Cinema in the Philippines has by now had a long history. Film criticism in the Philippines, at the same time, has continually developed, partly in response to the changes in cinema, but, beyond that and more important, as a discrete field. In this roundtable discussion, convened by Patrick Campos, the participating critics, Nick Deocampo, Patrick Flores, Eulalio Guieb III, Bienvenido Lumbera, Choy Pangilinan, Nicanor Tiongson, and Rolando Tolentino, have been asked to address one or more of the following broad questions:

• What has been the history of film criticism in the Philippines?
• In your view as a critic, what is or should be the future of Filipino critical practice?

• What have been the principles and presuppositions of your own critical practice, through the years, that could shed light on the foregoing questions?

Cinema in the Philippines has by now had a long history. Film criticism in the Philippines, at the same time, has continually developed, partly in response to the changes in cinema, but, beyond that and more important, as a discrete field. In this roundtable discussion, convened by Patrick Campos, the participating critics, Nick Deocampo, Patrick Flores, Eulalio Guieb III, Bienvenido Lumbera, Choy Pangilinan, Nicanor Tiongson, and Rolando Tolentino, have been asked to address one or more of the following broad questions:

• What has been the history of film criticism in the Philippines?
• In your view as a critic, what is or should be the future of Filipino critical practice?

• What have been the principles and presuppositions of your own critical practice, through the years, that could shed light on the foregoing questions?

Cinema in the Philippines has by now had a long history. Film criticism in the Philippines, at the same time, has continually developed, partly in response to the changes in cinema, but, beyond that and more important, as a discrete field. In this roundtable discussion, convened by Patrick Campos, the participating critics, Nick Deocampo, Patrick Flores, Eulalio Guieb III, Bienvenido Lumbera, Choy Pangilinan, Nicanor Tiongson, and Rolando Tolentino, have been asked to address one or more of the following broad questions:

• What has been the history of film criticism in the Philippines?
• In your view as a critic, what is or should be the future of Filipino critical practice?

• What have been the principles and presuppositions of your own critical practice, through the years, that could shed light on the foregoing questions?

Cinema in the Philippines has by now had a long history. Film criticism in the Philippines, at the same time, has continually developed, partly in response to the changes in cinema, but, beyond that and more important, as a discrete field. In this roundtable discussion, convened by Patrick Campos, the participating critics, Nick Deocampo, Patrick Flores, Eulalio Guieb III, Bienvenido Lumbera, Choy Pangilinan, Nicanor Tiongson, and Rolando Tolentino, have been asked to address one or more of the following broad questions:

• What has been the history of film criticism in the Philippines?
• In your view as a critic, what is or should be the future of Filipino critical practice?

• What have been the principles and presuppositions of your own critical practice, through the years, that could shed light on the foregoing questions?

Cinema in the Philippines has by now had a long history. Film criticism in the Philippines, at the same time, has continually developed, partly in response to the changes in cinema, but, beyond that and more important, as a discrete field. In this roundtable discussion, convened by Patrick Campos, the participating critics, Nick Deocampo, Patrick Flores, Eulalio Guieb III, Bienvenido Lumbera, Choy Pangilinan, Nicanor Tiongson, and Rolando Tolentino, have been asked to address one or more of the following broad questions:

• What has been the history of film criticism in the Philippines?
• In your view as a critic, what is or should be the future of Filipino critical practice?

• What have been the principles and presuppositions of your own critical practice, through the years, that could shed light on the foregoing questions?