Filipino Masculinity: A Gender Analysis of the Movie, Glorious (original) (raw)

Matibay o Marupok?: A Content Analysis on the Representation of Women in the Three Highest-grossing Filipino Films

Angulo, A.J., Auman, A., & Tito, M.G. (2019). Matibay o Marupok?: A Content Analysis on the Representation of Women in the Three Highest-Grossing Filipino Films. Unpublished Undergraduate Thesis, University of the Philippines Cebu Department of Mass Communication, College of Communication, Art, and Design. Since the appearance of women in film in as early as the 1910s, female cinematic portrayal has been consistently characterized in an incomplete and hyper-traditional manner. This thesis examines the representation of women in the top three highestgrossing Philippine films through a derivational multi-level analysis. By observing the Theory of Intratextuality, it identifies the characterization of fourteen (14) female characters (determined by physical appearance and attractiveness, socioeconomic status, language, personality and behavior, and interpersonal relationships) to discern each portrayal’s prominence, treatment, and tone.1 With stereotypes being perpetuated in film and influencing real-life perceptions of women, each portrayal is categorized2 so as to probe into recurring trends, in keeping with the Feminist Film Theory. Through coding forms and Multimodal Discourse Analysis, the study reveals The Hows of Us (2018), The Super Parental Guardians (2016), and Gandarrapiddo: The Revenger Squad (2017) as marked with subtle stereotypical traps and multifaceted progression in their representation of women. This challenges old and clear-cut dichotomies in female portrayal, and confers a skeptical echo in the question of matibay o marupok. 1 Quistadio’s (2007) research Stereotyping of the Bisaya in Selected Philippine Comedy Films employed the variables of prominence, treatment, and tone in studying the type of portrayal of Bisaya characters. 2 Based on related findings (Gallagher, 1980; Murphy, 2015; Roso, 2008; Roces, 2010; and Zheng, 2011).

Filipino Gay Stereotypes in Mainstream and Independent Films

Advancing Literature & Communication Research, 2012

This study shed light on gay stereotypes as depicted from mainstream films and independent films by determining (1) the gay stereotypes portrayed in the films, (2) the deviations from the gay stereotypes, and the (3) implications of the gay portrayals on the present concept of Filipino gays. Employing the descriptive content analysis,the researchers selected and examined carefully four (4) films entitled Manay Po and Markova: Comfort Gay and two independent films, Masahista (The Masseur) and Ang Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros). The gay stereotypes depicted in the selected movies are the effeminate gays and discrete gays. The effeminate gays are portrayed in the films as crossdressers, parlorista, with flamboyant lifestyle and feminine mannerisms. On the other hand, discrete gays are shown as bisexual males, with masculine and female self image. However, there is a deviation from these gay stereotypes that is the "same sex marriage" among gays as portrayed in the scenes from the movie Manay Po. Of the films reviewed, it was only Manay Po that captured both types of gay males at the same time. Majority of the stereotypes depicted in the films leaned towards the "bakla" who is the very subject of ridicule and discrimination in a macho and paternalistic society like the Philippines. However, unlike the effeminate "bakla," the discreet is well accepted. Those who have revealed their sexual orientation, but remained discreet in their

Lalaking Walang Titi (Men Without Penis): Filipino Trans Men’s (Re)Construction of Masculinities

This paper looks into accounts of trans men and their masculinities – how trans men view masculinities including their own, and how they strive to reach their masculine ideals. At the onset, this paper is intended to locate or situate the discussion on trans men’s identities and experiences in patterns of masculinities such as Connell’s (2005) typology of masculinities. In the course of writing however, I found the richness and depth of the stories of Filipino Trans Men deserving to be told ‘as is’ or without(at least for now) assigning them to certain patterns of masculinities.

Man Identity in Indonesian Drama Films (Gender Construction In Indonesian Film, Post – New Order Era)

Abstract : Generally in Indonesian society, the father plays the roles of a leader and a decision maker within the family. In the public, a father is also expected to contribute more while a mother's responsibility is in the domestic area. Tampan Tailor and Sebelum Pagi Terulang Kembali are two Indonesian drama films which illustrate the role of a man within a family. Based on the narrative elements and the ideology of both films, this paper analyzes how the identity of man is being constructed on Indonesian drama films. Furthermore, it aims to explore the gender construction in Indonesian films during post-New Order (Orde Baru) era. Both of the films construct a new concept about the roles of man and woman within a family. Male is still being represented with masculinity but they are also being portrayed as emotional and frail human on certain conditions. Films, as the popular mass media, have the power to capture the reality from a society. Films also capable to reconstruct a new picture on gender identity.

Exploring the Dolphy Bakla: Queerness in Philippine Cinema

2018

This chapter explores Philippine cinema’s representations of the bakla, a local gendered identity that conflates ideas of male homosexuality and transgenderism. By examining the films of Dolphy, the chapter outlines tropes that have become associated with the bakla, including the conversion trope, wherein the bakla are forced to conform to traditional notions of masculinity. The chapter also identifies tensions between contemporary representations of the bakla as the masculine gay man and as the transgender woman in films—tensions that also exist within the wider Southeast Asian context. Looking at the bakla as the primary queer figure in Philippine cinema enables film audiences to examine more closely similar figures in other Asian cinemas: the kathoey of Thailand, the waria of Indonesia, and the mak-nyah of Malaysia.

Unit 1: Imaging the Filipino Man

▲ Patriarchy o Has institutionalized masculinity as the bedrock structure that defines power, language & perception • According to feminists, patriarchy acts as the mode of culture which dominates and denigrates women • Basing from psychology's definition, patriarchy creates caricatures which are damaging to both men (perennial conquerors) & women (perpetually conquered) ▲ The selections clustered under this theme situate the multifarious domains the Filipino man occupies 2 0 1 6

Facets of Machismo and Maternalism in Fictional Philippine Settings

JPAIR Multidisciplinary Research, 2014

The legal implication of infidelity in Philippine law serves as an initial display of "machismo" that reflects the propensity and pervasiveness of its concept in Philippine society. As a response to society's partiality to male's gender role, the gender role of women called "maternalism" has surfaced. This gender role identifies itself as a manifestation of society's concept of gender roles including double-standard machismo. This paper aims to disclose how desire is depicted as justification to the existence of machismo and maternalism in selected Philippine short stories like "Magnificence," "Of Fish, Flies, Dogs and Women," "The Chieftest Mourner," "Thirsty is the Arid Land," and "Wedding Dance." This paper also supports the concept of desire with pleasure principle and tripartite model of Sigmund Freud's psychoanalysis. The paper's critical point focuses on how infidelity is reflected in said stories, thereby leading to understanding its concept as manifested by characters' gender roles. This paper also employs the descriptive literary analysis anchored on Hans-Georg Gadamer's hermeneutics. In addition, the paper also discusses the binary opposition of marriage and infidelity, faithfulness and unfaithfulness, along with its implication to the couple and the society in general. The paper identifies culture as an inherent factor in addressing the questions of gender roles in Philippine fiction.

Indonesian Women's Cinema Challenging Hegemonic Masculinity

When we talk about women's cinema, broadly defined as films made by, about, and generally for women, the first thing that comes to mind is often the question of how films under this category represent women and women's issues from women's perspectives. These are valid questions, considering that this category and analysis of it were born out of concern of men's domination and masculine hegemony in cinema. Feminism had a lot to do with the emergence of this category and the subsequent debates on it. Yet, I would like to depart from this commonly asked question to investigate how women's cinema contributes to the shifting representations of ideal masculinities. In this presentation, I guardedly use the term women's cinema as a descriptive category to refer to both an institution and set of practices in which women filmmakers, women's perspectives, and women's issues are central in film production and cinematic representation. Thus by saying women's issues, it is then legitimate to talk about men and masculinities because they are also part of women's issues.