Theater, Film, & Everything in Between

TWO WOMEN AS SPECTERS OF HISTORY

Lakambini and Indigo Child by Rody Vera

Edited, with production notes & interview by ELLEN ONGKEKO-MARFIL

With an introduction by JOEL DAVID

Á Published by BUGHAW

BUGHAW is an imprint of ATENEO DE MANILA UNIVERSITY PRESS Bellarmine Hall, Katipunan Avenue Loyola Heights, Quezon City, P.O. Box 154 1099 Manila, Philippines Tel. (632) 426-59-84 / Fax (632) 426-59-09 Email: [email protected] Website: www.ateneopress.org

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The National Library of the Philippines CIP Data

Recommended entry:

Vera, Rody. Two women as specters of history : Lakambini and Indigo Child / Rody Vera, edited with production notes and interview by Ellen Ongkeko-Marfil, introduction by Joel David. – Quezon City : Ateneo de Manila University Press, [2019], c2019. xxii, 179 pp ; 22.86 cm

ISBN 978-971-550-897-1

1. Vera, Rody – Interviews 2. Motion picture plays. 3. Motion picture producers and directors – Interviews I. Marfil, Ellen Ongkeko. II. Title.

791.430233092 PN1998.3.V47 P82018174 Á CONTENTS

vii Foreword

LIZA C. MAGTOTO ix Preface

ELLEN ONGKEKO-MARFIL xiii Theater, Film, & Everything in between: An Introduction to Two Women as Specters of History

JOEL DAVID

001 Interview with Rody Vera

ELLEN ONGKEKO-MARFIL

027 Lakambini RODY VERA

127 Production Notes

ELLEN ONGKEKO-MARFIL

145 Indigo Child RODY VERA

163 Production Notes

ELLEN ONGKEKO-MARFIL

177 Biographies Á Like Lee and Diaz-Abaya during that period, Rody Vera and Ellen Ellen and Vera Rody period, that during Diaz-Abaya credit and Lee Like remarkable co-authors project, as celebrated Ejercito most director’s Jesse their the producer of and their and Lee’s, Lee, and herself, naming Diaz-Abaya as triumphant and Jeturian Lao. and Jeffrey Matti by sake, Erik throwback’s by for or even, or Lao, Yamamoto, Michiko Armando and Mendoza Brillante as such ones contemporary as well as collaborators, listed earlier the by made commitment, progressive and motivate teams’ us to these look with forward to more publications starting are on, say, instructive, the similarities films highly The Diaz-Abaya’s). Marilou (on Lee Ricardo and films) Leon’s de Mike (on Mundo del Doy by books few a predecessor, their as us. with remain still fact) in partnerships, (none the of Rivera and Gallaga/Reyes, Lacaba, only pairs, several the of that consider we when tragic more the all productivity; their to attesting publication book a had even Tordesillas—never Jake and Reyes los de J. Maryo Rivera, Frank and O’Hara Mario Cruz, la de Q. Uro and team Reyes Gallaga/Lore either Peque the Lacaba, and F. Jose and Leon Brocka de Lino Arago, Jorge and Gerardo Bernal Ishmael Sibal, Bayer,Flores Jose or Salas L. Rolf Pierre and Avellana V. Lamberto examples— few A form. book celebrated in commemorated been a has scriptwriter that times few the and of director regular her his aor Philippine collaboration film between one marks volume present The THEATER, FILM, & EVERYTHING IN BETWEEN No other Filipino director-writer collaboration has been as as been has collaboration director-writer Filipino other No comprising of scripts Thepair An Introduction to to Introduction An Two Women as Specters of History of Specters as Women Two Moral Lakambini , attested to their attainment. attainment. their to attested , and and Indigo Child Indigo JOEL DAVID can count Á

INTRODUCTION xiii TWO WOMEN AS SPECTERS OF HISTORY xiv even during her early years in theater, Ongkeko-Marfil facilitated the the facilitated Ongkeko-Marfil theater, in years early her during even cinema mainstream explored who Inc. turn Film the & Broadcast since Theater Association’s Educational only Philippine the of careers alumna An millennium. film-auteur the of their started having professions, their in newcomers relative as described both be may Ongkeko-Marfil serialize screenplays of major releases, culminating in the inclusion inclusion the in culminating releases, major of directors’ to screenplays began serialize including magazines literary scripts, private and entertainment shooting and notes; handwritten archive Libraries to suggest. began would collectors titles book of proliferation with films. short the Mainstream Beyond World 3rd Bayaning film unfinished the for Leon–one de Mike for scripts his of two with up came later also he novel 1967 Reyes’s Edgardo of adaptation celebrated his plus unproduced, one writers, other co-written with them of (two book one in scripts three published only not Salome directors—Diaz-Abaya’s scripts different Lee’s two of with pair a one was of) first part was very I group the a by 1981 in Philippines: (published the in screenplays printed of history four all disclosure: (Personal them. of mine.) friends good been have individuals tackle to proceeded artists the before resolved been having already conflicts these of sense relaxed a hand byfirst- their collaborators,experienced tensions Ongkeko-Marfilsocial andthe where Vera’sexhibit result, a projects films Lee’s and convey As Diaz-Abaya little. matter nearly them between differences the that experiences convergent such had have Ongkeko-Marfil and on), Vera so and and cis, and queer working-class male, and female urban, young, and old and privileged, (rural society their Philippine marked that in extremes moment the spanned Lee and Diaz-Abaya Where breaks. scriptwriting early some of his with him providing help, Vera’s to solicit would she turn directing, and inevitable producing film Ongkeko-Marfil’s In presentations. street-theater movement’s anti-dictatorship the in song signature his “Manggagawa,” Leon’s de L. Stella projects–Mike Sister film formative her of one in Vera of casting Once the publication of screenplays in the Philippines began began Philippines the in screenplays of publication the Once the circumscribes also offering two-in-one current the But evenis morestriking. twothepartnerships between The difference Brutal/Salome . More novel examples come from Clodualdo del Mundo Jr., who Jr., Mundo del Clodualdo from come examples novel More . in 1984; it was for the former project that Vera performed performed Vera that project former the for was it 1984; in . Even more titles were crammed in Nick Deocampo’s Deocampo’s Nick in crammed were moretitles Even . , the activity became more widespread than the the than widespread more became activity the , Rizal , although these were in fact the scripts of his his of scripts the fact in were these although , , and the other for the finished Rizal project, project, Rizal finished the for other the and , Sa mga Kuko ng Liwanag Brutal and Laurice Guillen’s , renamed renamed , Maynila ); ); Á of the complete and uncensored text (with English translation) translation) English (with text uncensored and complete the of the year-long Golden Anniversary presentations of PETA in 2017. During 2017. During in PETA of presentations Anniversary Golden year-long the during evident became realities These extent. harsh, not if extreme, to an himself devoted and challenging), admittedly (all areas of number limited a on focused Vera case: this in inapplicable twice is nothing in triumphing and everything cover to aspiring anyone about cliché The practice. media in shifts and reversals restless Vera’s betokened video, child. illegitimate an behind left director late the that possibility onthe premised mockumentary a was its Barros-Sanchez’s with Sigfreid film, The relationship members. turbulent a had who company’s director the executive Brocka, former recalling member PETA a he as technology, digital himself, by “played” replaced was and speaking, of manner a in student a Brocka’s played Lino he time in activist this dictatorship, and Marcos persona the feature of earlier his downfall modified the after later, years few A Leon’s de Mike in as activist role, labor film ill-fated first an Roger, his also but repertoire Patatag the in numbers solo with name. their to country, concerts well-remembered the and CDs well-received in several groups choral highly- most progressive the the among instrument), Patatag regarded musical cofounded he indigenous an after, after long (named Not Filipino. into plays foreign- language translating also but material original most writing just not be he began beginning, might the from Right media them. with whatever communicating in in effective audience Philippine the to out reaching of goal Association’s Theater Educational Philippine the with line in was This trained. originally had he where the format beyond and medium skills of range his expanding been has Vera playwright, and performer as 1970s, late the in talent theater a as emergence his Since POLITICS OF GENDER AND NATION author, Vera. of Rody output their the more fully even experienced collaborations Both with stage andwell. directors, film as but both point are this home brings play, the of completely terms the being to faithful in documentation, existing the and presentation, moment)that and completed, ofthis that the sense of scripts not-films—in are these definitions, technical strict some by well: as volume current journal humanities Bernal’s Ishmael of In a sense, these performative highlights, recorded on celluloid and and celluloid on recorded highlights, performative these sense, a In just not him earned singing and performance in training His Kritika Kultura Kritika Manila Night by Orapronobis . But a final distinction marks the marks distinction final a But . (1989). When film itself collapsed, collapsed, itself film When (1989). Indigo Child Indigo i n t h e l i t e r a r y s e c t i o n o f t h e Lakambini Ang Anak ni Brocka has not been (so far, as as far, (so been not has was primarily a stage primarily was Sister Stella L. Stella Sister (1984). (1984). (2005), (2005), Á

INTRODUCTION xv TWO WOMEN AS SPECTERS OF HISTORY xvi talents but also the director of the planned restaging of Alan Glinoga’s Glinoga’s Alan of restaging planned the of director the also but talents the resident well-loved most and afterward, best long its of notone just Topacio not lost Soxie organization of death the With singer. a as Vera of that was event, the of coverage press single every in recounted tribute talent-packed the films: Ellen Ongkeko-Marfil’s Ongkeko-Marfil’s personal-best Ellen directors’ films: with association his of terms matters, in remarkable, political to been attentive has record His as family. or gender, province, nation, the regarded of whether be may that material of Loy Arcenas’s in scriptwriter, the as credit solo first bettering his before of Way dominance. and purpose the for critique spread inexorable capitalism’s haunt will Others of society’s conditions social to call Marx’s but present, historical the for option viable a system Orthodox-Marxist the No longer is Jacques Derrida. philosopher to deconstructionist ascribed spectral Engels’s Friedrich and originally Marx Karl its (per status to returned has that system a as Communism of idea The included. Philippines the in of that movements situations, less-developed progressive for implications profound their of terms Cold War. the of end the upon and bloc Soviet the of frustration collapse the with speak) by to (so the ghost up gave utopia paralyzed socialist a of possibility dead-end, the since ever frustration, nihilistic a to observer progressive any driving of potential the have more and these oligarchic all of rule: restoration the dictatorship, military of imposition United the the nation), Asian England, Southeast other any China—than possibly Japan, claimants–Spain, States, more (with Philippines of the occupations colonial the Galileo, of persecution the as such Events present. the with resonates past the strongly how over concerns Vera’s a unsurprisingly, out, turned of Vera’s worthy success predecessors. resounding play—which the of rehearsals the for except tasks, professional of suspension and commitments social other all from disappearance of periods rare Vera’s of one to led process The hands. his into fell project final Topacio’s completing would-have-been Shakespeare’s play, another Vera had agreed to be Topacio’s dramaturge,as Inasmuch and1995. in had died in facthad who translatedBennewitz, Fritz Theatre’s National Brecht’s of Bertolt translation Vera’s output is taking stock of these historical upheavals in in upheavals historical these of stock taking is output Vera’s illuminates it way the is remarkable achievement the makes What 1981, in staged First Niño (2011), Vera had sought to carve a niche as a purveyor Ang Buhay ni Galileo Singkuwenta Leben des Galilei. des Leben Boses Macbeth (2008), Lav Diaz’s Diaz’s Lav (2008), fr enwt, h ts of task the Bennewitz, for , , the star-is-born revelation, revelation, star-is-born the , The Communist Manifesto Communist The was directed by German Norte, Hangganan Hangganan Norte, ) is is ) Á ng Kasaysayan presentations—mostly classical and Pinoy-rock concerts and an an and concerts Pinoy-rock Auditorium. Hall theAbelardo screening—at film occasional and classical other presentations—mostly the as well as plays Cruz la de Reijoo the loner) high-school own, a my on as (also watching to took also I that time this around was it because largely Vera’saccount, from much this track could I mastered. was it once quenched be only would that passion a stirred that skill a of pursuit in devise could the teen by early precocious a that jump-started web, worldwide age information the to prior available one only it more fully: moment thata has to be suspendedpossibilities, in order forartistic us toof return toworld it and understand the to awakening proverbial of Philippines. the University of production of College Music of of the the Auditorium Hall (Vera 104) Abelardo at the SAMASKOM his with transgressive starting the from Cruz, la de Reijoo more but playwright-director now-forgotten the of productions activities classroom usual the just not in theater, to exposure early his by shaped were actions protest these of aspects performative The resistance. and protest of tradition of coming and on doorstep, their Palace, near Vera Malacañang up grew steeped the in activists literally fought were battles whose Storm, anti-fascist Quarter First the were during age siblings whose family a to Born THE CALL TOREMEMBER hit thesleeper with off kicked that epics period Heneral Roño’s Chito to follow-up Badil a via perseveres, analyses historical and social The account encapsulates the methodical process, possibly the the possibly process, methodical the encapsulates account The (Vera 104) to myself. only These kept and plays Iread school. high of whom in my second in year Iread Albee—all Edward Iguess and Beckett, Samuel Ionesco, Genet, Jean Eugene like dramatists absurdist upto read on so-called led me route, which this through was therefore to theater My introduction devices. deceptive and symbols many so in cloaked style, “absurdist” an in that—structured like were plays all Ithought for along quite my time. mind in stuck play, by the That play it asecond taken so time. Iwatched I was the betokens theater to self-introduction his of description Vera’s (2013), which he had written, as well as co-writing co-writing as well as written, had he which (2013), (2018), the second installment of Jerrold Tarog’s ambitious (2013), Jun Lana’s Lana’s (2013), Jun Die Beautiful Die (2016). His commitment to Heneral Luna Programang Putol-Putol Goyo: Ang Batang Batang Ang Goyo: (2015). Á

INTRODUCTION xvii TWO WOMEN AS SPECTERS OF HISTORY xviii aggravating the horrific bullying I endured from a school gang and gang school a from endured I bullying horrific the aggravating risk not could I texts. essential considered were whatever collecting reading and begin could I so available were canons whatever up drew I and endeavor), an such in entirely thrive could one no that early that Marichu Vera-Perez, who took over after her father “Doc” Jose Roxas Perez 1 Perez Roxas Jose “Doc” father her after over took who Vera-Perez, Marichu 1969. and 1965 in elections presidential his biopictures, hagiographical to win for Ferdinand margin produce necessary the providing as acknowledged to it commissioning by image public their in investment Sampaguita’s acknowledged Marcoses The then-boyfriend. her with to trip out-of-town Sampaguita her an took she lost after but Ferdinand Pictures, Romualdez, Imelda Vera-Perez then-single the movie itself screen-tested family had the calling to Vera’s speak, Occasionally to for so outfit. motive star, his the hitching provided from departure Marcos Ferdinand of dictatorship he was. as movie-going in not interested as were parents his account, Vera’s Rody per and II, War World during perished he unfortunately, Films; Regal of emergence the to prior studio movie up Sampaguita set Vera, T. Pedro Pictures, grandfather, his which direct: becamemore yet thevisible less most was successfullink Philippine Philippine the the Vera’s case, In Army. US the of with training after shop Office printing screen the for silk- non-mechanized first country country’s the up set who father the a President, over translated who all mother a from English, letters teach to order in administrators American-occupation early by school high of out plucked grandmother from backlash. survival anti-intellectual equivalent any own his entailed well- have could his these enhanced worst, at have and could being; these best, at that, knew I self-study his himself, keeping to for had Vera reasons whatever So fluency. and literary delight intellectual of expense the at terror) sheer of (which out voice, to worth their refused prove also but then even sensed to I nothing—something to amounted desperate were who hangers-on their

known appearance in a feature film of a member of the Marcos family. Marcos ofthe ofamember film afeature in appearance known first himself—the played Bongbong) as Jr. known (also Ferdinand film, first the in Santos; Vilma by Imee and Mia, Rosa by mother Ferdinand’s Romero, Gloria by Imelda Gonzales, Luis by played was Ferdinand films, Pinagbuklod ng Langit Torres); and S. Mar and Villa, de Jose Conde, Conrado dir. 1965, Fate; by were: films These I resolved to focus on literature (mostly fiction, although I was aware aware was I although fiction, (mostly literature on focus to resolved I The connection between Sampaguita and the soon-to-be soon-to-be the and Sampaguita between connection The a like lineage, my in factors certain from draw could I knew also I Iginuhit ng Tadhana: The Ferdinand E. Marcos Story Story Marcos E. Ferdinand The Tadhana: ng Iginuhit (Bonded by Heaven; 1969, dir. Eddie Garcia). In both both In Garcia). Eddie dir. 1969, Heaven; by (Bonded 1 During the Marcos regime, (Drawn (Drawn Á passed away in 1975, became known as part of Imelda’s “Blue Ladies” Ladies” “Blue Imelda’s of part as known became 1975, in away passed at tempted ma k ing of the mov ie, intert w ined w ith the severa l unresolved unresolved l severa the ith w its way to completion. ined w on now is recluse), eccentric apparently to widow intert traumatized severely ie, through partner mov revolutionary (from the Jesus de of surrounding ing questions the k of ma account nonfiction tempted still-untitled at a team; the stars with mainstream up with caught production period-film of realities the until a feature project by Ongkeko-Marfil, co-directing in. worked with Vera that Jeffrey formats various Jeturian, collection. of this sections other the in narrated is Jesus. The odyssey of these left- projects two toward media commemoration a of experience de of late-twentieth-century traumatic counterpart the the revolutionary activist, on invitation turned an that play to a responded provide to Vera monstrosities, strongman’s the of dismissive or ignorant be would generation present the that wager the on premised family, Marcos’s of members surviving the of popularity to return the With inscribed. be would revolutionary well-intentioned and elite, local invader, whom foreign the on of shortcomings body and betrayals the the as Bonifacio, Andres President would-have-been first the of widow Jesus, de Gregoria regarding of vision serendipitous the cultivated Vera Filipina. the toward abusive, not if neglectful, than Economic the World Gap Reports. in Gender annual Forum’s reflected of as than country, Philippines charge Asia-Pacific other the any taken in in have administration corporate women and more government authoritarianism, disastrous into Marcos’s Ferdinand foray project, masculinist major last country’s the of failure the since workers; overseas Philippine of majority the economy as national the up propping backbone primary the Pinays are of objects its as via served Not woman. nation, only the Filipino conquestas its hope as well for the always future: had young that a sector the of of call frustrations perspective the urgent and an failures to the respond to interrogate them to enable could that materials search for and Ongkeko-Marfil) connect (including to Vera individuals for like-minded motive with the opposition provided dictatorship radical-left Marcos with the to identification members’ its and PETA’s THEATERDETOUR AS Philippines. the of Cinema running Experimental the of including Department Fund Film functions, lucrative the industry several of charge took and circle What is unusual is how both projects wound up traversing the the traversing up wound projects both how is unusual is What less nothing been has history Philippine (male-dominated) Yet Indigo Child Indigo , on the other hand, was intended to be be to intended was hand, other the on , Lakambini was initially filmed as Á

INTRODUCTION xix TWO WOMEN AS SPECTERS OF HISTORY xx voices in precise and inspired cinematic takes, judiciously interposing interposing judiciously takes, cinematic inspired and precise in voices and performers, set, the covered but documentation, video of the for purpose staged play the had of Voices Ongkeko-Marfil Again: festival, Never theater Law the Martial from permission obtaining Estrella; José director theater veteran by handled presentation, stage two-hander a to zero in on in tozero of version feature-film on documentary completed publisher. of the viewing by a be arranged would indispensable and Also Vera by interview) the in answered, (and written as material the through read to motivated sufficiently be should communication of student earnest the volume, present the With APPROACHES been terms. or negative they’ve positive in commemorated and (as films narrativizing, known for the past fictional century) continue to replace be made, never exhibited, to discussed, journalism as managed just Yet phenomenon. distinct a as regarded longer no can be everywhere exists celluloid of potentially that cessation medium a virtual production; the from proceeded only film of The on. death so and cameras), surveillace or chats diary, (from footage video found the the upload, novelty internet the program, TV the drama, mistakenly as regard dispensable to tend we or formats extraneous: by the documentary, enhanced the filmed essentially as just releases–and independent by emblematized center, may mainstream a cinema by up propped be Philippine that exemplars useful be also authoritarian will and Both options. anti-democratic of dangers the to alert be to only Lakambini relationship. tragic and abusive but an to nothing leads fascism with flirting that reminded be to need again will generations for fates and similar expect we and Will Tinio Cayabyab. Rolando by Ryan by lyrics music to set musical, a as presented narrative, originally debut Joaquin’s (whose with Arcenas co-scripted), Loy had Vera by films time sophomore and this again, filmed been has play Nick of certainly adaptation 1965 is Joaquin’s Avellana’s predecessor V. its prestigious–Lamberto script; less no film the speaking, technically to stage the and material. the command actors the allowing mostly but effects graphic few a Indigo Child Indigo Child Indigo Lakambini Portrait of the Artist as Filipino as ofPortrait the Artist , once it has been finalized–serves as reminders for us not us for reminders as finalized–serves been has it once , Indigo Child Indigo ? The answer, sadly, will depend on whether future future whether on depend will sadly, answer, The ? –and the announced documentary on the making of making the on documentary announced the –and is the rare Filipino film where the play is also, also, is play the where film Filipino rare the is Lakambini first, especially if she would have seen the play haveseen she if would especially first, Lakambini itself. A more casual reader could opt , and (if our luck holds out) the the out) holds luck our (if and , . Over half a century since, the the since, century a half Over . Indigo Child Indigo , the soon-to-be- the , Indigo Child Indigo

Á and/or Ongkeko-Marfil’s filmization. Since none of the entries in this this in entries the of none Since filmization. Ongkeko-Marfil’s and/or director-scriptwriter tandems in Philippine cinema. Philippine in tandems director-scriptwriter of recollection for their Lee Armengol JM Vera, and Noel Rios, Ronald Nocon, Monchito acknowledge to wishes author The to disclose. individuals two upbe to these but should that interest; of possibly sensational, be would ofpractice modes vital, separate their of economy political still-unfolding the output. Finally, their informed perspectives these how and practitioners two orientations of these and critical-Marxist delve into the queer-feminist influential) highly them of but onefor would be source another evaluation, comparative could also (many group the with associated artists especially spearheaded, it that in its engagement activism audience. with the popular-culture the All crossover cultural of history the and to PETA relation in Ongkeko-Marfil) including talents, other several as well (as Vera position to want will colleagues more faculty and students Regardless, advanced history. Philippine twentieth-century in events key haunting monster) (amythological woman spectral literally a involves be gladdened to learn that he of early has an project a draft dream that order. alternate an in even well, as everything up reading tantalizing to the references provides only interview said the as inasmuch but Vera, with that that would would imagine motivate her to proceed to the interview I questions. unanswered of clutch a with left be would reader casual a such text, closed a essay, is introductory this for perhaps except volume, Those who wish to look into Vera’s artistry beyond this volume might might volume this beyond artistry Vera’s into look to wish who Those Lakambini script, then our casual reader would wind wind would reader casual our then script,

INTRODUCTION xxi TWO WOMEN AS SPECTERS OF HISTORY xxii Del Mundo, Clodualdo. Clodualdo. Mundo, Del Ishmael. Bernal, Vera, Rodolfo. “Playwriting in the Time of Exigency.” Forum Kritika: Philippine Philippine Kritika: Forum ofExigency.” Time the in “Playwriting Vera, Rodolfo. Engels. Friedrich and Karl, Marx, . ——— Ricardo. Lee, Jacques. Derrida, Deocampo, Nick. Leon. de Mike and Clodualdo Mundo, Del Theater and Martial Law. Martial and Theater 2014. Co., Publishers York: New International 1848. the New International 1997. Publishing, Anvil City: Pasig Lacuesta. R. Lolita Ed. Pampelikula Dulang Pampelikula Dulang Quito]; Gil Yuson. Alfred by translated WORKS CITED Moral . [Quezon City]: Seven Stars Productions, 1982. Productions, Stars Seven City]: . [Quezon Brutal/Salome Alyas Raha Matanda Raha Alyas Manila Night by Beyond the Mainstream: The Films of Nick Deocampo. Nick of Films The Mainstream: the Beyond Specters of Marx: The State of Debt, the Work of Mourning, & Work Mourning, of the Debt, of State The Marx: of Specters . Manila: De La Salle University Press, 2000. Press, University Salle La De . Manila: 1992. Press, University Salle La De . Manila: Maynila: Sa mga Kuko ng Liwanag ng Kuko mga Sa Maynila: . Trans. Peggy Kamuf. New York: Routledge, 1994. York: New Routledge, Kamuf. Peggy . Trans. . [Quezon City]: Cine Gang, 1981. Gang, Cine City]: . [Quezon Kritika Kultura Kritika Kritika Kultura Kritika . Transcribed by Joel David and and David Joel by . Transcribed The Communist Manifesto Communist The [with Herky del Mundo]: Mundo]: del Herky [with Rizal 14 (February 2010): 103–10. (February 14 ; [at] 19 (2012): 172–272. Bayaning 3rd World: 2 World: 3rd Bayaning ; ’Merika . Tatlong Tatlong [with [with

Á an Issue? Documentaries include: works directorial her of Some Films Erasto through filmmaking independent into turned she until creative both affairs public and doing news Philippine and entertainment for television work managerial and and at unit, film out Film mainstream to and on started Broadcast moved its she and Association Diliman, Theater Educational UP at playwriting Communication communities online Broadcast Vera’sof graduate laude creative cum A Rody services. production course—and with empowering and training—starting channel through building multi-arts to online dedicated startup a www.pelikulove.com.ph), (at ONGKEKO-MARFIL ELLEN books out-of-print his culture. and media, cinema, on Philippine all articles and contains which New at https://amauteurish.com), Studies Cinema titled blog in archival an Ph.D. maintains and a University York holds he He where director. Institute, founding Film was Philippines the of University the formerly at had He taught Communication. Mass of College Philippines the of University the of Award San Glory first in the as well Festival as International California Francisco, Cinema and Arts Filipino the of Prize) Nurturing (Art Sining Lingap Gawad 2016 the of recipient the and Korea DAVIDJOEL BIOGRAPHIES and and Luha, Pawis at Tuwa: Kasaysayan ng mga Babaeng Maralita Kasaysayan Luha, at Pawis Tuwa: is professor for Cultural Studies at Inha University in is founder-president of Pelikulove Corp Corp Pelikulove of founder-president is Ámauteurish Is Your Gender ! (at (at !

BIOGRAPHIES 177