Formation and Media in and on the Philippines. By Rolando B. Tolentino. 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.”

Native Resistance: Philippine Cinema and Colonialism, 1898-1941. By Clodualdo del Mundo Jr. Manila: De La Salle University Press, 1998.

Necessary Fictions: Philippine Literature and the Nation, 1946-1980. By Caroline S. Hau. 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).

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

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

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

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

Nora Aunor: Tagumpay sa Bawat Awit [Triumph in Every Song]. Ed. Jose Reyes Martinez. 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).

Nora Aunor: Through the Years…. Ed. Nestor de Guzman and Albert M. Sunga. San Juan City: Ace Entertainment, 2004. Commemorative volume for the Through the Years concert.

Notes on Philippine Cinema. By Emmanuel A Reyes. 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).

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

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

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

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

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

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Pagbasa ng Panitikan at Kulturang Popular: Piling Sanaysay, 1976-1996 [Reading Literature and Popular Culture: Selected Essays, 1976-1996]. By Soledad S. Reyes. Quezon City: Ateneo de Manila University Press, 1997.

Paghahanap ng Virtual na Identidad [The Search for Virtual Identity]. By Rolando B. Tolentino. Kulturang Popular Series No. 5. Pasig City: Anvil Publishing, 2004.

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)]. By Chuckberry J. Pascual. Quezon City: University of the Philippines Press, 2016.

Panahon ng Hapon: Sining sa Digmaan, Digmaan sa Sining [The Japanese Period: Art in War, War in Art]. Ed. Gina V. Barte. 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.”

PA(ng)LABAS: Architecture + Cinema – Projection of Filipino Space in Film. By Gerard Lico. Manila: National Commission for Culture and the Arts, 2009.

PA(ng)LABAS: Architecture + Cinema – Projection of Filipino Space in Film. By Gerard Lico. 2nd ed. Quezon City: Arc Lico International Services, 2020. “A new essay tracing the development and decline of Filipino cinema houses, referred to in this book as Popcorn Palaces, is the main highlight of this book and features rare archival images” (author’s Facebook announcement).

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

Passionate Revolutions: The Media and the Rise and Fall of the Marcos Regime. By Talitha Espiritu. 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.”

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

Pelikula: An Essay on the Philippine Film. By Bienvenido Lumbera. [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, 1897-1960. By Agustin Sotto. 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.

Pelikula: An Essay on the Philippine Film, 1961-1992. By Bienvenido Lumbera. 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.

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

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.

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

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

Philippine Cinema and the Cultural Economy of Distribution. By Michael Kho Lim. Cham, Switzerland: Palgrave Macmillan, 2019.

Philippine Film. Ed. Nicanor G. Tiongson. 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.

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

Philippine Film Festival: Fiesta of the Filmmakers. Ed. Ishizaka Kenji. Introducing Southeast Asian Cinema series no. 3. Tokyo: Masaru Inoue, 1991.

Philippine Gay Culture: Binabae to Bakla, Silahis to MSM [Invert to Gay, Bisexual to Men Who Have Sex with Men]. By J. Neil C. Garcia. 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.

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.]

Philippine Mass Media: A Book of Readings. Ed. Clodualdo del Mundo Jr. and Jose Mari Magpayo. 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.”

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

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

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

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

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

Philippine Studies: Have We Gone Beyond St. Louis? Ed. Priscelina Patajo-Legasto. 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?”

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

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

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

Pitong Teleplay [Seven Teleplays]. Ed. Fanny A. Garcia and Armando Lao. 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.

Place, Power, Situation and Spectacle: A Geography of Film. Ed. Stuart C. Aitken and Leo E. Zonn. 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).

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

Political and Social Issues in Philippine Film: Two Perspectives. By Agustin Sotto and Marilou Diaz-Abaya. 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].

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

The Postcolonial Perverse: Critiques of Contemporary Philippine Culture, Volume 1. By J. Neil C. Garcia. 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.”

Postmodern Filming of Literature: Sources, Contexts, and Adaptations. By Joyce L. Arriola. Manila: University of Santo Tomas Publishing House, 2006.

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

Primed: Selected Stories 1972-1992. By Jo-Ann Q. Maglipon. 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.”

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

Proceedings of the 8th ASEAN [Association of Southeast Asian Nations] Inter-University Conference on Social Development. Ed. Almond Pilar Aguila, Danilo Araña Arao, Alfonso Deza, Lourdes Portus, and Fernando Paragas. 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.”

Proceedings of the Whither the Orient: Asians in Asian and Non-Asian Cinema Conference, Kimdaejung Convention Center, Gwangju, Korea, 28-29 October 2006. Ed. Joel David. Seoul: Asia Culture Forum, 2006.

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

Public Faces, Private Lives. By Lorna Kalaw-Tirol. Pasig City: Anvil Publishing, 2000. Emphasizes less prominent celebrities than Above the Crowd.

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

Queer Asian Cinema: Shadows in the Shade. Ed. Andrew Grossman. 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.”

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

Queer Media and Representations. Ed. Rolando B. Tolentino. 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)].”

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

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Rampa: Mga Sanaysay [Sashay: Essays]. By Danton Remoto. 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.

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

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

Reading Popular Culture. Ed. Soledad S. Reyes. 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.”

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

Reconceptualizing the Digital Humanities in Asia: New Representations of Art, History and Culture. Ed. Kaby Wing-Sze Kung. Digital Culture and Humanities series no. 2 (Challenges and Developments in a Globalized Asia). Singapore: Springer Nature, 2020. Jose Gutierrez III, “Cinematic Contemplation Online: The Art and Philosophy of Life-world Series (2017).”

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

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

Rethinking Third Cinema. Ed. Antony R. Guneratne and Wimal Dissanayake. 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.”

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

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

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

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]. By Rolando B. Tolentino. Pasig City: Anvil Publishing, 2000.

Rizal [and] Bayaning 3rd World [3rd World Hero]: Dalawang Dulang Pampelikula [Two Screenplays]. By Clodualdo del Mundo Jr. and Mike de Leon. 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).

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

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

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

The Routledge Encyclopedia of Films. Ed. Sarah Barrow, Sabine Haenni, and John White. 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)].”

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Salome: A Filipino Filmscript by Ricardo Lee. By Ricky Lee [as 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.

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

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

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

Ang Screenplay ng José Rizal [The Screenplay of José Rizal]. By Ricky Lee [as Ricardo Lee], Jun Lana, and Peter Ong. Makati City: Butz Jimenez and Jimmy Duavit for GMA Network, 1999. Screenplay of José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).

The Search for Weng Weng. By Andrew Leavold. 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).

Seksinema. By Boy Villasanta. San Pedro, Laguna: World Publishing, 2009.

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

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

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

Showbiz Lengua: Chika and Chismax about Chuvachuchu [Showbiz Lingo: Small Talk and Gossip about Everything]. By Jose F. Lacaba. 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).

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

Showbiz Uncensored. By Jessie B. Garcia. [Iloilo City]: Moviola Publishing House, [1995].

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

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

Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. Ed. Tam Kwok-kan, Wimal Dissanayake, and Terry Siu-han Yip. 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.”

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

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

Sining at Lipunan [Art and Society]. By Cecilia S. de la Paz and Patrick D. Flores. Aklat Sanyata series. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 2014. 2nd edition of Patrick D. Flores & Cecilia S. de la Paz’s Sining at Lipunan (1997).

Sining at Lipunan [Art and Society]. By Patrick D. Flores and Cecilia Sta. Maria de la Paz. Aklat Sanyata series. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 1997. 2nd edition (2014) is listed as de la Paz & Flores.

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

Sipat Kultura: Tungo sa Mapagpalayang Pagbabasa, Pag-aaral at Pagtuturo ng Panitikan [Culture View: Toward the Liberative Reading, Study and Teaching of Literature]. By Rolando B. Tolentino. Quezon City: Ateneo de Manila University Press, 2007.

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

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

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

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

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

Star Studded. By Ricardo F. Lo. Makati City: Virtusio Books, 1995.

Stars in the Raw. By Jessie B. Garcia. Bacolod City: [publisher unkn.], 1982.

Stars in World Cinema: Screen Icons and Star Systems Across Cultures. Ed. Andrea Bandhauer and Michelle Royer. 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.

Still Moving: The Film and Media Collections of the Museum of Modern Art. By Steve Higgins. New York: Museum of Modern Art, 2006. Features Bona, dir. Lino Brocka (NV Productions, 1980).

The Subversive Impact: Sakada [Plantation Laborer] of Behn Cervantes (A Critique). By Simeon G. del Rosario. Quezon City: Simeon G. del Rosario, 1976. A study of Sakada, dir. Behn Cervantes (Sagisag Films, 1976).

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.

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

Symposium on Gerardo de Leon. Ed. Ishizaka Kenji. Tokyo: Japan Foundation & [Association of Southeast Asian Nations] Culture Center, 1995.

Synthetic Culture and Development. By Renato Constantino. 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 Constantino’s introduction (as publisher) to Bienvenido Lumbera’s Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan (1987).

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Tales of Southeast Asia’s Jazz Age: Filipinos, Indonesians and Popular Culture, 1920-1936. By Peter Keppy. Singapore: National University of Singapore Press, 2019.

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

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

Si Tatang at mga Himala ng Ating Panahon: Koleksyon ng mga Akda [Old Man and the Miracles of Our Time: Collection of Writings]. By Ricky Lee [as Ricardo Lee]. 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]. By Ricky Lee. 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.

Tatlong Dulang Pampelikula [Three Screenplays]. By Pedro C. Laurel Jr., Ramonfelipe A. Sarmiento, and Rody [as Rodolfo C.] Vera. 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.”

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

Things Fall Away: Philippine Historical Experience and the Makings of Globalization. By Neferti X.M Tadiar. 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.

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

Through a Catholic Lens: Religious Perspectives of 19 Film Directors from Around the World. Ed. Peter Malone. Communication, Culture, and Religion Series. Lanham, MD: Rowman & Littlefield Publishers, 2007. Nicasio Cruz, “The Legacy of Lino Brocka.”

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

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

Towards Our Own Image: An Alternative Philippine Report on Women and Media. By Wilhelmina S. Orozco. 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.

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

Translating Time: Cinema, the Fantastic, and Temporal Critique. By Bliss Cua Lim. 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).

Transpacific Femininities: The Making of the Modern Filipina. By Denise Cruz. 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).

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

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

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

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

Tuklas Sining [Art Discovery]: Essays on the Philippine Arts. Ed. Nicanor G. Tiongson. Manila: Sentrong Pangkultura ng Pilipinas, 1991.

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

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

Two Women as Specters of History: Lakambini [Noblewoman] and Indigo Child. By Rody Vera, 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).

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Unang Pagtingin sa Pelikulang Bakbakan: Tatlong Sanaysay [A First Glance at the Action Film: Three Essays]. By Zeus A. Salazar, Agustin Sotto, and Prospero Reyes Covar. Manila: Sentrong Pangkultura ng Pilipinas, 1989.

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

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

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

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

The Urian Anthology 1970-1979. Ed. Nicanor G. Tiongson. 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.”

The Urian Anthology 1980-1989. Ed. Nicanor G. Tiongson. Manila: Antonio P. Tuviera, 2001. Includes filmography of 1980-89 Philippine film releases.

The Urian Anthology 1990-1999. Ed. Nicanor G. Tiongson. Quezon City: University of the Philippines Press, 2010. Includes filmography of 1990-99 Philippine film releases.

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

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Vaginal Economy. Ed. Rolando B. Tolentino. Special issue of Positions: Asia Critique, vol. 19, no. 2. Durham: Duke University Press, 2011. On “Cinema and Sexuality in the Post-Marcos, Post-Brocka Philippines” (guest editor’s introduction).

Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999. Ed. Angel Velasco Shaw and Luis H. Francia. 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.”

Vince & Kath series. By Queen Elly. 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.”)

Visualizing American Empire: Orientalism and Imperialism in the Philippines. By David Brody. 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.

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

Walking The City of Literature: A Film and Literary Guide to Quezon City. By Angelo Rodriguez Lacuesta (as Sarge Lacuesta) and Mookie Katigbak-Lacuesta. Quezon City: Office of the City Mayor, 2020.

Westernized Visual Representation of Jesus and the Construction of Religious Meanings: A Reception Analysis of The Jesus Film (1979) among the Mangyan Tribes. By Kwon Dong Hwan. 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).

White AF. By Carlo Cielo. [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.

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

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

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

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

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

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

Youth and Media. Ed. Arminda Vallejo Santiago. 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].”

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

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Memoirs & Bios

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

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

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

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

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

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

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

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

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

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

Kung, Kaby Wing-Sze, ed. Reconceptualizing the Digital Humanities in Asia: New Representations of Art, History and Culture. Digital Culture and Humanities series no. 2 (Challenges and Developments in a Globalized Asia). Singapore: Springer Nature, 2020. Jose Gutierrez III, “Cinematic Contemplation Online: The Art and Philosophy of Life-world Series (2017).”

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.

Malone, Peter, ed. Through a Catholic Lens: Religious Perspectives of 19 Film Directors from Around the World. Communication, Culture, and Religion Series. Lanham, MD: Rowman & Littlefield Publishers, 2007. Nicasio Cruz, “The Legacy of Lino Brocka.”

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.”

Murray, Raymond. Images in the Dark: An Encyclopedia of Gay and Lesbian Film and Video (Revised and Updated). London: Titan Books, 1998. Originally published 1994; includes an entry on Macho Dancer, dir. Lino Brocka (Award Films, Special People Productions, & Viva Films, 1988).

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).

Lacuesta, Angelo Rodriguez (as Sarge Lacuesta), and Mookie Katigbak-Lacuesta. Walking The City of Literature: A Film and Literary Guide to Quezon City. Quezon City: Office of the City Mayor, 2020.

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. The Apocalypse 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, and Ishmael Bernal, Relasyon [Affair], screenplay of the film, dir. Ishmael Bernal (Regal Films, 1982).

Icabandi, Arlo. Clarita: Hanggang Saan Ka Kayang Dalhin ng Iyong Pananampalataya? [How Far Can Your Faith Take You?]. Quezon City: ABS-CBN Publishing, 2019. Novelization of Clarita, dir. Derick Cabrido (Black Sheep, Purple Pig, & Clever Minds, 2019).

———. 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], Jun Lana, and Peter Ong. Ang Screenplay ng José Rizal [The Screenplay of José Rizal]. Makati City: Butz Jimenez and Jimmy Duavit for GMA Network, 1999. Screenplay of José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).

Lee, Ricky [as Ricardo Lee], Raquel Villavicencio, and 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; “jowa” is a contraction of “jowawa,” originally gay lingo for asawa or spouse, with the first sound replaced by “j-” (sometimes “sh-”) as a pseudo-French affectation from the 1970s.

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 Constantino’s 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. Includes a CD-ROM of available audio samples.

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.

Samson, Laura, Brenda V. Fajardo, Cecilia B. Garrucho, Lutgardo L. Labad, and Ma. Gloriosa Santos Cabangon. A Continuing Narrative on Philippine Theater: The Story of PETA (Philippine Educational Theater Association). Quezon City: Philippine Educational Theater Association, 2008. “PETA’s Foray into Broadcast Theater.”

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. Intellectuals, the Public Arena, and the Nation. 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.].”

Gimenez-Maceda, Teresita, Amado Anthony G. Mendoza III, and Galileo S. Zafra, eds. Bien! Bien! Alagad ng Sining, Anak ng Bayan [Art’s Adherent, the Nation’s Offspring]. Festschrift for Bienvenido L. Lumbera. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 2020. Roland B. Tolentino, “Desire, Neoliberalism, Hollywood, and Asian Cinemas”; Romulo P. Baquiran Jr., “Pagtagos ng Mitiko at Modernidad sa mga Piling Metasineng Tula/Sugidanon [Infusion of Myth and Modernity in Selected Metafilmic Poetry / Panay Epics].”

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.

Labiste, Ma. Diosa, ed. Duterte and Disinformation. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 17, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2020. Adjani Guerrero Arumpac, “Regenerative Documentary: Posthuman Art in the Context of the Philippine Drug War”; Carlo Gabriel “Choy” Pangilinan, “Mula kay GMA Hanggang kay Duterte: Kritika sa Ilang Dokumentaryong Politikal at Pagmamapa sa Tunguhin ng Dokumentaryo sa Panahong Pinapaslang ang Politikal [From (Philippine Presidents Gloria Macapagal Arroyo) to (Rodrigo Roa) Duterte: A Critique of Selected Political Documentaries and a Mapping of Documentary Trends during the Slaughter of Political (Participants)].”

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)].”

———, ed. Vaginal Economy. Special issue of Positions: Asia Critique, vol. 19, no. 2. Durham: Duke University Press, 2011. On “Cinema and Sexuality in the Post-Marcos, Post-Brocka Philippines” (guest editor’s introduction).

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; book has “Daboy” (Rudy Fernandez’s nickname) on cover but not on title page.

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).

Lee, Ricky. Kulang na Silya at Iba Pang Kuwentong Buhay [Missing Chairs and Other Life Stories]: Essays on Life and Writing. Quezon City: Philippine Writers Studio Foundation, 2020. Reminiscences and lessons by the country’s premiere scriptwriter.

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 film director 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.

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).

Cañete, Reuben Ramas. Masculinity, Media, and Their Publics in the Philippines: Selected Essays. Media and Communication series. Quezon City: University of the Philippines Press, 2014. “Subjects of [the] essays in the book include post-EDSA homoerotic cinema, outright pornography, Bench billboard ads, Manny Pacquiao, and the [University of the Philippines’s symbolic] Oblation” (UP Press Facebook announcement).

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: University of the Philippines Sentro ng Wikang Filipino, 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: University of the Philippines Sentro ng Wikang Filipino, 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: 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.”

Bolisay, Richard, ed. Daang Dokyu: A Festival of Philippine Documentaries. Philippines [city unkn.]: FilDocs, 2020. A “DokBook” for the eponymous film festival; available as an Issuu digital file at the Daang Dokyu website.

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 (Essays on Film in 10 South East Asia – Pacific Countries). Hanoi: Southeast Asia-Pacific Audio Visual Archive Association. 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.

———. PA(ng)LABAS: Architecture + Cinema – Projection of Filipino Space in Film. 2nd ed. Quezon City: Arc Lico International Services, 2020. “A new essay tracing the development and decline of Filipino cinema houses, referred to in this book as Popcorn Palaces, is the main highlight of this book and features rare archival images” (author’s Facebook announcement).

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. The Comprehensive Pinas Film Bibliography. E-book edition. Quezon City: Ámauteurish Publishing, 2020.

———. 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, 2021.

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.

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.

Vibal, Gaspar A., and Dennis S. Villegas. Philippine Cinema: 1897-2020. Ed. Teddy Co. Quezon City: Vibal Foundation, 2020. A “lavishly illustrated art book [that] not only provides a dazzling retrospective of over a hundred years of Philippine cinema…. The volume also boldly looks at the seamier side of the industry” (cover description).

Note

[1] Kindly apprise the blog author of any additions, modifications, or deletions in the final (Forthcoming) category listings via the Ámauteurish! Queries page.

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Comprehensive Pinas Film Biblio: Alphabetized by Author

Important: To see these entries alphabetized by title, click here; to see them grouped by category, click here; 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: 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.

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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.

———, ed. Daang Dokyu: A Festival of Philippine Documentaries. Philippines [city unkn.]: FilDocs, 2020. A “DokBook” for the eponymous film festival; available as an Issuu digital file at the Daang Dokyu website.

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. Intellectuals, the Public Arena, and the Nation. 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.”

Cañete, Reuben Ramas. Masculinity, Media, and Their Publics in the Philippines: Selected Essays. Media and Communication series. Quezon City: University of the Philippines Press, 2014. “Subjects of [the] essays in the book include post-EDSA homoerotic cinema, outright pornography, Bench billboard ads, Manny Pacquiao, and the [University of the Philippines’s symbolic] Oblation” (UP Press Facebook announcement).

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 Constantino’s 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. The Apocalypse 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.

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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: University of the Philippines Sentro ng Wikang Filipino, 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. Includes a CD-ROM of available audio samples.

———, 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; book has “Daboy” (Rudy Fernandez’s nickname) on cover but not on title page.

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].

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: University of the Philippines Sentro ng Wikang Filipino, 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.”

Gimenez-Maceda, Teresita, Amado Anthony G. Mendoza III, and Galileo S. Zafra, eds. Bien! Bien! Alagad ng Sining, Anak ng Bayan [Art’s Adherent, the Nation’s Offspring]. Festschrift for Bienvenido L. Lumbera. Quezon City: University of the Philippines Sentro ng Wikang Filipino, 2020. Roland B. Tolentino, “Desire, Neoliberalism, Hollywood, and Asian Cinemas”; Romulo P. Baquiran Jr., “Pagtagos ng Mitiko at Modernidad sa mga Piling Metasineng Tula/Sugidanon [Infusion of Myth and Modernity in Selected Metafilmic Poetry / Panay Epics].”

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 (Essays on Film in 10 South East Asia – Pacific Countries). Hanoi: Southeast Asia-Pacific Audio Visual Archive Association. 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, and 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. Clarita: Hanggang Saan Ka Kayang Dalhin ng Iyong Pananampalataya? [How Far Can Your Faith Take You?]. Quezon City: ABS-CBN Publishing, 2019. Novelization of Clarita, dir. Derick Cabrido (Black Sheep, Purple Pig, & Clever Minds, 2019).

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

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

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

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

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

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

Isaac, Allan Punzalan. American Tropics: Articulating Filipino America. Critical American Studies Series. Minneapolis: University of Minnesota Press, 2006. Includes discussions of Philippines-set mid-century Hollywood productions as well as of Andrew Cunanan, subject of several films & TV specials as the spree killer whose last victim was Gianni Versace.

Ishizaka Kenji, ed. Philippine Film Festival: Fiesta of the Filmmakers. Introducing Southeast Asian Cinema series no. 3. Tokyo: Masaru Inoue, 1991.

———, ed. Symposium on Gerardo de Leon. Tokyo: Japan Foundation & [Association of Southeast Asian Nations] Culture Center, 1995.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Keppy, Peter. Tales of Southeast Asia’s Jazz Age: Filipinos, Indonesians and Popular Culture, 1920-1936. Singapore: National University of Singapore Press, 2019.

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

Kim Young-woo, ed. Centennial Anniversary of the Philippine Cinema: Cinema, as a Response to the Nation. Busan: Busan International Film Festival, 2018. Retrospective volume, with Korean translations.

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

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

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

Kung, Kaby Wing-Sze, ed. Reconceptualizing the Digital Humanities in Asia: New Representations of Art, History and Culture. Digital Culture and Humanities series no. 2 (Challenges and Developments in a Globalized Asia). Singapore: Springer Nature, 2020. Jose Gutierrez III, “Cinematic Contemplation Online: The Art and Philosophy of Life-world Series (2017).”

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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Labiste, Ma. Diosa, ed. Duterte and Disinformation. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 17, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines, 2020. Adjani Guerrero Arumpac, “Regenerative Documentary: Posthuman Art in the Context of the Philippine Drug War”; Carlo Gabriel “Choy” Pangilinan, “Mula kay GMA Hanggang kay Duterte: Kritika sa Ilang Dokumentaryong Politikal at Pagmamapa sa Tunguhin ng Dokumentaryo sa Panahong Pinapaslang ang Politikal [From (Philippine Presidents Gloria Macapagal Arroyo) to (Rodrigo Roa) Duterte: A Critique of Selected Political Documentaries and a Mapping of Documentary Trends during the Slaughter of Political (Participants)].”

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.

Lacuesta, Angelo Rodriguez (as Sarge Lacuesta), and Mookie Katigbak-Lacuesta. Walking The City of Literature: A Film and Literary Guide to Quezon City. Quezon City: Office of the City Mayor, 2020.

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).

———. Kulang na Silya at Iba Pang Kuwentong Buhay [Missing Chairs and Other Life Stories]: Essays on Life and Writing. Quezon City: Philippine Writers Studio Foundation, 2020. Reminiscences and lessons by the country’s premiere scriptwriter.

——— [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], Jun Lana, and Peter Ong. Ang Screenplay ng José Rizal [The Screenplay of José Rizal]. Makati City: Butz Jimenez and Jimmy Duavit for GMA Network, 1999. Screenplay of José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).

Lee, Ricky [as Ricardo Lee], Raquel Villavicencio, and 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.

———. PA(ng)LABAS: Architecture + Cinema – Projection of Filipino Space in Film. 2nd ed. Quezon City: Arc Lico International Services, 2020. “A new essay tracing the development and decline of Filipino cinema houses, referred to in this book as Popcorn Palaces, is the main highlight of this book and features rare archival images” (author’s Facebook announcement).

Lim, Bliss Cua. Translating Time: Cinema, the Fantastic, and Temporal Critique. Durham: Duke University Press, 2009. The book “interweaves scholarship on visuality with postcolonial historiography” (Duke University Press website) and discusses horror samples including Itim [The Rites of May], dir. Mike de Leon (Cinema Artists, 1976); Haplos [Caress], dir. Antonio Jose Perez (Mirick Films International, 1982); and Aswang [Viscera Sucker], dir. Peque Gallaga & Lore Reyes (Regal Films, 1992).

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

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

Lim, Michael Kho. Philippine Cinema and the Cultural Economy of Distribution. Cham, Switzerland: Palgrave Macmillan, 2019.

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

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

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

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

Loriga, Renato. Autohystoria: Visioni postcoloniali del nuovo cinema filippino [Postcolonial Visions of the New Filipino Cinema]. Studi postcoloniali di cinema e media series no. 4. Canterano, RM: Aracne editrice, 2016. A study of Autohystoria, dir. Raya Martin (Cinematografica, 2007).

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

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

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

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

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

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

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

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

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

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

Malone, Peter, ed. Through a Catholic Lens: Religious Perspectives of 19 Film Directors from Around the World. Communication, Culture, and Religion Series. Lanham, MD: Rowman & Littlefield Publishers, 2007. Nicasio Cruz, “The Legacy of Lino Brocka.”

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.

Murray, Raymond. Images in the Dark: An Encyclopedia of Gay and Lesbian Film and Video (Revised and Updated). London: Titan Books, 1998. Originally published 1994; includes an entry on Macho Dancer, dir. Lino Brocka (Award Films, Special People Productions, & Viva Films, 1988).

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

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

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

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

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

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

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

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

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

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

Orsal, Cesar D. Movie Queen: Pagbuo ng Mito at Kapangyarihang Kultural ng Babae sa Lipunan [Formation of the Myth and Cultural Dominance of Women in Society]. Quezon City: New Day Publishers, 2007.

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

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

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

Pascual, Chuckberry J. Pagpasok sa Eksena: Ang Sinehan sa Panitikan at Pag-aaral ng Piling Sinehan sa Recto [Scene Entrance: The Movie House in Literature and the Study of Selected Theaters along Recto (Avenue)]. Quezon City: University of the Philippines Press, 2016.

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

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

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

Pelikula at Lipunan [Film and Society]: Festival of Filipino Film Classics and Short Films. [Quezon City]: National Commission for Culture and the Arts Cinema Committee, Film Academy of the Philippines, and Movie Workers Welfare Fund, 1994.

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

Pertierra, Raul. The Anthropology of New Media in the Philippines. Quezon City: Institute of Philippine Culture, Ateneo de Manila University, 2010.

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

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

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

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

Philippines Bureau of Export Trade Promotion. See Export Trade Promotion, Philippines Bureau of.

Philippines Bureau of Internal Revenue. See Internal Revenue, Philippines Bureau of.

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

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

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

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

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

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

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

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

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

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

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

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

Remoto, Danton. Rampa: Mga Sanaysay [Sashay: Essays]. Pasig City: Anvil Publishing, 2008. Includes discourses on Freddie Aguilar, Nora Aunor, Ishmael Bernal, Darna, Joel Lamangan, Manila by Night [dir. Ishmael Bernal (Regal Films, 1980)], and Miss Saigon.

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

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

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

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

Reyes, Soledad S. From Darna to Zsazsa Zaturnnah: Desire and Fantasy (Essays on Literature and Popular Culture). Pasig City: Anvil Publishing, 2009. Includes studies on komiks-to-film crossovers including the title texts.

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

———. Pagbasa ng Panitikan at Kulturang Popular: Piling Sanaysay, 1976-1996 [Reading Literature and Popular Culture: Selected Essays, 1976-1996]. Quezon City: Ateneo de Manila University Press, 1997.

———, ed. Reading Popular Culture. Quezon City: Office of Research and Publications [of the] Ateneo de Manila University, 1991. Papers presented at the First National Conference on Popular Culture at the Ateneo de Manila University on November 17-19, 1988; includes Ruth Elynia Mabanglo, “Mula sa Altar nina Huli at Maria Clara: Imahen ng Babae sa Ilang Dramang Pilipino [From the Altar of (José Rizal characters) Huli and Maria Clara: Images of Women in Selected Philippine Dramas]”; and Soledad S. Reyes, “Women on Television.”

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

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

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

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

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

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

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

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

Salazar, Zeus A., Agustin Sotto, and Prospero Reyes Covar. Unang Pagtingin sa Pelikulang Bakbakan: Tatlong Sanaysay [A First Glance at the Action Film: Three Essays]. Manila: Sentrong Pangkultura ng Pilipinas, 1989.

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

Samson, Laura, Brenda V. Fajardo, Cecilia B. Garrucho, Lutgardo L. Labad, and Ma. Gloriosa Santos Cabangon. A Continuing Narrative on Philippine Theater: The Story of PETA (Philippine Educational Theater Association). Quezon City: Philippine Educational Theater Association, 2008. “PETA’s Foray into Broadcast Theater.”

San Juan, E. Jr. From Globalization to National Liberation: Essays of Three Decades. Quezon City: University of the Philippines Press, 2008. “Allegories of National Liberation” discusses Savage Acts and Fairs – possibly Savage Acts, dir. Pennee Bender, Joshua Brown, and Andrea Ades Vasquez (American Social History Productions, 1995) – as well as Lino Brocka’s opposition to Imelda Marcos’s edifice complex; similar passages appear in a number of earlier books by the author.

San Juan, Edgar, Son-hwa Yi, Aramch’an Yi, and Hye-jong Mok. Kidlat Tahimik. JIFF ch’ongso series. [Jeonju]: Jeonju International Film Festival, 2011. On film director Kidlat Tahimik.

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

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

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

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

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

Shaw, Angel Velasco, and Luis H. Francia, eds. Vestiges of War: The Philippine-American War and the Aftermath of an Imperial Dream, 1899-1999. New York: New York University Press, 2002. In conjunction with an exhibit titled Vestiges of War, “a project of Asian/Pacific/American Studies Program and Institute, New York University”; includes Nick Deocampo, “Imperialist Fictions: The Filipino in the Imperialist Imaginary.”

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

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

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

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

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

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

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

Solomon R. Guggenheim Museum. Empire and Memory: Repercussions and Evocations of the 1899 Philippine-American War. [New York: Solomon R. Guggenheim Museum, 1999.]

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

Sotto, Agustin, and Marilou Diaz-Abaya. Political and Social Issues in Philippine Film: Two Perspectives. Political and Social Change Working Paper Series, No. 12. Canberra: Department of Political and Social Change, Division of Politics and International Relations, Research School of Pacific and Asian Studies, Australian National University, [1995].

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

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

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Tadiar, Neferti X.M. [as Neferti Xina M. Tadiar]. Fantasy-Production: Sexual Economies and Other Philippine Consequences for the New World Order. Hong Kong: Hong Kong University Press, 2004. “Himala, Miracle [dir. Ishmael Bernal (Regal Films, 1980)]: The Heretical Potential of Nora Aunor’s Star Power.”

———. Things Fall Away: Philippine Historical Experience and the Makings of Globalization. Post-Contemporary Interventions series. Durham: Duke University Press, 2009. Mentions Nora Aunor and the career boost given by her performance in The Flor Contemplacion Story, dir. Joel Lamangan (Viva Films, 1995); discusses Sharon Cuneta’s stature as “arguably the most popular female movie star in the Philippines today”; and erroneously ascribes the “Second Golden Age” concept to an essay by Bienvenido Lumbera.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

———, ed. Vaginal Economy. Special issue of Positions: Asia Critique, vol. 19, no. 2. Durham: Duke University Press, 2011. On “Cinema and Sexuality in the Post-Marcos, Post-Brocka Philippines” (guest editor’s introduction).

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.

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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).

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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.

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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; “jowa” is a contraction of “jowawa,” originally gay lingo for asawa or spouse, with the first sound replaced by “j-” (sometimes “sh-”) as a pseudo-French affectation from the 1970s.

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: To see these entries in chronological order, click here; to see them grouped by category, click here; the entries in alphabetical order, listed by author, can be found here; for an alphabetical listing by title, please click 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.

To access beyond the latest year: 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005, 2004, 2003, 2002, 2001, 2000, 1999, 1998, 1997, 1996, 1995, 1994, 1993, 1992, 1991, 1990, 1989, 1988, 1987, 1986, 1985, 1984, 1983, 1982, 1981, 1979, 1978, 1977, 1976, 1975, 1973, 1972, 1971, 1967, 1958, 1952, 1949, 1943, 1938, 1929, 1918, and 1912.

2020
[as of October 2020]

Bolisay, Richard, ed. Daang Dokyu: A Festival of Philippine Documentaries. Philippines [city unkn.]: FilDocs. A “DokBook” for the eponymous film festival; available as an Issuu digital file at the Daang Dokyu website.

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.

Gimenez-Maceda, Teresita, Amado Anthony G. Mendoza III, and Galileo S. Zafra, eds. Bien! Bien! Alagad ng Sining, Anak ng Bayan [Art’s Adherent, the Nation’s Offspring]. Festschrift for Bienvenido L. Lumbera. Quezon City: University of the Philippines Sentro ng Wikang Filipino. Roland B. Tolentino, “Desire, Neoliberalism, Hollywood, and Asian Cinemas”; Romulo P. Baquiran Jr., “Pagtagos ng Mitiko at Modernidad sa mga Piling Metasineng Tula/Sugidanon [Infusion of Myth and Modernity in Selected Metafilmic Poetry / Panay Epics].”

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

Kung, Kaby Wing-Sze, ed. Reconceptualizing the Digital Humanities in Asia: New Representations of Art, History and Culture. Digital Culture and Humanities series no. 2 (Challenges and Developments in a Globalized Asia). Singapore: Springer Nature. Jose Gutierrez III, “Cinematic Contemplation Online: The Art and Philosophy of Life-world Series (2017).”

Labiste, Ma. Diosa, ed. Duterte and Disinformation. Special issue of Plaridel: A Philippine Journal of Communication, Media, and Society, vol. 17, no. 1. Quezon City: College of Mass Communication [of the] University of the Philippines. Adjani Guerrero Arumpac, “Regenerative Documentary: Posthuman Art in the Context of the Philippine Drug War”; Carlo Gabriel “Choy” Pangilinan, “Mula kay GMA Hanggang kay Duterte: Kritika sa Ilang Dokumentaryong Politikal at Pagmamapa sa Tunguhin ng Dokumentaryo sa Panahong Pinapaslang ang Politikal [From (Philippine Presidents Gloria Macapagal Arroyo) to (Rodrigo Roa) Duterte: A Critique of Selected Political Documentaries and a Mapping of Documentary Trends during the Slaughter of Political (Participants)].”

Lacuesta, Angelo Rodriguez (as Sarge Lacuesta), and Mookie Katigbak-Lacuesta. Walking The City of Literature: A Film and Literary Guide to Quezon City. Quezon City: Office of the City Mayor.

Lee, Ricky. Kulang na Silya at Iba Pang Kuwentong Buhay [Missing Chairs and Other Life Stories]: Essays on Life and Writing. Quezon City: Philippine Writers Studio Foundation. Reminiscences and lessons by the country’s premiere scriptwriter.

Lico, Gerard. PA(ng)LABAS: Architecture + Cinema – Projection of Filipino Space in Film. 2nd ed. Quezon City: Arc Lico International Services. “A new essay tracing the development and decline of Filipino cinema houses, referred to in this book as Popcorn Palaces, is the main highlight of this book and features rare archival images” (author’s Facebook announcement).

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.”

Icabandi, Arlo. Clarita: Hanggang Saan Ka Kayang Dalhin ng Iyong Pananampalataya? [How Far Can Your Faith Take You?]. Quezon City: ABS-CBN Publishing. Novelization of Clarita, dir. Derick Cabrido (Black Sheep, Purple Pig, & Clever Minds, 2019).

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; “jowa” is a contraction of “jowawa,” originally gay lingo for asawa or spouse, with the first sound replaced by “j-” (sometimes “sh-”) as a pseudo-French affectation from the 1970s.

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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. Intellectuals, the Public Arena, and the Nation. 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)].”

Cañete, Reuben Ramas. Masculinity, Media, and Their Publics in the Philippines: Selected Essays. Media and Communication series. Quezon City: University of the Philippines Press. “Subjects of [the] essays in the book include post-EDSA homoerotic cinema, outright pornography, Bench billboard ads, Manny Pacquiao, and the [University of the Philippines’s symbolic] Oblation” (UP Press Facebook announcement).

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: University of the Philippines Sentro ng Wikang Filipino. 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 film director 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, and 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., ed. Vaginal Economy. Special issue of Positions: Asia Critique, vol. 19, no. 2. Durham: Duke University Press. On “Cinema and Sexuality in the Post-Marcos, Post-Brocka Philippines” (guest editor’s introduction).

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: 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. Includes a CD-ROM of available audio samples.

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; book has “Daboy” (Rudy Fernandez’s nickname) on cover but not on title page.

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.

Samson, Laura, Brenda V. Fajardo, Cecilia B. Garrucho, Lutgardo L. Labad, and Ma. Gloriosa Santos Cabangon. A Continuing Narrative on Philippine Theater: The Story of PETA (Philippine Educational Theater Association). Quezon City: Philippine Educational Theater Association. “PETA’s Foray into Broadcast Theater.”

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.

Malone, Peter, ed. Through a Catholic Lens: Religious Perspectives of 19 Film Directors from Around the World. Communication, Culture, and Religion Series. Lanham, MD: Rowman & Littlefield Publishers. Nicasio Cruz, “The Legacy of Lino Brocka.”

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. The Apocalypse 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).

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 (Essays on Film in 10 South East Asia – Pacific Countries). Hanoi: Southeast Asia-Pacific Audio Visual 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).

Lee, Ricky [as Ricardo Lee], Jun Lana, and Peter Ong. Ang Screenplay ng José Rizal [The Screenplay of José Rizal]. Makati City: Butz Jimenez and Jimmy Duavit for GMA Network. Screenplay of José Rizal, dir. Marilou Diaz-Abaya (GMA Films, 1998).

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.

Murray, Raymond. Images in the Dark: An Encyclopedia of Gay and Lesbian Film and Video (Revised and Updated). London: Titan Books. Originally published 1994; includes an entry on Macho Dancer, dir. Lino Brocka (Award Films, Special People Productions, & Viva Films, 1988).

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: University of the Philippines Sentro ng Wikang Filipino. 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 Constantino’s 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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The Aunor Effect in Philippine Film Book Publications

Certain friends whose opinions I value have been asking me to elaborate on the “Aunor effect” – a term that immediately came to mind when I uploaded the bibliography on Philippine cinema to a spreadsheet and sorted the data chronologically as a whole as well as per category.[1] The impetus for me to explain the Aunor effect further strengthened when the text I contributed to the Pinoy Rebyu blog’s Filipino Film Person of the Decade survey came out. The full text I submitted (which was duly reprinted on the website) was as follows:

Until a few days ago I kept going over the list of movers and shakers in local cinema during the past decade, then during the present millennium, then during the last few years of the past century. When I drafted an essay to accompany the Philippine film bibliography I posted on my blog, I was surprised to find a name I associated with all-time influence on Philippine cinema. It shouldn’t surprise anyone that Nora Aunor remains as important today, though no longer as a box-office attraction, as she did when she started out. Nevertheless I still felt as humbled as I was fascinated: here was someone whom I felt I was upholding by making sure to acknowledge her superiority as film performer – when in fact I was the one (along with everyone else) she was bolstering, by ensuring that local film-book publication could begin and become sustainable through the decades.

Her political significance is also as unstable and unresolved as her artistic importance is beyond dispute: this is the only way to read her exclusion from the Order of National Artists under two successive administrations that regard each other as mortal enemies. What compounds the situation is that the Marcos oligarchy, now seeking to recapture its glory days, would be most likely to acknowledge her excellence, if the clan members are (atypically) sincere about restoring Ferdinand Sr.’s best practices. This isn’t the only irony attending Aunor’s existence in our lives, nor will it be the last. She deserves to be the decade’s Film Person, if only to remind ourselves that upsetting conventions and defying cherished notions will always have its place in the Filipino artist’s endless striving for meaning.

In a “Authoring Auteurs,” a bibliographical essay I published on January 18, 2020, on this blog, I cited the first film books to come out at the start of a mostly uninterrupted trend that kept growing to the present: these were titled Nora Aunor: Tagumpay sa Bawat Awit (ed. Jose Reyes Martinez, 1971), Ang Tunay na Kasaysayan ni Nora Aunor, Superstar (Rustum G. Quinton, 1972), and Getting to Know Nora (Herbert L. Vego, 1973). A few years later, Nick Joaquin (as Quijano de Manila) titled his compilations of feature articles according to “headline” star interviews – Amalia Fuentes and Other Etchings, Ronnie Poe and Other Silhouettes, Joseph Estrada and Other Sketches, Gloria Diaz and Other Delineations; the strongest seller in the list was Nora Aunor and Other Profiles (with his groundbreaking “Golden Girl” article), no longer a surprise by then.

In 1983, two “installment” texts came out. One was the first Urian Anthology covering the 1970s, which was followed by other anthologies covering the other decades since. The other was Baby K. Jimenez’s Ang True Story ni Guy, Unang Aklat and Ikalawang Aklat – both comprising a satisfying auteur biography that people tend to overlook because of its subject. I would maintain that ATSG 1&2, along with Ishmael Bernal, Jorge Arago, and Angela Stuart-Santiago’s Pro Bernal, Anti Bio (2017) and Jerry B. Gracio’s Bagay Tayo / Hindi Bagay (2018) are my favorite celebrity bios – engaging, finely detailed, honest about their subject. If Ricky Lee’s long-gestating no-holds-barred biography finally comes out, then Aunor, who already has several books devoted to her, would have the most impressive biographies of any Filipino auteur, alive or dead.

A third 1983 volume, more historically significant than the critics’ anthology, was Rafael Ma. Guerrero’s Readings in Philippine Cinema. Nestor de Guzman, possibly the most assiduous Aunor scholar hereabouts, recently pointed out how National Artist for Literature Virgilio S. Almario (a.k.a. Rio Alma) wrote a celebrity article only once, and the text, “Cinderella Superstar,” was anthologized in the Guerrero book. De Guzman’s own anthology, Si Nora Aunor sa mga Noranian, was not, strictly speaking, the first of its kind; two other anthologies, Monina A. Mercado’s Doña Sisang and Filipino Movies (1977) and Mario A. Hernando’s Lino Brocka: The Artist and His Times (1993), preceded de Guzman’s 2005 collection, but then both subjects had died when the book projects were initiated as tributes to them. Moreover, de Guzman also took charge of the Iriga Public Library’s Noraniana Collection, a remarkable compendium, the only one of its kind, of media texts (books, videos, recordings, posters, etc.) on Aunor. In 2011, Kritika Kultura came out with its special issue titled On Nora Aunor and the Philippine Star System (August 2015), containing the sequel of Wilfredo Pascual’s Palanca Award-winning essay, “Devotion.”[2]

While further describing other “firsts” in film-book publication, two matters came up. The first novelization of a Filipino film was Edgardo M. Reyes’s 2010 adaptation of his script for Romy V. Suzara’s Mga Uod at Rosas (1982), a film that starred Aunor. The other centered on Aunor’s most famous project, Ishmael Bernal’s Himala (1982): Ricky Lee’s first republished book was his innovative prose collection, Si Tatang at Mga Himala ng Ating Panahon (1988, 2009); and although another script of his was first to be reprinted (Salome in 1981 and 1993) and behind-the-scenes accounts of other films were already available, Sa Puso ng Himala (2012) is by far the best example of a lavishly annotated and illustrated book centered on one title.

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Beyond these samples, we have a number of Who’s Who type of anthologies, of which I have so far confirmed the following as including Aunor in their list of subjects: Yen Makabenta’s Book of the Philippines (1976); Joy Buensalido and Abe Florendo’s 100 Women of the Philippines (1999); the Cultural Center of the Philippines in cooperation with the Centennial Commission’s CCP Centennial Honors for the Arts (1999); and the Sulong Pilipina! Sulong Pilipinas! volume of the National Centennial Commission’s Women Sector (1999). Needless to say, several other titles may turn out to contain features of Aunor.

More intensive inspections have been provided in such articles as Ambeth Ocampo’s “The Nora Aunor Mystique” in Bonifacio’s Bolo (1995); Marra PL Lanot’s “That Gal Named Guy” in The Trouble with Nick and Other Profiles (1999); Leonor Orosa Goquingco’s reviews of Aunor’s performances at the Philippine Educational Theater Asociation in Curtain Call (2001); Danton Remoto’s queer-inflected appreciation in Rampa (2008); and Patrick D. Flores’s “Hanapbuhay sa mga Pelikula ni Nora Aunor” in Consuelo J. Paz’s Ginhawa, Kapalaran, Dalamhati (2009).

Aunor’s status has long been iconic, for anyone who wishes to delve into that aspect of her signification. This can be gleaned in book chapters or sections devoted to her or her films, especially Himala: Neferti Xina M. Tadiar’s “The Heretical Potential of Nora Aunor’s Star Power” in Fantasy-Production (2004), Sumita S. Chakravarty’s “The Erotics of History” in Antony R. Guratne and Wimal Dissanayake’s Rethinking Third Cinema (2003), as well as Renato Perdon’s upholding of the film as a sample of religious expression in Footnotes to Philippine History (2008). A remarkable instance of a scholar using Aunor’s iconography to reflect on another Philippine star is Bliss Cua Lim’s “Sharon’s Noranian Turn: Stardom, Race, and Language in Philippine Cinema,” in Andrea Bandhauer and Michelle Royer’s Stars in World Cinema (2015).

There may have been no Aunor book or article during the last four years, although several (in varying degrees of development) are in the pipeline.[3] And as in the case of most of the other Pinoy auteurs such as Gerardo de Leon, Lamberto V. Avellana, Lino Brocka, Ishmael Bernal, and Fernando Poe Jr., more material can be expected to emerge after she dies. At this point, the only other living auteur whose name gets cited in several bibliographies is Kidlat Tahimik, discussed in four book chapters with one book, a film festival brochure, devoted entirely to him. Even if we assume an unlikely scenario where the Aunor effect already permanently ended in 2015, there still has not been any other Filipino who impacted publishing as she has, except for José Rizal and (possibly) Ferdinand E. Marcos.

A final note, irrelevant as far as I’m concerned, but urgent to many Aunor observers: all the filmmakers mentioned in the previous paragraph are National Artists. Even when regarded strictly as a scholarly issue, the honor means nothing when the most significant among them is excluded from their circle.

Notes

[1] Encouragement for me to write out this mini-essay came from Mauro Feria Tumbocon Jr., Nestor de Guzman, Cristina Gaston (pseud.), Patrick D. Flores, Deogracias Antazo, Juan Andres Nolasco, [more to come]…. Most of these books appear in the auteurist section of the categorized listing of the bibliography that I posted on January 18, 2020. To search through an uncategorized alphabetical listing, please click here. Of several other Aunor titles reported as published, I have been able to confirm their stature as books along with details of publication via the Noraniana Collection Project’s highly responsive overseer, Nestor de Guzman.

[2] In the comprehensive bibliography, I had to exclude nearly all theses and dissertations. However, it would be remiss to ignore the very first (and presumably not the last) doctoral dissertation on Aunor, written by the country’s leading art critic and cited in Wilfredo Pascual’s “Devotion”: Patrick D. Flores successfully defended “Makulay na Daigdig [Colorful World]: Nora Aunor and the Aesthetic of Sufferance” at the University of the Philippines in 2000.

[3] As if anticipating the need to prove my misgivings wrong, the latest Aunor publication came out within a month after this article was first published. This was the first issue of this year’s Bikol Studies: Perspectives & Advocacies, the Ateneo de Naga University’s journal, titled Nora and edited by popular-culture and gender expert Jaya Jacobo.

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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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