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THE REPRESENTATION OF THE CONCEPT OF INFIDELITY FROM THE SELECTED FILIPINO FILMS An Undergraduate ThesisPresented to Th
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THE REPRESENTATION OF THE CONCEPT OF INFIDELITY FROM THE SELECTED FILIPINO FILMS
An Undergraduate ThesisPresented to The Faculty of Communication and Journalism Department College of Liberal Arts and Communication De La Salle University- Dasmariñas
In Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in Communication
ALYSSA MARI V. BENGUSTA JENNYLYN B. GANCAYCO
March 2015
DEDICATION
We dedicate this study to our families. Our greatest gratitude goes to our loving parents whoseencouragement became our strength: Mr.&Mrs.Roscel and Rosemarie Bengusta and Mr.&Mrs. Dante and Celia Gancayco.
We also dedicate this work to our friends who assisted us throughout the completion of the study. We will always appreciate all they have done. We express our dearest gratefulness to our thesis adviser, Prof. Isolde E. Valera, who has been running errands to help us complete this work.
Our gratitude also goes to Mrs. Celia Bete, Ms.Yel, JumeirahMagaux Adams, Director Paolo Magsino, and Prof. Robert Kyle Laxina for the warm accommodation during our interview.
Most importantly, this thesis paper is finally dedicated to our friendship, hard work, sympathetic and patience.
Approval sheet This undergradute thesis entitled The representation of the concept of infidelity from the selected filipino films prepared and submitted by Ms. Alyssa Mari V. Bengusta and Ms. Jennylyn B. Gancayco, in partial fulfillment of the requirements for the degree of Bachelor of Arts in Communication, has been examined and is recommended for acceptance and approval for oral defense.
______________________ Ms. Isolde E. Valera
Thesis Review Panelist Approved by the committee on oral examination with passing grade.
_______________________
________________________
Mr. ArtinUmali
Mr.Roel Ramirez, APR
__________________________ Ms. Ma. Nornelyn L. Cachuela Accepted and approved in fulfillment of the requirements for the degree of Bachelor of Arts in Communication.
___________________________ Ms. Brenda F. Martinez Chair, Communication and Journalism Department
_________________________________ Dr. Christian George C. Francisco Dean, College of Liberal Arts and Communication
THESIS EDITING CERTIFICATION De La Salle University - Dasmariñas College of Liberal Arts and Communication Communication and Journalism Department
CERTIFICATION This is to certify that the study entitled The Representation of the Concept of Infidelity from the Selected Filipino Films, prepared and submitted by Alyssa Mari V. Bengusta and Jennylyn B. Gancayco, has been edited by the undersigned.
Betty E. Puzon, PhD Editor
ACKNOWLEDGMENTS This research paper is made possible through the help and support from everyone, teachers, family, friends especially our parents, and in essence, all sentiment beings. Acknowledgment of gratitude goes to the following significant advisors and contributors: We are thoroughly grateful to our adviser, Prof. Isolde E. Valera, for her invaluable guidance and insight throughout this endeavour, as well as for allowing us to stay true to our vision for this research. We would also like to give thanks to our Communication Research professor, Ms. Ma. NornelynCachuela, for her supervision, patience and understanding, to our thesis panelists, Mr.ArtinUmali and Mr.Roel Ramirez, APR, for their comment, critique, and suggestions that lead to the betterment of our paper. To our friends, families and loving parents, Mr. and Mrs.Bengusta and Mr. and Mrs.Gancayco for their support, encouragement, and love. Thank you for your unconditional and total-packaged support. We would also like to acknowledge Mr. Adrian Andaya and Mr.Marcial Fidel Binalon for their unending understanding and all-out assistance. At first, we thought that having this kind of study would make us feel like dying. And as we go through with our research study, we found out and realized that studying is about “learning”. This would not be accomplished without our camaraderie and teamwork. Our boundless understanding and infinite trust, love, optimism, were our gears. We would like to appreciate each other’s effort. We also
found out that this was not about the test of knowledge, wisdom, and faith but of friendship. Foremost, we would like to give our deepest gratitude to God for His guidance, blessings, knowledge, and strength. This would not be possible without him.
ABSTRACT People are being exposed to affairs in Filipino films; this study evaluated how extramarital affairs are represented in Philippine cinema. It study focused on the infidelity presented among selected Filipino movies from 1970 to the present specifically HuwagPamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang KitangIibigin (1993), and No Other Woman (2011). The researchers focused on the visual elements and dialogues used in representation of infidelity. The films were chosen according to its gross rates. Moreover, each movie discussed the concept of infidelity among male partner. The researchers also used qualitative content analysis through the support of Film Theory specifically Semiotic and Formalist Theory with Interpretative Approach. Based on the analysis, nine visual elements that include the setting, properties and costumes were used to represent infidelity. Water was the predominant visual element used to represent infidelity. Followed by temptation, baggage, ring, candled light, unbutton clothes, watch, white clothes, and sunset. Whereas meeting, delectable, sin, night, enemy, third party, secrecy, poisonous and destruction were dialogues that corresponded to infidelity. It was found out that there was dramatically a change in Filipino films over the period of time. It was also identified that there were difference on representation of infidelity between selected movies and reality.
Table of Contents Title Page…………………………………………..…………………………….i Dedication………………………………………………………………………. ii Approval Sheet…………………………………………………………….……. iii Thesis Editing Certification………………………………………………..…… iv Acknowledgements…….…………………………………………….…………. v Abstract…………………………………………………………………………. vii Table of Contents……………………………………………………………….. viii List of Tables……………………………………………………………………. x List of Figures…………………………………………………………………… xi Introduction……………………………………….……………….……………. 1 Methodology……………………………………….…………..….……………. 19 Results……………………………………….……………….…………………. 25 Discussion ……………………………………….…………….….……………. 51 References……………………………………..….……………….……………. 75 Appendices……………………………………….……………….……………. 79 Appendix A: Coding Sheets of Selected Filipino Films Visual Elements: HuwagPamarisan. Mister mo, Lover boy ko(1975)…….……………. 79 Relasyon (1982)………….……………….………………...……….... 82 Minsan Lang KitangIibigin (1993)………….….……….……………. 85 No Other Woman (2011)………….………..…………….………….... 86
Dialogues: HuwagPamarisan. Mister mo, Lover boy ko(1975)………………. 91 Relasyon (1982)………….……………….………………...…..…. 94 Minsan Lang KitangIibigin (1993)………….………………..……. 95 No Other Woman (2011)……………..……………….……………. 100
Appendix B: Full Transcription of Interviews Mrs. Celia Bete………………………………..……….…...………. 109 JumeirahMargeux Adams………….………………….……………. 115 “Yel”………….……………………………………….……………. 118 Prof. Robert Kyle Laxina………….………..………….……………. 121 Dir. Paolo Emmanuel Magsino………….…….……….……………. 127 Curriculum Vitae
LIST OF TABLES TABLE
Page
1. RQ 1(Table A): Coding Sheet for Visual Elements……….…............. 20 2. RQ1(Table B): Example Coding Sheet for Visual Elements................ 21 3. RQ 2(Table C):Coding Sheet for Dialogues……….……................... 22 4. RQ 2(Table D):Example Coding Sheet for Dialogues….................... 23 5. RQ1 (Table 1):Visual Elements Represent Infidelity…....................... 25 “HuwagPamarisan. Mister mo, Lover boy ko” (1975) 6. RQ 1 (Table 2): Visual Elements Represent Infidelity.......................... 29 “Relasyon” (1982) 7. RQ 1 (Table 3): Visual Elements Represent Infidelity…….................. 32 “Minsan Lang KitangIibigin” (1993) 8. RQ 1 (Table 4): Visual Elements Represent Infidelity…....................... 34 “No Other Woman” (2011) 9. RQ 2 (Table 5):Dialogues that Represent Infidelity……..................... 38 “HuwagPamarisan. Mister mo, Lover boy ko” (1975) 10. RQ 2 (Table 6): Dialogues that Represent Infidelity…....................... 42 “Relasyon” (1982) 11. RQ 2 (Table 7): Dialogues that Represent Infidelity…....................... 44 “Minsan Lang KitangIibigin” (1993) 12. RQ 2 (Table 8): Dialogues that Represent Infidelity……................... 46 “No Other Woman” (2011)
LIST OF FIGURES FIGURE
Page
1. Figure 1. Peirce’s Triadic Semiotic Model………………..……….…...… 13 2. Figure 2. Conceptual Frameworks………………………………………. 14 3. Figure 3. Operational Framework………………………………….….… 15 4. Figure 4.Conceptual Framework of Film Theory……………….……..… 18
INTRODUCTION With the media such a prominent part of today’s society it is little wonder that it has become a resource on how the world works. Adolescents, particularly impressionable as they attempt to make sense of themselves and others around them, often look to the media (Bachen & Illouz, 1996: Brown, 2002; Signorielli, 1997) for issues increasing in importance such as those of romantic and sexual relationships (Arnett,
2000;
Furnham
&
Simon,
1999).
However,
interpreting
media
representations of these issues as being an accurate reflection of reality may have serious implications for adolescents’ perceptions of the world. Films and television programs typically rely on exaggerated and unrealistic portrayals of romantic and sexual relationships to appeal to their audiences (Committee on Public Education, 2001; Jowett & Linton, 1980; Ward & Rivadeneyra, 1999); and, although older and more experienced viewers can generally recognized this (Illouz, 1998), younger viewers with few of their own experiences to compare against may come to view these representations as cultural norms and form of unrealistic portrayals to gain insight into what to expect in their own relationships, research must determine what specifically are they being exposed to. Research on romance media content like infidelity thus far, however, is severely lacking. This study, therefore, sought to address this gap by analyzing the romantic content of a sample of selected Filipino films. Furthermore, a coding system of the romantic themes identified during analysis was created and reliability established. Films that show men cheating on their wives are socializing today’s youth.
While adultery and infidelity were realities of modern day, the media and films are partially responsible for shaping social attitudes about how to view such “deviant” behavior. The purpose of this paper was to analyze how extramarital affairs specifically infidelity among husband has been constructed in media, particularly in Filipino films from 1970s to the year 2000s. The data collected from this analysis of films was utilized to identify a trend and the changes occurred over a period of time. Background From the very beginning that humanity marked its life, infidelity has been an issue and questionable act between the man and wife. Meyer (1997) listed that infidelity is considered as one of the causes of marriage failure due to lack of sensual connection between the couples. Richardson (1988) argues that because of socialstructural and social-psychological reasons, men have greater power than women in adulterous relationships. He added that single women who have sexual relationships with married men are considered to be in a “power-imbalanced” relationship. Harris and Subotnik (2005) agreed that 40-50 % of men had an affair with the other women, while 25% had been tantamount as wife infidelity. Infidelity defines as form of violation of one spouse to a romantic partner inter-relates emotional and/or sensual exclusivity (Gambescia, et al., 2003). On the other hand, Neuman (2008) explained the reasons why men cheat. He described men as sexually susceptible, prone to fantasy and lustful thinking. In line with that, Neumann cited Brizendene (n.d.) regarding the psychological movement of men's mind that they are thinking sex every split of fifty seconds. Same author also
affirms that the main reason why men cheat was the dissatisfaction to their spouse. Meanwhile, Meyer also further enumerated the different kinds of infidelity existed among couples such as: 1. Opportunistic Infidelity. This happens when a couple has in depth attachment with their Spouse, but have a thirst to commit sexual act with someone driven by unprecedented situations like drug addiction, mental disorder, obsession, alcoholics, and other behavioural predicaments. 2. Obligatory Infidelity. Related to fear and anxiety among couples. Looking for sexual gratification in order not to be rejected by others. This happens when the spouse is seeking for appreciation and affection from his/her love. 3. Romantic Infidelity. A common form of infidelity occurs when the couple has a small attachment with each other looking for other spouse to fit in on his/her feelings. This is prevalent among keridas/kabit that is unknown to other party. 4. Conflicted Romantic Infidelity. Similar to preceded form of infidelity. The only different is that the affair happens on more than one men or women at a time. Characterized on perplex situation where in the couple and the other is torn with each other. 5. Commemorative Infidelity. Happens when couple have committed toeach other has no attachment and feelings with each other. No sexual
interaction and attraction. Upon those prevailing issues, various films were contextualized to the matter of man's infidelity (in general). In this study, various Filipino films like Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011) centralized on the issue of infidelity. Philippine cinema adapted the different foreign film genre. After decades of years of learning filmmaking, Philippines began to produce its own identity. Philippine cinema has been presenting a more realistic picture of Philippine society. Furthermore, Tagalog movies reflect the culture Filipinos today. In recent years, television shows and movies have promoted one’s appetite for infidelity. Addressing those given problems above, the researchers had come up to the need for a research to study the reality and hidden issues in the various films nowadays. Furthermore, the researchers viewed that relationship is very important and how the media represents its influences the public. Gowelt (n.d) posited that media projects reality. Hence, film tended to be mirror of family and human relationship (Subotnik & Harris, 2005). Since the mid-20th century, Philippine cinema had started to conceptualize films with that kind of theme (Lucio, 1999). Until now, there is the presence of infidelity as theme in media especially in movies known to be as “mistresssyndrome”. The obsession of Filipino film-makers tended to visualize the reality of prevailing cases of infidelity (Dante, 1992). The researchers chose to conduct this study because of eagerness to identify and learn the “mistress-syndrome” in Filipino
films. The concerns regarding the concepts of films and television shows such as mistresses and sensual scenes add to researchers’ zeal. This study aimed to analyze the content of Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011) specifically the visual elements such as signs, images, scenes; and sound elements like dialogues, used to represent infidelity. Furthermore, the researchers tackled as well how mistresses and legal women were being stereotyped. At the end of the study, the researchers analyzed how the infidelity was represented in the four selected films. Significance of the Study This study would serve as pillar and eye opener among the family and couples who are suffering from similar issue. The result of the study would serve as validation whether
the
media
(film in particular) has a clear representation or just
exaggeration of the concept of kabit, kerida, and kalantari and infidelity.
Marital issues: Infidelity
Conflict: Kerida vs. Legitimate
Film and Movies
The conceptual research framework represented by three elements relationship, conflict, and film as seen above. Inspired by the contention of Rosario & Cruz (1978) on their prediction done in the Philippine movie industry that as the new millennium enters film will evolve around family and relational conflicts. Supported by Mendoza (1999) elucidates that broken relationships, infidelity in particular is one of the family issue that is being represented on various Filipino films. It seems that
audience is looking back on themselves and relating that to their experiences. It was evidently happened as the Office of Solicitor General said that around 28 annulment cases have been filed on their office a day during the year 2012 (Calonzo & Cayabyab, 2012). On the other side, related studies were conducted that focusing with the metaphors and constructs in marital infidelity in Filipino films by De Guia (2012). De Guia (2012) entails that in the movies studied previously husbands dominating the act of infidelity due to possession, authority, and dissatisfy. Simultaneously, the women represent passive, calm, and victim image for the sake of maintaining relationship. Infidelity Infidelity research addresses two types of betrayal that occur in committed romantic relationships (Feldman & Cauffman, 2000), sexual or emotional. Sexual infidelity, as its name suggests, refers to sexual activities that are committed with someone other than one’s partner. Behaviors that constitute sexual infidelity range from kissing to sexual intercourse and include behaviors such as sexual touching and oral sex (Feldman & Cauffman, 2000; Roscoe Cavanaugh, &Kennedy, 1988). Emotional infidelity refers to becoming emotionally involved with someone other than one’s partner (Roscoe, et al., 1988). Relational infidelity is defined as a severe relational transgression in which one or both relational partners perform extra dyadic behaviors that violate relational rules of monogamy and exclusivity without their partners’ prior consent. It is important to note that the existence of extra dyadic behaviors do not always constitute
acts of relational infidelity because some relationships do not have an expectation of exclusivity and monogamy (Drigotas, Safstrom, & Gentillia, 1999). It may involve sexual involvement in the absence of an emotional attachment, an emotional attachment on the absence of sexual involvement, or a combination of sexual involvement and an emotional attachment. Although both sexual and emotional infidelity can inflict stress on a relationship (Cann, Mangum, & Wells, 2001), research indicates that sexual infidelity in the absence of an emotional attachment is considered to be one of the most severe and unaccepted types of infidelity that occur within dating and marital relationships (Sheppard, Nelson, & Andreoli-Mathie, 1995). However, both sexual and emotional betrayals are the focus of infidelity research. Previous research varies on the definition of infidelity (Blow & Hartnett, 2005). Drigotas, Safstrom and Gentilia (1999) define infidelity as “the combination of (a) the feeling that one’s partner has violated a relationship norm regarding the nature of the partner’s interactions with someone else and (b) the fact that violation of this relationship norm typically elicits sexual jealousy and rivalry” (p. 509). Shackelford and Buss (1997) define sexual infidelity as “sexual activity with someone other than one’s long-term partner” (pp. 1034-1035), and emotional infidelity occurring when “one’s partner channels emotional resources such as romantic love, time and attention to someone else” (p. 1035). This study defined infidelity as “the combination of (a) the feeling that one’s partner has violated a relationship norm regarding the nature of the partner’s interaction(s) with someone else and (b) that violation of this relationship norm typically elicits sexual jealousy
and rivalry,” (Drigotas et al., pg. 509). A violation might include sexual activity with someone and/or channelling emotional resources such as romantic love, time and attention to someone other than one’s long-term partner while involved in a committed romantic relationship. To qualify as infidelity in this investigation, both components of this definition must be satisfied (i.e., satisfies “a” and “b” above). For example, a partner could spend time with or resources on another individual, but it does not involve infidelity (e.g., helping a family member or friend). On the other hand, an individual could experience sexual jealousy about or rivalry with another individual (e.g., a woman is jealous of and/or feels competitive with her partner's attractive co-worker) even though her partner has done nothing untoward in terms of breaking a relational fidelity rule. Infidelity has serious implications for most relationships and individuals. Exclusivity is expected in most serious relationships. One study reports between 94% and 99% of married and heterosexual, cohabitating couples expect monogamy (Treas & Giesen, 2000). Yet, this expectation is not always met. For those who experience a partner’s infidelity, there are possible psychological consequences that include, “damage to their self-image, personal confidence or sexual confidence, feelings of abandonment, attacks on their sense of belonging, betrayals of trust, enraged feelings” (Charny & Parnass, 1995, p. 100). Researchers have classified and studied infidelity under broader categories. Bachman and Guerrero (2006) classify infidelity as a hurtful event as it is a relational transgression that communicates a “devaluation of the partner or relationship” (p. 945). Metts (1994) and Metts and Cupach (2007) classified infidelity as a relational
transgression as it violates relationship rules, whether implicit or explicit, and is considered a betrayal. Yet, compared to other relational transgressions (such as lying), infidelity is a unique threat in which a third party rival is involved in the primary relationship.Other transgressions involve only the relational partners (e.g., deception or criticism). Motives for Sexual Intimacy in Affair Fair (1978) argues that relationships with other people are an integral part of a person’s life, with the most important relationship being with one’s spouse and children. Fair also states that having variety in a person’s life is desirable, especially by a man.A study by Burke (1984) conducted in the Netherlands, found that of 109 men and 109 women who have had at least one extramarital affair, 70% mentioned a need for variety, meaning that “she/he had a need for sexual variety” and “it was something new”. Ninety-three percent mentioned attraction to third person, 81% stated that sexual circumstances simply went that far, 43%
mentioned marital
deprivation, indicating that there was something missing in the relationship or discontentment with their sexual relationship, 62% mentioned pressure by the extramarital partner, and 8% mentioned aggression, meaning that he/she was angry and wanted to take revenge on their spouse. Buunk (1984) notes people confronted with the infidelity of their spouses feel they deserve an explanation of their partner’s extramarital involvement. According to Farrer and Zhongzin (2003), extramarital affairs have become more acceptable and people are more likely to justify their extramarital affairs. Farrer
and Zhongzin examined the “concrete social contexts” in which the extramarital relationships form places of leisure and the friends, family, and co-workers associated. Farrer and Zhongzin found that many informants used leisure and play, including dance clubs, to meet their outside lovers. A number of informants found the Internet to be an easily accessible way to meet their extramarital partners. For most informants, romantic feelings were the primary motive for sexual intimacy. Sexual passion was the most common motive for an affair equally for men and women. Farrer and Zhongzin (2003) found that lovers were almost always described as “friends.” Gender Differences Men and women’s accounts of extramarital affairs differ. While, according to Farrer and Zhongzin (2003), sexual passion was the most common motive for an affair for both men and women. Most factors for men and women differ. Buunk (1984) found that sexual variety is more essential for males than females and that males tend to separate sex from other social aspects of life. Gordon (1990) found that women who enter traditionally male dominated occupations increase the number of affairs they have, and men who enter traditionally women dominated occupations decrease the number of affairs they have. Farrer and Zhongzin (2003) found that single men and women’s accounts of attraction to married people showed the greatest gender differences. Single women described their married lovers as “more mature, capable, kind and knowledgeable than single men their own age”, while single men described married women to be “better lovers but seldom as ideal partners” (Farrer
and Zhongzin, 2003). Lawson states two central myths around romantic relations. The first is “the myth of Romantic Love,” which integrates traditional beliefs concerning love and marriage. The second is “the myth of Me,” which is seen as a general openness among people that may lead to extramarital affairs; a sense of “self-actualization and self-exploration” (Gordon, 1990). Lawson regards men engaged in extramarital affairs as “parallel (to the marriage, often condoned)” in contrast to the “traditional (secret and potentially threatening to the marriage) adultery more often engaged in by women” (Gordon, 1990).
Research Problem and Objectives This study aimed to analyze the representation of infidelity in Philippine media entertainment. The study focused on the visual elements and dialogues of selected films Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011). It also sought to answer the following specific problem: 1. What are the visual elements used to represent infidelity in the selected films? 2. How does the dialogue represent infidelity in the selected films?
Theoretical Framework The researchers applied Semiotic Theory in order to explain the study. The most common definition of semiotics is 'the science of signs'. It involves the study of any medium (or genre) as a semiotic 'sign system'. Semiotics aims to analyze media texts as structured wholes. It focuses on the system of rules governing the 'discourse' involved in media texts, emphasizing the role of semiotic context in determining meaning (Bell, 2001; Woollcott 1982, cited in Chandler, 2000). Its focal point is mainly on units of meaning and the generalizable conditions for encoding across symbolic systems such as linguistic, visual, and auditory(Irvine,2004). Semiotic theory focuses on the social and cultural meaning of signs and codes (Scholes, 1982; 1985). Signs consist of an image, a word, an object or even a certain type of practice. The meaning of signs depends on the relationships between the signifier (the image, word, object, or practice), the signified (the implied meaning), and the referent (what the image, word, object, or practice refers to) (Scholes, 1982). According to Irvin, signification is a process, a product, and a social event, not something closed, static, or completed once and for all occurring in the encoding and decoding process. All members of a society are interpreters or decoders and the ability to decode and understand signification is based on competence in the sign system and with a larger cultural encyclopedia of codes and correspondences. The researchers employed Semiotic Theory as support to the study because it acquired the process needed by the researchers to construe the figures and content of chosen films. According to Irvin, semiotics, however, moves beyond language to study all the
meaning systems in a society including: fashion, advertising, popular cultures like television and movies, music, political discourses, all forms of writings and speeches. He further tells that semiotics contributes to communication studies by providing a method for uncovering and analyzing how a whole system of signification like a movie genre, fashion images, or television works in a culture.
Figure 1. Peirce’s Triadic Semiotic Model Signs may invoke different social meanings depending on socio-cultural background of the society. To Peirce, the form which the sign takes (not necessarily material) is the representamen; the sense made of the sign is an interpretant and the material to which the sign refers is an object. ‘Infidelity’ is the centre of the triad since it is the subject to be studied and discussed by the researchers. It is the basis and ground of the researchers on
analyzing the representation of the characters in particular films. The triadic form of Semiotic Theory will be the guide in examining the content of the chosen movies and comprehending the study. Moreover, Peirce also explains that communication and meaning are formed by representation through signs that represent things, meanings, and values, such as, words in a language, images, sounds, or other perceptible signifiers. Signs and sign-systems present a socially interpreted and valued representation. Irvin notes that, as other scholars do (e.g. Chandler, 2000), the study of how a society produces meanings and values in a communication system is called semiotics. He further enlightens those languages, and other symbolic systems like music and images. Conceptual Framework
Figure 2. Conceptual Frameworks The study of representation of infidelity is depicted in the films Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011) showed semiosis or how the object
supported the sign and how the interpretant explained and justified the sign. The researchers included which instances and codings are needed in the semiosis. Elements and metaphors (visual/auditory codes) are put in under the sign; analysis beneath the interpretant or meaning; characters and scenes into the object; these were to indicate on how the study had utilized and interpreted. Operational Framework
Figure 3. Operational Framework
Conceptual Framework guides the researchers in constructing the Operational Framework required in the study. The researchers became more specific in this structure. They cited the specific signs, object and interpretant so as to clearly illustrate and explain the procedure use by the researchers in their study.
In this framework, the researchers included the title of the study which is The Representation of the Concept of Infidelity from the Selected Filipino Films then,
indicate the chosen categorized movies which are Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011). The Infidelity is narrowed into three sign system which are the elements (sign), characters and scenes (object), and analysis (interpretant). And each system is specified. The elements included visual and sound coding. These were the essentials and signs used by the researchers in the study in accordance to the triadic form of the theory. Then, the scenes as well as characters namely legal woman, third party or other woman and man were the objects. They supported and determined the sign. Last, the analysis that stands as the meaning or interpretant provided a translation of the sign, allowing the addressees a more complex understanding of the sign's object. Each signs, objects, interpretant or the whole content of each selected films was sensibly and wisely observed, studied and construed by the researchers in accordance to the theory and research problems. In that sense, the researchers came up with Film Theory specifically Semiotic and Formalist Theory which were foreseen to be applicable in this research. Also, the researchers used the study framework of Semiotic Theory for identifying, specifying and evaluating the needed data as well as guide in comprehending and interpreting codes (visual and dialogues).
Film Theory Film theory, or cinema studies, is an academic discipline that aims to explore the essence of the cinema and provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. Film theory is not to be confused with general film criticism, or film history, though there can be some crossover between the three disciplines. It seeks to develop concise, systematic concepts that apply to the study of cinema. Classical film theory provides a structural framework to address classical issues of techniques: narrativity, diegesis, cinematic codes, “the image”, genre, subjectivity, and authorship. A formalist approach led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, looks at the film itself, its structure and form. Thus, while other approaches often use some degree of external evidence to analyze a film, a formalist approach will focus primarily on internal evidence. This approach might analyze how the way the plot presents the story material forces the viewer to see things at certain times and have reactions that might be different if presented some other way. A narrative analysis will examine how a film employs various narrative formal elements (such as character, setting, repetition/variation, etc.) to convey meaning to the viewer. Analysis of specific formal techniques might concentrate on a film’s use of mise en scene or photographic composition, camera movements, editing choices, sound in relation to the image, etc., noting the effect of those techniques on how the viewer perceives the scenes and interprets what they mean.
Figure 4. Conceptual Framework of Film Theory
Chapter 2 Methodology This Chapter is divided into several parts which are Study Design, Research Instrument, Data Collection, Techniques and Procedures, and Data Analysis. This study used Instrumentation as an alternative to participants since the researchers employed content analysis as method in analyzing and interpreting data of the study.
Study Design This researched utilized the qualitative design. This study involved analysis in Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011). Waters (2005) described content analysis as form of categorizing characters, dialogues, and aesthetic object in a particular picture, film or series. The researchers conducted their study using the movies. Since, it is content analysis, 2 coding sheets will be utilized by the researchers. The researchers used qualitative since the study focused on verbal and nonverbal communications in terms of interpretation of meaning in text or images and dialogues, also applied interpretative method to study the observation of message and the coding of that significance then assumed to be more observant in the four selected films.
Research Instrument The instrument used four films such as Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011). The participated matters on the given films such as scenes, dialogues, and signs were studied in this research.
Data Collection, Technique and Procedure Each of the movies was viewed four times in order to generate the needed data. Since, this researched is a form of content analysis; the researchers used 2 types of coding sheets. The first coding sheet was for visual element which consisted of scene or image, visual elements, characters, representation of infidelity and its analysis; the second coding sheet was for sound element that consisted of dialogues, images, representation of infidelity and analysis. The researchers constructed and produced an organized design of coding sheets in order to deeply analyze each film.
Table A. Coding Sheet (Visual Elements)
Title of Film (year)
Scene
Characters
Visual Elements
Representation of Infidelity
Analysis
The First Coding Sheet consisted of scene, visual elements, characters, representation of infidelity and its analysis. It was constructed as shown below: a. Scene. Picture of occurrence with description under b. Characters. Individuals who are involved and responsible for c. Visual elements. Symbolic image or presentation of infidelity d. Representation of Infidelity. Correlation and interpretation of scene, characters and visual elements to infidelity. e. Analysis. The interpretation and connotation of signs and symbols.
Table B. Example Coding Sheet (Visual Elements)
No Other Woman (2011)
Scene
Characters
Kara
Kara takes her lunch with Ram. She tries to defend her reasons and herself on eating foods that are forbidden to her health.
Visual Elements Seafoods
Representation of Infidelity Forbidden but enjoyable
Analysis
The forbidden food represents infidelity. It is unhealthy or a threat to one’s health. Whilst Infidelity is harmful to a relationship; it is a threat to a marriage.
Coding sheet of Sound elements was divided into four columns as listed below: a. Scene. Image or visual used to support and to add meaning to the dialogue and representation of Infidelity. b. Dialogues. Lines used in scenes by the characters; constructed lines in films which either represent something or depict meaning. c. Representation of Infidelity. Interpretation correlation of dialogues to infidelity. d. Analysis. The interpretation and connotation of signs and symbols.
Table C. Coding Sheet (Dialogues)
Title of Film (year)
Scene
Dialogue
Representation of Infidelity
Analysis
Table D. Example Coding Sheet (Dialogues)
No Other Woman (2011) Scene
The character of the other woman was introduced; the foreword representation of infidelity and temptation.
Dialogue
Ram (v.o): Once you find to get her, sinasabi ko sayo she will do everything what you’d wanted to do. And that’s the secret to being a good sales man. It’s all about temptation. Walang pinagkaiba kapag namimingwit ka ng babae
Representation of Infidelity Namimingwit ng babae (eyeing for a girl); Temptation
Analysis
Being a salesman compares to eyeing a girl because a salesman has a specific objective and target just like a man who wants to get the woman he wants.
Data Analysis In this study, the researchers selected four most well-known or highest gross Filipino films from 1970 to present times. Each particular movie depicts the concept of infidelity. Moreover, content analysis for four given films was utilized. Visuals presented infidelity in terms of secret dating, arguments, and conflicts would be the part of the sampling and analysis. While, the involvement of parents and friends in the plot would not be discussed anymore but their dialogues which are related in the data needed for interpretation and analyzing this was used. On the other hand, it only focused and evolved around the legal woman, other woman and a husband. Their
dialogues, encountered, and gestures with each other were overseen in this research. The researchers have examined carefully each element in the four given films. It was accounted and analyzed through the use of coding sheets. Representations, stereotyping, and semiotics were used by the researchers to have a clear background on the meaning of characters’ representation. Furthermore, the interpretative method was also used by the researchers to deliberate and interpret the content, code and elements presented in the four mentioned films namely Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011).
Chapter 3 RESULTS Table 1 showed the visual elements used to represent infidelity in Huwag Pamarisan. Mister mo, Lover boy ko (1975) with the interpretation, analysis and the different kinds of infidelity per visual element. The most dominant kind of infidelity in this film was obligatory infidelity, and not as much romantic infidelity.
Table 1. Visual Elements that Represent Infidelity in the 1970’s Film “Huwag Pamarisan. Mister mo, Lover boy ko” (1975)
Scene
Visual elements
Unbutton clothes
Representation of Infidelity
Sexual desire
Types of infidelity
Analysis
Opportunistic Infidelity
Unbutton clothes represent sexual desire. Stripping is a way of tempting a person that leads to sexual interaction. People who are not married hunger for it.
Commits infidelity (sexual intercourse) Because of the effect of alcohol.
While Christine and Manuel drink inside the yacht, Christine unbuttons the Polo of Manuel as she tries to tempt him.
Wrist watch
Time
Obligatory Infidelity Infidelity
Wrist watch represents time. It depicts the
Manuel looking at his wrist watch and checks time. He is dating at night with Christine.
Ocean (water)
Mystery
span of moment that the husband can have with other woman. In line with that, night is a frequent time when infidelity happens. Time also depicts limitation on infidelity
Romantic infidelity
Ocean represents mystery. A secret affair is infidelity; it is secrecy. Everything happens in a secret affair is kept in veil or secret that nobody knows.
The husband and other woman had small attachment with each other.
Manuel and Christine are on the yacht, cuddling each other and creating their moment with a view of blue wide ocean.
Yellow clothes
Christine wearing yellow swimsuit during her photo shoot since she is now an actress
occurs when the husband is seeking for sexual gratification because the husband seeking affection from other person.
Color of infidelity
Obligatory infidelity This happen when the other woman has many debts to the husband. Because the husband helps her to achieve
The color of yellow represents infidelity. A woman wears clothes with the same color; that correspond to a mistress. It does not verbally tell
which is her ultimate dream. Ana dresses up herself with yellow clothes.
a good life.
what type of woman she is but through the use of color, it identifies that she is a mistress since yellow symbolizes infidelity.
Obligatory infidelity
King size bed represents fulfilment. The mistress’s material desire was satisfied. While the huge space in bed is the longing for someone to fulfill its emptiness.
Manuel and Christine after their sexual intercourse. Their bodies are wrapped of yellow blanket.
King Size bed
Christine laying on a king size bed seeing that she is very excited and joyful as she also wishes for that material which finally granted.
Fulfilment
This happen when the other woman has many debts to the husband. Because the husband helps her to achieve a good life
Bed scene
Sexual Desire
When the husband and the other woman began to have a small attachment with each other.
Manuel and Christine after their sexual intercourse. Their bodies are wrapped of yellow blanket.
Red Two piece
Mando introduces Christine, a woman wearing red two piece, to Manuel.
Romantic infidelity
Temptation
Opportunistic infidelity This happen because the husband is obsessed to meet other woman to have sexual interaction, just because his wife is unproductive.
Bed scene represents infidelity. The husband who has sexual intercourse with other woman is classifying as sexual infidelity.
A red- two piece represents temptation.Te mpta-tion characterizes the mistress; sexy and has alluring body. The mistress is the temptation and her appealing figure makes her more attractive to men.
Note: Other visual elements that did not represent infidelity of the main character were not included.
Table 2 showed the visual elements used to represent infidelity in Relasyon (1982) with the representation, analysis and the different kinds of infidelity per visual element. This film is more on romantic infidelity in the beginning up to the end.
Table 2. Visual Elements that Represent Infidelity in the 1980’s Film “Relasyon” (1982)
Scene
Visual elements
Fit and sexy body
Representation of Infidelity
Temptation
Romantic infidelity The husband and the wife are both in love with each other.
A woman who is working her body out used as an introduction to the character of the mistress.
Ring
Commitment
Romantic infidelity When the husband gives other woman a ring to symbolize his love to the other woman.
Emil and Marilou having their lunch in their favorite restaurant. Emil surprised Marilou; he gives her a ring.
White blanket
A night before and morning after
Types of infidelity
Infidelity
Romantic infidelity Sexual interaction happen when the husband and the other woman are
Analysis
A woman who is exercising represents sexy body. A sexy figure is a temptation for man. An alluring body is usually possesses more by a mistress. A ring represents commitment. It is a symbol of man’s attachment and love
A white colour of a blanket represents infidelity. The husband has secret affair with other woman. He
Marilou and Emil had sex. They are both naked with their bodies wrapped in a white blanket.
Bed scene
Sexual desire
attached with each other.
has been having sexual intercourse with woman who is not his legal partner.
Romantic infidelity
Bed scene represents infidelity. The husband who commits sexual intercourse with other woman is classified as sexual infidelity.
Sexual interaction happen when the husband and the other woman are attached with each other.
After the other woman and husband had sex.
Picture
Evidence
Conflicted infidelity When the husband is still in love with his wife and also love the other woman.
Marilou washes the clothes of Emil and she found out there is a picture inside the pocket of Emil’s polo; picture of Emil and his wife.
River
Mystery
Romantic infidelity
A picture represents verification. The mistress verifies that the husband still loves his wife even if the two official spouses are separated. She confirms that she can never be a substitute to legal wife
River represents mystery. A
The husband and other woman doing the things that a couple does.
secret affair is infidelity; it is secrecy. Everything that happens in a secret affair is kept in veil or secret that nobody knows.
Obligatory infidelity
A candled light representsexp ectation. The husband celebrates official occasion like Christmas with his legal wife and child. The mistress was left alone with expectation from the man/husband.
Marilou and Emil on the bridge near the church. Looking the reflections of them on the water.
Candled light
Expectation
When the other woman seeking for appreciation and affection from her love one.
Marilou celebrating her Christmas alone.
Baggage
Closure of infidelity
The baggage represents closure. The other woman closes herself from being a mistress.
Marilou left the house and decided to work abroad. Note: Other visual elements that did not represent infidelity of the main character were not included.
Table 3 showed the visual elements used to represent infidelity in Minsan Lang Kitang Iibigin (1993) with the representation, analysis and the different kinds of infidelity per visual element. This film showed three different kinds of infidelity, the opportunistic, obligatory and romantic infidelity. Table 3. Visual Elements that Represent Infidelity in the 1990’s Film “Minsan Lang Kitang Iibigin” (1993)
Scene
Visual elements
Embracing
Representation of Infidelity
Comfort
Analysis
Opportunistic infidelity
Comfort represents the man. A man is offering his shoulder to fragile woman. A woman needs attention and affection because of the death of her husband.
When the wife experienced mental disorder due to the death of his husband.
Monique is longing for her husband and sharing her pain; wanting to bring back his husband while Dave is trying to calm her down.
Mud
Dave and Monique are having a sexual intercourse in the mud.
Types of infidelity
Griminess, Filthiness and Dirtiness
Obligatory infidelity When the other woman longing for sexual gratification because of herhusband’s
The mud represents the dirtiness of infidelity, since infidelity is a forbidden affair.
death and the husband also longing for sexual desire because his wife can’t provide.
Knife
Evilness
Letter
Evidence
Knife represents evilness; Wife used a knife in killing the other woman of her husband such that killing is an evil act.
Terry is trying to kill her best friend and who is also her husband’s other woman.
Terry is searching for evidence that his husband might have an affair to her best friend until she found a letter of his husband to his other women.
Romantic infidelity When the husband wrote a letter that he falls in love with the other woman.
Letter represents evidence that infidelity happened; Since the husband wrote a letter confessing his feeling towards the other women.
Note: Other visual elements that did not represent infidelity of the main character were not included.
Table 4 showed the visual elements used to represent infidelity in No Other Woman (2011) with the representation, analysis and the different kinds of infidelity per visual element. This film showed all kinds of infidelity. Table 4. Visual Elements that Represent Infidelity in the 2000’s Film “No Other Woman” (2011)
Scene
Visual elements
Sexy and beautiful woman
Representation of Infidelity
Namimingwit ng babae (eyeing for a girl); Temptation
The character of husband is introduced in the story.
Wedding ring
The wife always reminds her husband to wear his wedding ring.
Marriage; loyalty
Types of infidelity
Analysis
Commemorati ve infidelity
Being a salesman is compared to eyeing a girl because a salesman has a specific objective and target just like a man who wants to get the woman he wants
When a married man is looking for many different types of woman to commit infidelity.
Opportunistic infidelity When the behaviour of the husband to keep their wedding ring in order to use his charm to attract customers.
A wedding ring represents marriage and loyalty. A wedding ring is the traditional symbol of marriage. Hence, being a loyal partner is keeping to the tradition.
Seafood’s
Forbidden food but enjoyable
When the other woman’s obsession of getting her hands dirty and behaviour of violating the law.
The husband and other woman having lunch together.
Swimsuit
Ahas (snake)
Romantic infidelity When the husband and the other woman had a small attachment with each other.
The wife and other woman confrontation.
Candles and Romantic Ambiance
The wife set a romantic ambiance to attract her husband for sexual desire.
Opportunistic Infidelity
Romance
Obligatory infidelity When the wife is longing for a sexual gratification because she was suspicious about her husband’s affair with other woman.
The forbidden food represents infidelity. It is being unhealthy or a threat to one’s health. Infidelity is unhealthy to a relationship; it is a threat to marriage. A snake represents the other woman. It is the snake’s evil image in the literature and the other woman’s evil role in the marriage of a happy couple. The wife tries to bring back the romance that they have since she senses or feels that her husband has an affair with the other woman.
This happen when spouse is seeking for affection and love.
Morning, after the husband and the other woman slept together and had sexual intercourse.
White curtains, White bed sheet And White blanket.
Mistress / Other woman
Same viand with different carrier
Ulam ( Viand )
Sea
Takip-silim (Sunset)
Romantic infidelity When the husband and other woman began to be attached with each other.
Obligatory infidelity When husband, other woman and wife are longing seeking for appreciation and affection from the one they desire.
The wife invited the other woman and they cook the same viand to the husband.
Commemorati ve infidelity In this scene the husband and other woman were not yet attached with each other commemora-
White clothes represent and are used to introduce her as other woman.
The viand (ulam) represents the husband or man; Two different women carrying similar viand depicts having relationship with the same man
Sunset represents time; when the husband and the other woman secretly run into each other arms. Night is a frequent time
The husband and other woman meeting each other in the seashore.
Baggage
Closure
when cheating mostly happens.
Commemorati ve infidelity
The baggage symbolizes closure of a husband and other woman’s affair; End of Infidelity.
When the husband and other woman detached with other and also no more sexual interaction and attraction.
The other woman will move out of the house that they used to be with the husband.
(8) Missed calls
The husband does not want to answer his wife calls because he is with other woman. Text Message
The other woman texted the husband but the wife saw those messages.
tive Infidelity happen when the husband and other woman have no attachment and feeling with each other.
Evidence
Romantic infidelity The avoidance of communicatio n impliesthat the husband is with his other woman. And the text of the other woman means that she is now being attached to the husband.
The missed calls represent a marital infidelity. It depicts avoidance of communicatio n which is a way of keeping secret or lies.
Text message represents evidence that the husband is being unfaithful and has other woman.
Bedscene
Sexual Desire
Romantic infidelity When the other woman and the husband had sexual intercourse because of they have small attachment with each other.
After talking about the boring bed of Kara, Ram was seduced sexually by Kara; kissing.
Bed scene represents infidelity. The husband who commits sexual intercourse with other woman is classifying as sexual infidelity.
Note: Other visual elements that did not represent infidelity of the main character were not included.
Table 5 showed the dialogue used to represent Huwag Pamarisan. Mister mo, Lover boy ko (1975), with the interpretation, scene description, analysis and the different kinds of infidelity per dialogues. The most dominant kind of infidelity in the film was obligatory infidelity, and not as much as romantic infidelity.
Table 5. Dialoguesthat Represent Infidelity in the 1970’s Film “Huwag Pamarisan. Mister mo, Lover boy ko” (1975)
Dialogue
Guy2: Ay hindi dapat artista yan dapat yan sa
Scene description
Representation of Infidelity
While the other woman is
Pasay
Types of infidelity
Analysis
Opportunistic Infidelity
Pasay represents the mistress.
Pasay. Guy1: Malay mo dun talaga galing yan.
Christine: Sobrang overacting mo naman. Ang ganda nitong bungalow. Manny: Nagustuhan mo ba?
on the filming, the four bystanders were talking about her.
The other woman is talking with the husband through the phone after receiving her new bungalow house that the husband gave.
Bungalow
When the other woman commits sexual act in order to gain her obsession of having a decent life.
Pasay is a well-known place of prostitute thereof the mistress sees by others as a cheap, low class type of woman.
Obligatory infidelity
Bungalow represents an affair of husband and other woman. Bungalow is a single attachment style of house; the emotional attachment in infidelity and extramarital affair are single or oneway which means that there is no assurance on affection and a take-take or give-give kind of relationship. And in this case, the man has the absolute benefit such as sexual pleasure.
When the husband looking for sexual gratification and used his money in order to have the other woman’s affection.
Tred: Mamayang gabi ugaling kabet, utak kabet, pagmamahal ang kabet
Tred tries to advise Christine to stop her wrongful and sinful actions and decisions; being a mistress and golddigger.
Gabi (night) Kabet (mistress)
Christine: Oy! Ang bilis bilis ng panahon no? Parang kahapon nasa batulon lang ako tapos ngayun eto, de-bungalow, tapos echos artista anong say mo. Manuel, mahal na mahal kita.
After their sexual interaction, Christine expressed her thanks about the materials given and done by Manuel.
De-bungalow, artista. Investment
Conflicted romantic infidelity This happen when the other woman having affair with different man. At a time.
Opportunistic Infidelity When the other woman commits sexual act in order to gain her obsession of having a decent life.
Mistress represents other woman who has an affair with someone’s husband. Night is the usual time when infidelity happens. The husband can easily cheats his wife and meets his mistress at night as it is the time of slumber and when there are less people who can possibly see them. “debungalow” and “artista” represent the investments of man. The husband make used of his money and power to get the girl he wanted. He offered and granted the materials longing by the other woman.
Christine: Magkaharap tayo Mrs. Salvador pero hindi tayo magkaibigan
Other woman sits in front of the wife as if tries to settle things between them with the husband.
Enemy
Obligatory infidelity When the other woman are longing for the husband affection and tries to talk to the husband wife’s in order to have her husband.
The other woman and the wife see each other as rival and enemy. They both fight their rights to the man. Since the other woman possesses the materials she longing for but dissatisfied, she wants to absolutely take the husband so she can achieve her goals that is to get rich and be drown from material belongings and properties.
Note: Other dialogues that are not about infidelity are not included.
Table 6 showed the dialogues used to represent Relasyon (1982) with the interpretation, scene description, analysis and the different kinds of infidelity per dialogues. This film is more on romantic infidelity from the beginning up to the end.
Table 6. Dialogues that Represent Infidelity in the 1980’s Film “Relasyon” (1982)
Dialogue
Scene description
Representatio n of Infidelity
Emil: Sinabi ko ng may meeting ako e. Mahuhuli ako. Dorothy ano ka ba? Napakaunreasonab le mo naman e. Ano, basta na lang ako aalis dito? Ganon ba?
Emil talks with Dorothy, his wife, over the phone making an alibi where in fact he is with Marilou, his mistress.
Meeting
Emil: Nandiyan si Evelyn, yung kapatid ni Dorothy.
Emil and Marilou are dating. Emil was hiding from her wife’s sister as he was avoiding to be seen as cheating his wife.
Tago nang tago (keeps on hiding)
Marilou: Emil hindi na ata ako makakatagal ng ganito; tago nang tago.
Types of infidelity Romantic infidelity The husband chose to be with the other woman because he loves her.
Secrecy
Romantic infidelity When the other woman and husband doing the same thing that couple do, because they are attached with each other.
Analysis
Meeting represents to secret meet up of husband and mistress. It is one of a man’s ways of cheating. A husband tells that he is in the middle of a meeting which in fact, he is with his mistress.
Hiding represents the status and legality of husbandmistress relationship. A secret affair does not legally permit to be seen and be known by the public since it is intolerable type of
relationship. A husband hides whenever he is with his mistress because he is anxious that his wife may find out that he cheats. Marikit: Kahit na anong sabihin mo pa basta para sakin masarap ang mga lalaki.
“Masarap” Delectable
Commemorative infidelity
When the friend of Marilou: At other woman masarap mainlove told that men are delectable. Pertaining with different types of man. Note: Other dialogues that are not about infidelity are not included.
Delectable represents man. A man satisfies the mistress on her sexual appetite that feeds her emotional need as well.
Table 7 showed the dialogues used to represent infidelity in Minsan Lang Kitang Iibigin (1993) with the representation, analysis and the different kinds of infidelity per visual element. This film showed three different kinds of infidelity, the opportunistic, obligatory and romantic infidelity.
Table 7. Dialogues that Represent Infidelity in the 1990’s Film “Minsan Lang Kitang Iibigin” (1993)
Dialogue
Scene description
Representation of Infidelity
Dave: Bakit di ako naging kasing swerte ni alex, Ang swerte swerte niya sayo
Dave is confessing that he is envied Monique’s husband to had such beautiful wife
Envy
Monique is informing Dave that she is pregnant. After a month’s that they had sex.
“Kasosyo sa kalungkutan”
Obligatory infidelity
Buddy/ Partner in sadness and despair
Because of longingness for the death husband, the other woman commits sexual act.
Monique: Dave walang ganyanan huh
Analysis
Obligatory infidelity
Envy represents the emotion of the man to the other man; The husband is jealous that other man had his desired woman. Envy sometimes leads to infidelity.
When the husband is confessing his love to the other woman. Because they both long for appreciation and affection from his/her love.
Dave: E totoo naman e, tuwing pinagmamasadan kita kinaiingitan ko si Alex.
Monique: Hindi ako sure sa feelings ko sayo dave , napaka bilis ng pangyayare. Bestfriend ko si Terry kamamatay lang ni Alex, baka naman hopeless lang ako ang naghahanap lang ako kasosyo sa kalungkutan at napagbalingan kita.
Types of infidelity
Buddy/partner represents infidelity. The reason why the other woman commits infidelity is because of her longing for her husband. She needs someone who can be with her when she is in pain and
Dave: Alam mo nararamdaman ko? Mahal kita Monique.
Terry: Matutupad na naman ang isa sa pangarap mo mag business na lang ,swerte mo talaga monique lahat ng parangap mo natutupad
who will accompany her in all instances.
Terry visited Monique’s house with evil motivation towards Monique
Business partner
Opportunistic infidelity
Terry: Magkunwari tayong nasa show mo pero ako yung host ikaw yung guest anong tittle ng palabas? Ikaw pitong utos: huwag kang makikiapid. May isang tanung lang ako sayo?frankahin mo sana ako. May relasyon ba kayo ng asawa ko?
After the wife finds out that her husband’s other woman is her bestfriend
Ten commandments : Ika pitong utos huwag kang makikiapid
Obligatory infidelity
Monique: Relasyon?
Dispute between the wife and the
Kerida, kabet number 2, mistress
Obligatory infidelity
When the other woman commits infidelity because of mental disorder, because of longing of her dead husband.
Monique: Hindi naman ako makakapagbusines s kung hindi tumulong si Dave.
Because of longing for her death husband the other woman commits sexual act.
The business partner represents other woman. A man’s excuse of his harmless flirtations. A man will tell that he and the other woman are just friends or buddies.
Ten Commandme nts: Ika pitong utos -huwag kang makikiapid. represents forbidden relationship
Kerida, kabet number 2, mistress
Terry: Relasyon! Kerida, kabet number 2, mistress. Relasyon
other woman.
Because of longing for her death husband the other woman commits sexual act.
represents the other woman. Those are social terms used in recognizing and naming a husband’s other woman
Note: Other dialogues that are not about infidelity are not included.
Table 8 showed the dialogues used to represent infidelity in No Other Woman (2011) with the representation, analysis and the different kinds of infidelity per visual element. This film showed all kinds of infidelity in the selected dialogues. And commemorative and romantic infidelities are the predominant.
Table 8. Dialogues that Represent Infidelity in the 2000’s Film “No Other Woman” (2011)
Dialogue
Scene description
Representation of Infidelity
Ram (V.O): Everyday hindi mo siguro mabibilang ang dami ng taong mae-encounter mo, but you have to find your target. In order to win, you have to understand that this is the
Ram Escaler, the husband, defines how to be a salesman. The film started through voice over. Defining
Salesman
Types of infidelity
Analysis
Commemorative infidelity
Being a man represents and relates from being a salesman; they are both on getting what one aims for. A man is ambitious and is aiming for a
This happen when the husband and other woman had no sexual
game of temptation. Once you find to get her, sinasabi ko sayo she will do everything what you’d wanted to do. And that’s the secret to being a good sales man. It’s all about temptation.
and comparing the same aspect of being man and a salesman.
Charmaine’s mother: Kung ahas ka, mas ahas ako sa’yo. Tahimik lang ako pero ‘pag kinanti ako nanunuklaw!
While in a room, Charmaine assists her mother to calm down who is so fuming and pissed off of seeing her husband, Charmaine’ s father, flirting with the other woman.
Ahas (Snake)
Sharmaine: Ma baka naman mamaya di niya kerida yan. Mamaya business partner.
While in a party, Charmaine’ s father is with his business partner who seems to be his mistress too. They do not tell anything to
Business partner
attachment and feelings with each other, no sexual interaction and attraction.
goal in life. A salesman has a sales marketing that he needs to accomplish.
Conflicted romantic infidelity
The snake represents the other woman; it is how snake perceived in literature. In the Christian bible, the snake is a temptation; it denotes evil.
When the wife’s father is having affair with different women’s at a time.
Conflicted romantic infidelity When the wife’s father having affair with different women at a time.
The business partner represents to other woman. A man’s excuse of his harmless flirtations. A man will tell that he and the other woman are just friends
anyone but their actions speaks about what relationship and affair they have.
or buddies.
Charmaine’s mother: Madaming laway na laway diyan sa asawa mo! Pero oras na may magtangkang umagaw, get that bitch a good fight!
Charmaine’ s mother madly warns her daughter to watch over her husband.
Salivating creature
Kara: Bakit ka ba gumagamit ng kobyertos? Why don’t get your hands dirty?
Ram and Kara having their lunch together. Eating seafood that you enjoy
Dirty hands
Ram: Bawal! My
Opportunistic infidelity When the wife’s mother wants to remind her daughter that many women are craving for her husband. And “magtangkang umagaw” pertains to the act of opportunisti c infidelity as an obsession.
Commemorative infidelity When the husband and other
The salivating creature (animate) represents the other woman; salivation is a sign of hunger or desire for something.
Getting hands dirty represents infidelity; it means of getting a thing impure. One’s
wifey does not permit me to you use my hand.
more without using spoon and forks hence hands
Kara: I’m allergic! Hindi naman ako natatakot maallergy no! Tsaka kung tatanggapin ko lang ‘to, pa’no ko malalaman na masarap pala siya? Dapat labanan mo kahit bawal because eventually, your body will just get used to it anyway.
Kara trying to defend herself for being allergy on seafood. She is trying to explain the goodness of breaking the rules.
Delectable food
Kara: When you see an empty space, it makes you realize that you’re alone at ayoko ng ganon.
Ram visits to Kara’s house that is also a placed in the resort. He asks Kara about
Bed having an empty space; filling an empty space
Ram: What if someone wants to fill in that empty space?
woman had no attachment and feelings for each other yet.
being as a husband becomes impure if he commits infidelity.
Commemorative infidelity
Infidelity represents to a delectable food in a sense that a delicious food gives satisfaction to a palate while infidelity gives satisfaction to a sexual desire.
When the husband and other woman had no attachment and feelings for each other yet.
Romantic infidelity When the husband and other woman began to have a small attachment and feelings with each other.
A bed having an empty space represents aloneness or of being alone. The empty space is the longing for something or someone to be with or to fill in.
Charmaine: Babe, ano yan? Ram: Ah, wala nakuha ko’ to sa dagat. Charmaine’s friend: Jelly fish!
In a bazaar where Charmaine together with her mother and friend, selling pastry products, Ram arrived until Charmaine noticed her husband’s neck with skin rashes which was actually a kiss mark.
Romantic infidelity When the husband and other woman began to have a small attachment and feelings with each other. And the kiss mark came from the other woman.
Note: Other dialogues that are not about infidelity are not included.
A jelly fish represents a mistress; can be a danger. A jelly fish can be poisonous like a mistress in a marriage
Chapter 4 DISCUSSION Previous researches studied infidelity classified as relational transgression. Many different kinds of behavior qualify as relational transgression and one of its key relational rules is infidelity as it violates relationship rules, whether implicit or explicit, and is considered a betrayal (Metts 1994, and Metts and Cupach 2007). In this study, the researchers discussed and focused more on how infidelity represented using visual elements and dialogues that used as symbol or cinematic codes on the representation of infidelity, to determine whether the media (film in particular) has a clear representation or just exaggeration of the concept of kabit, kerida, or kalantari and infidelity. Infidelity can occur in a marital, cohabitating or dating relationship and is therefore more generally referred to as extra dyadic involvement (e.g., Thompson, 1983). In selected movies, infidelity happened in a marital relationship. As part of evaluating and understanding the study, the researchers, aside from examining the elements (image and audio), some of the domains that sex differences in infidelity have been studied as well which include: the occurrence of infidelity behavior in a relationship, the attitudes toward infidelity in a relationship, the emotional impact of infidelity on a relationship, and justifications of infidelity. The inclusion of those also helped researchers to clearly follow and corroborate data, symbols, and most importantly the entire study. In accordance to Classical Film Theory, narrativity, diegesis, cinematic codes,
and images in the preferred Filipino films were carefully observed. The treatments and techniques of gathering images and dialogues were followed from the operational framework. Based on Formalist approach by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, the researchers attentively looked at the film itself, its structure and form as well as analyzed how the way the plot, specifically the scenes, and elements presented the story material of infidelity. Moreover, narrative analysis were also applied so as to examine how a film employed various narrative formal elements and key techniques (such as character, setting, costumes, actors and props) to convey meaning. Characters and actors referred to the wife, the husband, and the other woman. Setting included the time, place, and circumstances in which a scene took place. Costumes and props were the clothes, stuffs, and visual properties used by the actors. The triadic form of Semiotic theory was the main guide from gathering up to analyzing representations of data. The entire study was studied and understood by the researchers through Formalist Film Theory while Semiotic Theory was used as guide in gathering the necessary data particularly the visual and sound elements utilized from chosen movies. Reasons/ Motives in Committing Infidelity Majority, 3 out of 4, of the husbands committed infidelity were businessman than men in other occupation. The major cause of their deceitful could be due to highdemanding, long hours, and associated stress of their careers. The continously strain and working late every night could be the grounds to beginning thought of a need for
variety in man’s life; which leads to lying, going out for drink, and meeting potential lovers and fell under the excuses of having a long meeting. It was supported by an interviewed mistress, Yel, “He is a businessman. He is the HR manager sa company na pinapasukan ko”(see on Appendices B). Another motivation of the husband of committing betrayal is the “other woman”. He was tempt to the femme fatale personality of the other woman who characterized as seductive, more attractive than the legal wife, and has better body figure. All mistresses in the selective movies have the characteristics of femme fatale. As one of the interviewees, Celia said, “maganda, maputi, makinis, sexy”; based on her husband’s excuse, “oo nga Mang e. Di kasi nagsara ng cr, natukso ako kasi diba ang puti-puti nun?” (see on Appendices B). It showed that man has high tendency to be lured by another woman who is visually seducing. That means that a mistress has her femme fatale personality that made a married man easily tempted which caused infidelity. However, the image of mistress showed differences in every film. In Huwag Pamarisan. Mister mo, Lover boy ko(1975) the other woman was a low class girl (chorus girl) and a gold digger; in Relasyon (1982) was a decent woman but a martyr one; in Minsan Lang Kitang Iibigin (1993) was a prominent lady (reporter) but longing for husband; in No Other Woman (2011) the kept woman was a high class (heiress) type and liberated. However they all characterized as prostitute and sexual material by man. Meyer (1997) argued that the infidelity is considered as one of the causes of marriage failure due to lack of sensual connection between the couples. In the 1970s
and 1990s, one of the main reasons why the husband compelled infidelity was due to lack of sexual connection with his wife. Paolo Magsino, independent film director, explained “…pinufullfil ng kabet yung pagkukulang ng asawa”. He further said, “nakakahanap ng kabet kasi nakukulangan sa totoong asawa” (see on Appendices B). Which was in Filipino films, either mainstream or independent, that how was infidelity and kabitan, colloquial term, showed and represent. The wives from the chosen films possessed attribute that really affect their husband on committing infidelity, either emotional, sexual or both. The legal wife from 1975 film was unproductive. She could not be able to have a sexual intercourse with her husband because of her illness. While 1993 movie, the wife had suffered from mental problem. She was traumatized by her past which was related to sexual connection. And because of that, she was afraid to meet with her husband sexually. On the other hand, the husband (Gabby Concepcion) pushed himself to other woman (Zsazsa Padilla) to admit him and let be a father of the child she was carrying from her womb. The other woman interrogated the man from his clinginess, “dahil hindi ka niya mabigyan ng anak?” (see on Appendices A). For the husband, inability of his wife to bear a child is a shortcoming of his wife. He believed that it was the obligation of her wife to give him a child; wholeness of the family. In additional, Neuman (2008) explained the reasons why men cheat. He described men as sexually susceptible, prone to fantasy and lustful thinking. “…kaibigan kita, kaibigan ko din asawa mo pero kailangan din pa minsan minsan magdilig ka din ng iba’t ibang rosas”, “Wala na kayong inisip kundi puro sex” (see on Appendices A), when a friend of the husband pushed him to
have sexual connection with other woman since his wife was ill and unable to do it with him. De Guia, 2012 stated that legal wives are commonly characterized as passive, calm, and victim image. The mistress (Anne Curtis) in 2011 movie had dispute with the wife and she bluntly held, “you can call me anything you want. A snake, a bitch, other woman but I will never be a pathetic, boring housewife!” (see on appendices A). Pathetic and boring housewife were some features of a legitimate partner that caused husband’s infidelity. A study Burke (1984) conducted in the Netherlands, found that of 109 men and 109 women who have had at least one extramarital affair, 70% mentioned a need for variety, meaning that “she/he had a need for sexual variety” and “it was something new”. It was similar to 2011 film wherein the married man (Derek Ramsey), while conversing with the mistress (Anne Curtis) about bed, he said “I guess we try something new”. Along with that, according to Farrer and Zhongzin (2003) found that lovers were almost always described as “friends”. One of the scenes in Relasyon was when the son of the man (Christopher de Leon) got curious and asked, “Tita Lou kamag-anak ka ba ng papa ko?” (see on Appendices A) then, the mistress (Vilma Santos) answered “Hindi, kaibigan lang ako ng papa mo” (see on Appendices A). As further support, based on a six-year old interviewee, Margeux, who got introduced by her father to his mistress, her father told to her “Anak, ayan nga pala yung bestfriend ko” (see on appendices B).
Gender Differences In terms of gender differences, explainations as to why individuals partake in infidelity, studies have reported that men are more likely to engage in extramarital sex if they are unsatisfied sexually, while women are more likely to engage in sex if they are unsatisfied emotionally (Sheppard, Nelso, & Andreoli-Mathie, 1995). Kimmel & Van Der Veen (1974) found that sexual satisafaction may be more important to husbands and that wives are more concerned with compatibility with their partners (Sheppard et al., 1995). In general, marital dissatisfaction overall is the number one reason often reported for infidelity for both sexes (Sheppard et al., 1995). It is important to note that there are many other factors that increase the likelihood of anyone engaging in infidelity. In No Other Woman, the husband had an opportunity to supply his furnitures to a luxury hotel. That gave him the chance to meet his mistress. Other factors such as being well educated, living in an uraban centre, being less religious, having a liberal ideology and values, having more opportunities to meet potential lovers, and being older affected the likelihood of one being involved in an extramarital affair (Blow & Hartnett, 2005). In Huwag Pamarisan. Mister mo, Lover boy ko, the mistress was a gold digger, longing for material possession. She let herself be a mistress for her to achieve her goals. “Financially, excitement, not normal experience. Those were my top reasons why I entered on this kind of relationship” (see on Appendices B) Yel supported. Acquiring querida becomes a benchmark of being a man. This level of social acceptance and dominance is typically attributed to the alpha male (Hawley &
Little, 2008). Some characteristics relevant to the image of the alpha male are the ability to control various aspects of one’s life, to attain a certain level of aggression, to influence peers and to attract sexual partners. In No Other Woman, the husband was so manly who was aimed by anyone; wholly good looking. “Maraming laway na laway diyan sa asawa mo!” (see on Appendices A), mother (Carmi Martin) said to her daughter (Christine Reyes). In general, the alpha male must gain a certain degree of attainment that enables him to acquire objects, in this case, mistresses, that further boosts his ego. In Relasyon, the husband (Christopher de Leon) has seen infidelity and having commitment with different women as usual and morally good. Director Paolo Magsino described “…yung nature talaga ng lalaki is tumingin talaga sa iba. Hindi nasasatisfy sa isang ulam”. Ulam or viand referred to woman. He further explained, “hindi nasasatisfy sa isang ulam pag may paborito kang ulam, halimbawa paborito mo menudo, ‘pag araw- araw kang nag memenudo magsasawa ka so titikim ka ng adobo pero ang paborito mo pa din menudo” (see on Appendices B). On the other hand, Professor Robert Kyle Laxina also said, “Nature ng mga lalaki yung mangaliwa, kasi dito sa Pilipinas meron tayong tinatawag na “Macho image” ok lang ‘pag lalaki ang nangaliwa, ‘pag babae ang nangaliwa iba agad ang tingin, pokpok agad, puta agad” (see on Appendices B) as the same as in how the father of the mistress (Vilma Santos) in Relasyon disciplined her own daughter, “Sa lalaki walang mawawala, kahit maging apat ang asawa niya. Parte ng pagiging lalaki niya e! Pero ikaw babae ka pa naman, lahat ng bagay sayo mawawala! Pati respeto ng mga tao mawawala” (see on Appendices A).
Mulvey stated that the structural-reality of films which are composed of “patriarchal-ness” is explained as male gaze. In line with this, infidelity was committed by man or husband from all preferred films. Besides it becomes particularly important when depicting the femme fatale. Merriam-Webster’s dictionary defines the femme fatale as a mysterious and seductive woman whose beauty often captivates lovers into undesirable and compromising situations. By objectifying the women, they become sex symbols, desirable icons that compel lustful longings. “Wala na kayong inisip kundi puro sex”, “…kaibigan kita, kaibigan ko din asawa mo pero kailangan din pa minsan minsan magdilig ka din ng iba’t ibang rosas” (see on Appendices A). The term is derogatory; the role was commonly used for villains or the rivals of the heroes. The mistress was usually the seductress in most infidelity films. However, at times, traits of the femme fatale are used by the heroines in order to establish control or regain what they loss. For this instance, the victims or offended party resort to them to take back their lovers. The character is then transformed from being a passive character to an active one. In 2011 movie, the wife was too passive and has trusted enough her husband as she always tried to accept and to understand her husband’s actions. Her mother (Carmi Martin) advised her, “tingnan mo naman yang itsura mo! Panahon na para ipack up mo na yang Lucy Torres mo! Ilabas mo na diyan si Gretchen Barreto!” (see on Appendices A). A passive wife represents Lucy Torres who is calm and soft spoken; Gretchen Barreto represented the submissive woman that was brave and strong especially in times of trials. A woman usually revived her lover’s interest by gaining confidence, taking
control of her life and establishing herself as a socially-dominant female. Another was when the wife (Christine Reyes) was nearly on a quit and let go situation of their relationship as she said, “nagpapakababa ako, hindi ko dapat ‘to ginagawa. Pero ginagawa ko sayo ‘to kasi mahal kita!” and “hindi ako ‘to pero ginagawa ko ‘to para sayo” (see on Appendices A). These dichotomies of roles are often used in love affair films. But, there were cases where there were no dominating personalities among the female roles. In such cases, the women react to what the men need, more often than not, as catalysts to change an aspect of the men’s lives. It can be concurred that relationships between main characters, both male and female in the infidelity-romance genre are motivated not by love alone, but rather by the need to emphasize and secure their self-value. Like with No Other Woman, when the man (Derek Ramsey) has the feeling of impotent and has been interrogating his capabilities and power by his father-in-law. He pitiably said “Lahat na lang bigay ng tatay mo! Lahat na lang hindi atin! Kaya minsan pakiramdam ko nawawalan na ko ng bayag” (see on Appendices A). The notion of self-worth as displayed in the cinema differed for each gender: For the males, it becomes the feeling of achievement and confidence once control over one’s life is attained; For the females, unfortunately, it still relies heavily on the worth given to them by the man, often measured in terms of love and respect. Types of Infidelity According to Drigotas and Barta (2001), infidelity is defined as a partner’s violation of norms regulating the level of emotional or physical intimacy with people
outside the relationship (p. 177). Infidelity can be sexual, emotional, or both. Sexual infidelity is any behavior that involves sexual contact, such as kissing, intimate touching, oral sex, or sexual intercourse. Emotional infidelity involves the formation of an emotional attachment to or affection for another person, and can involve such behaviors as flirting, dating, intimate conversations, or falling in love. Sexual fidelity is one of the most important symbols of commitment in a relationship. Yet it is increasingly under attack from new pressures, and few of us understand why people have affairs or how best to recover from them.Sexual infidelity, as its name suggests, refers to sexual activities that are committed with someone other than one’s partner. Behaviors that constitute sexual infidelity range from kissing to sexual intercourse and include behaviors such as sexual touching and oral sex (Feldman & Cauffman, 2000; Roscoe, Cavanaugh, & Kennedy, 1988). The 2011 movie had this type of infidelity. No Other Woman had sexual disinterest or which the wife noticed that her partner seemed less interested and excited about having sex with her since infidelity occurred. Emotional infidelity refers to becoming emotionally involved with someone other than one’s partner (Roscoe, et al., 1988). Behaviors such as flirting, dating, spending time together and falling in love with someone other than one’s partner are identified as acts of emotional infidelity or betrayal (Roscoe, et al., 1988). Relational infidelity is defined as a severe relational transgression in which one or both relational partners perform extra dyadic behaviors that violate relational rules of monogamy and exclusivity without their partner’s prior consent. It is
important to note that the existence of extra dyadic behaviors do not always constitute acts of relational infidelity because some relationships do not have an expectation of exclusivity or monogamy (Drigotas, Safstrom, & Gentillia, 1999). It may involve sexual involvement in the absence of an emotional attachment, an emotional attachment in the absence of sexual involvement, or a combination of sexual involvement and an emotional attachment. Shackelford and Buss (1997) define sexual infidelity as “sexual activity with someone other than one’s long-term partner” (pp. 1034-1035), and emotional infidelity occurring when “one’s partner channels emotional resources such as romantic love, time and attention to someone else” (p. 1035). Concept of Infidelity Huwag Pamarisan. Mister mo, Lover boy ko was a 1975 film wherein the other woman is a chorus girl or an entertainer in a night club, where she met the husband. She intentionally desired and admitted to be somebody’s mistress for the reason of material possession. At the same time the husband was easily tempted because of her physical qualities, sexy and good looking. Wealth and power were invested by man in order to seduce the woman. Since the other woman was a gold digger, she let herself be tempted and agreed to be a mistress without considering the legal status of the man. The wife suffered illness and been unproductive that caused her spouse to look for someone else. It was showed that the husband committed infidelity because of hunger on sexual activity. The use of color of yellow (clothes and flower) presented as symbol of
unfaithfulness. Signology.org explained that color yellow in some cultures symbolizes disgrace, betrayal and deceit. In the Christian Bible, Jesus was betrayed by Judas who wore a yellow coat when he identified Jesus to the high priests through a kiss. Yacht with a view of ocean, a body of water, was employed in the film as meeting place of man and other woman. It symbolizes mystery which means their secret affair. Unbutton of clothes was given an emphasis through camera shot. It denoted sexual intercourse and desire between the husband and mistress. They usually seen each other at night however the presentation of time was observed. They met each other with limited moment. However, the wife is suspicious of her husband’s infidelity but she did not do anything about it. At the end of the movie, it was still the wife who was prioritized and chose by man. While the mistress, returned all the belongings given by the husband included the bungalow house. Bungalow used to represent an affair which corresponds to single detachment. The mistress was soon emotionally attached which was opposite to husband. This proved that in their affair and infidelity, there was just a single way of emotional attachment. The film was an Opportunistic type such that the husband committed sexual infidelity because of the effect of alcohol and he was obsesses to meet other woman to have sexual interaction, using his money, due to his wife who is unproductive; Obligatory when the husband sought for sexual gratification and affection from other person. Relasyon, a 1982 film, presented another type of infidelity. The movie begun and ended with scenes of husband and other woman only; there was a minute
existence of wife. The mistress in the movie was a decent girl with a decent job. She was very conscious with her looks that remained her attractiveness. On the other hand, the husband was self-centred and seemed infidelity as moral; there was nothing wrong from being polygamous or from committing oneself to different women. The infidelity represented as lewd, tricky, secretive and prison- barred on a situation. Betrayal is morally wrong and having secret affair was socially unacceptable. The image of white clothes represented infidelity. Unfaithfulness was cautious in the sense that it could be a danger to one’s marriage. It was also a correspondence of stimulation of senses of the characters. The white blanket was used whenever the mistress and the man had their sexual interaction and that means that infidelity was about sexual longing too. The husband enjoyed being unfaithful because there were sexual satisfaction and higher privilege he got from the other woman rather than or that the wife could offer to. The mistress in the movie was martyr such that she exerted more effort than the husband. In terms of investment, she rented an apartment for them and paid for it without the assistance of the man. She had been a slave over her master, the husband. The presentation of candle light represented as mistress’s expectation. She expected that she could get limitless time and legal rights from the man. The existence of lake with a reflection depicted passiveness or silence. As symbolism.org described water at it was most passive which symbolized lakes and ponds and other small bodies of water. This type of water reflects because of its smooth surface and it is not surprising that this type of water draws people close to it to engage in the act of the reflection. It was this state of
water that served as the first mirror for mankind. The secret affair and infidelity only brought to an end by death. The picture frame signified that the husband was dead. Even at the last stage of man’s life, he was with the mistress however; the absolute rights were still taken by the wife. The other woman left the rented apartment and decided to go abroad and moved on. The existence of baggage again symbolized closure of both infidelity and illegal affair. This movie was a romantic infidelity. The husband gives other woman a ring to symbolize his love to the other woman and they were both attached to each other. However, it was also a conflicted infidelity as the husband still in love with his wife and also loved the other woman. Minsan Lang Kitang Iibigin, a 1993 movie, showed some changes from the characters until the story. There was both emotional involvement but single attachment. Only the husband had affection on the other hand, the other woman involved in infidelity because of loneliness from her died husband. While the wife in the film presented as aggressive and competitive. The infidelity in 1990s represented as grimy as sexual interaction between husband and other woman happened first on the muddy land while they were under the rain; and sin as the wife said “…Ika pitong utos: huwag kang makikiapid. May isang tanong lang ako sayo, prangkahin mo sana ako. May relasyon ba kayo ng asawa ko?” (see on Appendices A). Adultery is one of the most frequently and severely condemned sin in the Bible. Adultery is mentioned 52 times, including in the Ten Commandments, all four Gospels, and ten other books of the Bible. Only the sins
of idolatry, self-righteousness and murder are mentioned more often. You shall not commit adultery (NIV, Exodus 20:14). People also wonder if romantic relationships outside of marriage are permissible as long as there is no actual sexual intercourse. However, in Bible teachings, marriage is an exclusive romantic and sexual relationship between husband and wife. Jesus said: “You have heard that it was said, ‘Do not commit adultery.’ But I tell you that anyone who looks at a woman lustfully has already committed adultery with her in his heart” (NIV, Matthew 5:27-28). While the used of rain was for the intimacy of the scene. Director Paolo Magsino understood, “…Pag sa mga romance kasi ganun din, mas intimate tingnan. Mas makakadagdag sa emotion ng mga manonood. Mas effective kapag ginagamitan minsan ng ulan” (see on Appendices B). The mistress was a close friend of the wife. Letter existed as an evidence of betrayal wherein it was written how much a husband (Gabby Concepcion) longing for the other woman (Zsazsa Padilla). The husband committed infidelity because of inability of the wife to have sexual interaction with him. The legal woman could not provide a child which is a husband’s main desire. The film was opportunistic infidelity as the man (Gabby Concepcion) comforted the other woman (Zsazsa Padilla) who was suffering from mental disorder due to the death of his husband and her loneless caused to commit infidelity; Romantic infidelity since the husband wrote a letter that he was falling in love with the other woman and he started to fall out of love with his wife. No Other Woman, a 2011 film, presented a more liberated and earthy scenes,
as well as more symbolic visual elements and dialogues. Water and white clothes were also utilized. Infidelity represented as forbidden, delectable, and temptation. The husband, who was a salesman, regarded his work as eyeing a girl wherein there was a need of seduction. The mistress was presented as high class prostitute, liberated and termite that can destroy man’s marriage. The husband betrayed his wife because of marital deprivation. His abilities and power as man was questioned by his father-inlaw that made him feel impotent. Due to that, he was tempted to try for something new. The slipping off of ring by the husband during meetings with his client represented infidelity. From the ninth edition of Jesuit Father John L. Thomas’ “Beginning Your Marriage,” the book observed, “The bride and groom usually give each other rings in the shape of a circle, symbolizing that they hope that their love will be without end”.
Father Wang pointed out that in some films a character
“plotting how he might hook up” with a stranger “slips his wedding ring off and puts it in his pocket.” The intent is to deceive his new acquaintance. The assumption is that by wearing a wedding ring, people acknowledge their marital commitment publicly and in a continual way. Infidelity represented as forbidden. The scene when an allergic food particularly sea foods were eaten by the mistress and these foods were highly prohibited to her. Logically and idiomatically, an allergic food was highly proscribed to a person who has allergy with that same as with infidelity; unfaithfulness was morally unacceptable and betrayal was a sin since it could ruin relationship. It also corresponded to temptation. Being a salesman and eyeing for a girl were both on
getting what one aims for. A man was ambitious and was aiming for a goal in life. Aiming and eyeing for a girl were a clear intention of betrayal. Over the voice of the husband, “..And that’s the secret to being a good sales man. It’s all about temptation” (see on Appendices A). Furthermore infidelity also represented in the film as sin, “Bakit ka ba gumagamit ng kobyertos? Why don’t get your hands dirty?” (see on Appendices A) said Kara, the mistress. Getting hands dirty was getting things impure; being unfaithful was getting impure. Hand corresponded to other woman and as Ram, the husband, said “Bawal! My wifey does not permit me to you use my hand” (see on Appendices A) means that his wife did not allow and tolerate him from committing any impurities that could harm their relationship. The commitment of infidelity also represented as sexual desire. It was one of the reasons why the husband took pleasure in betraying his wife. At the end, the baggage again existed as correspondence of conclusion of infidelity and secret affair. Infidelity was mysterious such that there had a furtive feeling from both man and other woman or even in the affair itself. There was no pure and apparent affection. Ring corresponds to commitment. However, in No Other Woman (2011), the husband takes off his ring, sign of unfaithfulness, whenever he meets and tempts a client. Wearing of it seemingly tells that a person is already committed. This movie had almost types of infidelity: Commemorative infidelity when a married man who was a salesman believed that his job was about temptation and that corresponded to eyeing for many different types of woman; Opportunistic infidelity such that the husband has the behaviour of slipping off their wedding ring in order to
use his charm and to attract customers; Romantic as there was an avoidance of communication from the husband to his wife whenever he was with his mistress since the husband and the other woman had a small attachment with each other. The existence of king size bed from three selected films namely Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), and No Other Woman (2011) corresponded to fulfillment such that all mistress’s directly conversed and asked the husbands to stay and to accompany with them and filled in the empty space; aloneness. For instance, “When you see an empty space, it makes you realize that you’re alone at ayoko ng ganon” (see on Appendices A) Kara, the mistress said. As Ram, the husband answered “What if someone wants to fill in that empty space?” (see on Appendices A). Farrer and Zhongzin examined the “concrete social contexts” in which the extramarital relationships form places of leisure and the friends, family, and coworkers associated. Farrer and Zhongzin found that many informants used leisure and play, including dance clubs, to meet their outside lovers. Meyer enumerated the different kinds of infidelity that existed among couples and all of the selective films showed it was romantic infidelity. A form of infidelity that occurs when the couple has a small attachment and looking for other spouse to fit in his feeling. This is prevalent among queridas/kabit that is unknown to other party. On the other hand, De Guia (2012) entails that in the movies studied previously husbands dominating the act of infidelity due to possession, authority, and dissatisfy. In 1970s and 1990s the husband commits infidelity due to authority, dissatisfy and
lack of sexual intercourse with his wife. In 1980s and 2000s the cause of the husband infidelity was due to the possession. Simultaneously, the wife represented as passive, calm, and victim image for the sake of maintaining relationship. Additional Findings The emotional and physical aftermath after an affair has been disclosed can be very difficult, and responses can vary between couples. Some studies suggest that only a small percentage of couples that experience infidelity actually improve their relationship, whereas some studies report couples having surprisingly positive relationship outcomes (Blow & Hartnett, 2005). In terms of negative responses to infidelity, Charney and Parnass (1995) report that after hearing of a partner’s infidelity, reactions have included rage, loss of trust, decreased personal and sexual confidence, sadness, depression, damaged self-esteem, fear of abandonment, and a surge of justification to leave their partner (Blow & Hartnett, 2005). Like in Minsan Lang Kitang Iibigin (1993), the legal wife (Maricel Soriano) outrageously went to where the mistress lived at. Because of her husband’s infidelity, she was not able to control herself and she stubbed the other woman who was her best friend. Whilst similar to on the study done by Schneider, Irons, and Corley (1999) that was reported nearly 60% of the partners cheated on suffered emotional problems and depression following disclosure of the affair, in No other Woman, the legal wife (Christine Reyes) tried to save and repair their broken relationship, she even confronted her husband’s mistress as she desperately wanted the infidelity and secret affair closed. But at the end of the story, she decided to just leave on their relationship so as he
could heal and mend the wound brought by her husband’s infidelity. Supported by Mendoza (1999) elucidates that broken relationships, infidelity in particular is one of the family issues that is being represented on various Filipino films. It seems that audience is looking back on themselves and relating that to their experiences. Conclusion The researchers analyzed and found out through the completed table, conducted data and thorough observation with study of
mise-en-scene such as
setting, properties, and costumes, that water, temptation, baggage, ring, candled light, unbutton clothes, watch, white clothes, and sunset were the visual elements used to represent infidelity. The infidelity was represented using visual elements as mysterious (water), commitment (ring), yellow and white clothes, expectation (candled light) and unclean (mud); using sound elements as dirty (shame, filthy/pig), sin (7th on the 10 commandments, getting hands dirty and forbidden food, culpability). On the other hand, it was represented as temptation, immaturity, sin/sinful, secretive, dirty and filthy. In the film Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011) showed those affairs or infidelity happened for myriad reason. All relationship needs satisfaction in sexual desire and emotional act and when one of these is deficient, more likely one of them will feel dissatisfied and this may lead into infidelity, the act
of unfaithfulness. Infidelity did not always occur as a cause of relationship dissatisfaction nevertheless it is the husband’s enjoyable experience, loss of man’s ego, sexual experience and emotional intimacy. Majority in four selected films the reason why they engaged such infidelity the husband was dissatisfied with the primary relationship and avoidance of personal relationship problem. Men and woman had a different reaction towards infidelity. Men are caring more about sexual infidelity while women about emotional infidelity. According to the study using visual elements and dialogues, it showed that marital infidelity is represented in the films as a dispute among the element rather than the relationship. Infidelity is a destruction of union of marriage although it was presented as temporarily fun and exciting parallel to the concept of other woman. The other woman is used as an object of unfaithfulness consequently it was an obstacle in marriage. In 1990s up to the present as soon as the husband committed infidelity the image of the other woman to the wife is like an animal in all forms – a reptile, poisonous sea creature and an insect; to the husband she is representation of something new, exciting and fun; that kind of experience that the married man longing for. Andthe wife sees her as enemy to get rid of contrary in 1970s up to 1980s with the wife playing in submissive form. In 1970s up to the present, the visual element and dialoguesrepresented the other woman as an attractive, gorgeous, sexy but still craving for some affection and attention. While the concept of husband conceived as a necessity in the element of having a successful marriage. In 1970s to the present the women are option for the man; either the wife wins back her husband
of the other woman becomes successful in taking away the man from his wife. The husband can choose either of the two and still has got nothing to lose. Unlike the wife who seeks the attention of her husband and the other woman who fights with the wife over him. The gathered data from analysis of representation of infidelity in the films is utilized to identify a trend and the changes occurred over a period of time. Between 1970s and 1990s there was a dramatically changes that occurred in the data. Before the 70s and 80s women either had no knowledge about their husband’s affair or they knew about it but did nothing about defending their marriage however today a woman reacts in such different manner. Some women in the film’s most likely in 1990s up to 2000s went to the extent of taking revenge, going psychotic, leaving their husband , and expressing a great deal of anger. Nevertheless, those films in 1990s up to 2000s indicated that even though women have more power and opportunities today, this did not stop their husbands from having affair. Majority of the women in selected films were ended up staying with their adulterous husband. Director Paolo Magsino quoted that “na-impluensyahan tayo ng Western film, kasi dati mga 70’s -80’s parang medyo conservative pa, mga dalagang Pilipina”. The changes occurred over the period of time because the effect of western civilization, the adoption of ideas in different types of films in different places. In 1970’s up to 1990’s the nudity and sexual scene is not too exposed and visible in this year, but the changes occurred in 2000’s such as being exposed of sexual intimacy and he discussed that one of the effects of other films; the country become more liberated,
even lacking of originality in some aspect, the industry has evolved more into business and they wanted to deliver what the society demands with movies giving emphasis on one-liners, scandalous confrontations , happy ending stories and stories that many people would relate like he said that “sa main stream , laging happy ending kasi yun ang gusto makita ng mga tao. Pagkatapos makita yun ng tao ay ang pangit nung ending, malungkot sila. Pero ‘pag gusto naman nilang sumaya nanood sila ng ganun klaseng pelikula siyempre usually ‘pag mainstream magaganda ending niyan, ay maganda yung film, nakarelate din ako” so that majority of the four selected films, the husband always ended up staying with their wife. One of the main focuses of this study was to identify whether the media (film in particular) had a clear representation or just exaggeration of the concept of infidelity. Director Paolo Magsino argued that “hindi makatotohan yung mga binibigkas nilang dialogue which is malayo naman sa katotohanan mangyari” (see on Appendices B) and this study verifies that this statement is accurate; some dialogues that being used really unusual. Another thing is the concept of “kabet”, before in Philippine films (1970’s) other woman being captured by the wealth of the husband, and because of money and poverty other woman commits infidelity but in the present other woman represented as well-educated, elite and high-class which is dissimilar and uncommon to reality. Director Paolo Magsino supported this finding and quoted that “ginawana din nilang may kaya yung kabet, kumbaga mas pinakita na lang do’n, wala na silang pakialam doon sa problemang kabet, tapos makikipag-away sa public gagawa ng eskandalo? Parang wala naman nangyayari na ganon lalo ‘pag
mayaman at edukada. Yun yung sinasabi kong part ng exaggeration.”
Recommendation The researchers recommend to the future researchers who are enthusiastic to study infidelity films in Philippine cinema that they should use other film genre aside from what is used in this study. The researchers suggest to the future researchers to use other theories on how they will conduct a study in other infidelity films and also can conduct a study in Infidelity using the Philippine television series or drama instead of Philippine cinema. They should explore other sources of information that is available in the present Philippine drama series in various networks. The future researchers should do the same kind of study to foreign infidelity films and differentiate the kinds of infidelity to compare and contrast with Philippine films. In additional Future research can include the non-verbal communication to emphasize the facial expression, gesture and reaction of the character of the film. Then Future researcher can also use other research method such as interview and survey with different characteristic and same situation, observation of the actions of the character and applied more scientific approach and the future researcher can also use the combination of Qualitative and Quantitative approach in studying content analysis.
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Appendices A Coding Sheet for Visual Elements
“Huwag Pamarisan. Mister mo, Lover boy ko” (1975)
Scene
Character
Visual Element
Representation of infidelity
Manuel Christine
Unbutton clothes
Sexual Desire
Unbutton clothes represents sexual desire. Stripping is a way of tempting a person that leads to sexual interaction. People who are not married hunger for it.
Manuel Christine
Wristwatch
Time
Wrist watch represents time. It depicts the span of moment that the husband can have with other woman. In line with that, night is a frequent time when infidelity happens. Time also depicts limitation on infidelity.
While Christine and Manuel drink inside the yacht, Christine unbuttons the Polo of Manuel as she tries to tempt him.
Manuel looking at his wrist watch and check the time. He is dating at night with Christine.
Analysis
Manuel Christine
Ocean / Water
Mystery
Ocean represents water; Water means mystery. A secret affair is infidelity; it is secrecy. Everything happens in a secret affair is kept in veil or secret that nobody knows.
Christine
Yellow Clothes
Infidelity Mistress
The color of yellow represents infidelity. A woman wears clothes with the same color; that corresponds to mistress. It does not verbally tell what type of woman she is but through the use of color, it identifies that she is a mistress since yellow symbolizes infidelity
Christine
King Size Bed
Fulfillment
King size bed represents to fulfillment. The mistress’s material desire was satisfied. While the huge
Manuel and Christine are on the yacht, cuddling each other and creating their moment with a view of blue wide ocean.
Christine wearing yellow swimsuit during her photo shoot since she is now an actress which is her ultimate dream. Ana dresses up herself with yellow clothes.
space in bed is the longing for someone to fulfill its emptiness.
Christine laying on a king size bed seeing that she is very excited and joyful as she also wishes for that material which finally granted. Christine, Manuel
Bed scene
Sexual Desire
Bed scene represents to sexual desire. Infidelity takes place when the bed scene transpire to the husband and other woman.
Christine, Manuel, Mando Vicky
Red Two Piece
Hotness
A red two piece represents to hotness. Hotness characterizes the mistress; sexy and has alluring body. The mistress is the temptation and her appealing figure makes her more attractive to men .
Manuel and Christine after their sexual intercourse. Their bodies are wrapped of yellow blanket.
Mando introduces Christine, a woman wearing red two piece, to Manuel.
“Relasyon” (1982)
Scene
Character
Visual Elements
Representation of infidelity
Analysis
Marilou
Woman who is working out
Fit and sexy body ; Temptation
A woman who is exercising represents sexy body. A sexy figure is temptation for man. An alluring body usually possesses more by a mistress.
Marilou
Ring
Commitment
A ring represents commitment. It is a symbol of man’s attachment and love.
Marilou, Emil
White Blanket
Infidelity
A white color of a blanket represents infidelity. The husband has secret affair with other woman. He has been having sexual intercourse to a woman who is not his legal partner.
A woman who is working her body out used as an introduction to the character of the mistress.
Emil and Marilou having their lunch in their favorite restaurant. Emil surprised Marilou; he gives her a ring.
A night before and morning after Marilou and Emil had sex. They are both naked with their bodies wrapped in a white blanket.
Marilou
Candled Light
Expectation
A candled light represents to expectation. The husband celebrates official occasion like Christmas with his legal wife and child. The mistress was left alone with expectation from the man/husband.
Marilou
Baggage
Closure
The baggage represents to closure. The other woman closes herself from being a mistress.
Marilou
River
Mysterious
Water and reflection represents mysterious. They are in a secretive situation and even the husband is furtive on his feelings and decisions since he still has the affection to his wife. His infidelity is mysterious as well such that he keeps his affair with his mistress to his
Marilou celebrating her Christmas alone.
After the death and burial of Emil, Marilou leaves the house and decided to start her new life to abroad.
Marilou and Emil on the bridge near the church. Looking the reflections of them on the water.
wife and to the public.
Marilou
Picture
Evidence
A picture represents to Evidence. The mistress verifies that the husband still loves his wife even if the two official spouses are separated. She confirms that she can never be a substitute to legal wife.
Marilou Emil
Wrist watch
Time
A wrist watch represents time. The husband divides his time between the legal and the other woman. As part of agreement, the husband should be with his official wife during special occasion while the mistress left alone. It
Marilou is about washing the clothes of Emil as she found out there is a picture inside the pocket of Emil’s polo; picture of Emil and his wife.
Emil checks the time; he has to leave earlier before a Christmas eve. While Marilou distracts and prevents him from looking at his watch as Lou wants
him to stay.
symbolizes period and moments.
“Minsan Lang Kitang Iibigin” (1993)
Scene
Character
Visual Elements
Representation of infidelity
Analysis
Terry
Letter
Evidence
Letter represents evidence that infidelity was happened; Since the husband wrote a letter confessing his feeling towards to the other women.
Monique, Dave
Mud
Griminess , Filthiness And Dirtiness
The mud represents the dirtiness of infidelity, since infidelity is a forbidden affair.
Monique, Dave
Rain
Mystery
Rain represents water; Water means
Terry is searching for evidence that his husband might have an affair to her best friend until she found a letter of his husband to his other women.
Dave and Monique are having a sexual intercourse in the mud. \
mystery. A secret affair is infidelity; it is secrecy. Everything happens in a secret affair is kept in veil or secret that nobody knows. Dave and Monique are having a sexual intercourse in the mud.
“No Other Woman” (2011)
Scene
Character
Visual Elements
Representation of Infidelity
Analysis
Kara
Sexy and beautiful woman
Namimingwitng babae (eyeing for a girl); Temptation
Being a salesman compares to eyeing a girl because a salesman has a specific objective and target just like a man who wants to get the woman he wants.
Charmaine
Ring
Marriage
A wedding ring represents marriage and loyalty.A wedding ring is the traditional symbol of marriage. Hence, being a loyal partner is keeping to the tradition.
The character of husband is introduced in the story.
The wife always reminds her husband to wear his wedding ring.
Kara, Ram
Takip-silim, Sunset
Time
Sunset represents time; when the husband and the other woman secretly run into each other arms. Night is a frequent time when cheating mostly happens.
Kara
White Blanket, white curtains and white bedsheet.
Mistress / Other woman
White clothes represent and are used to introduce her as other woman.
Charmaine
Candle light
Romance
The wife tries to bring back the romance that they have since she senses or feels that her husband has an affair with the other woman.
At time that the sun sets, Kara who consciously aware on Ram’s marriage, seduces Ram. She dares him to kiss her without falling in love with her.
Kara woke up alone and left by Ram as naked
Charmaine sets the room with candled light and red roses on the bed and
floor as she wants to surprise as well as seduce her suspicious husband Ram.
Charmaine, kara, Ram.
Ulam (Viand)
Husband
The viand (ulam) represents the husband or man; Two different women carrying similar viand depicts having relationship with the same man.
Kara
Swimsuit
Ahas(snake)
A snake represents the other woman. It is the snake’s evil image in the literature and the other woman’s evil role in the marriage of a happy couple.
Kara, Ram.
Baggage
Closure
The baggage symbolizes closure of a husband and other woman’s affair; End of Infidelity.
Ram arrived at home seeing his wife and other woman together while handling the same kind of viand.
Kara lying on a sun bathing chair, wearing her snake tone swimsuit.
After an accident, Kara visits Ram to finally close their affair. She talks to Ram and tells that
she will be leaving the country as part of statring her new life.
Kara, Ram.
King Size Bed
Bed having an empty space; filling an empty space
A bed having an empty space represents aloneness or of being alone. The empty space is the longing for something or someone to be with or to fill in.
Ram Charmaine
Unbutton shirt
Sexual Desire
Unbutton shirt represents to sexual desire. It signals that one wants to have a sexual intercourse.
Ram scolds Kara regarding her being stubborn; eating foods that are prohibited to her .
Charmaine is asking for sexual
connection as she wants to attest her suspicion towards Ram’s infidelity.
Kara, Ram.
Seashore
Mysterious
Seashore (sea) represents to mysterious. Having sexual connection with other woman who is not your legal partner is part of infidelity. It is a secretive action that is usually done by an unfaithful partner.
Charmaine
Text Message
Evidence
Text message represents the evidence. It signifies man’s infidelity. Phone is commonly used as secretive way of communicatio n for cheating.
Ram and Kara is having their first intimate sexual intercourse at night near the seashore
Kara sent message to Ram at late at night. But then, it was received and read by Charmaine.
Coding Sheets for Dialogues “Huwag Pamarisan. Mister mo, Lover boy ko” (1975) SCENE
DIALOGUE
Guy2: Ay hindi dapat artista yan dapat yan sa Pasay. The staff and production together with Christine are having their shoot. They are talking behind Christine regarding her as actress.
Pasay represents the mistress. Pasay is a well-known place of prostitute thereof the mistress sees by others as a cheap, low class type of woman.
Bungalow
Bungalow represents to an affair of husband and other woman. Bungalow is a single attachment style of house; the emotional attachment in infidelity and extramarital affair are single or oneway which means that there is no assurance on affection and a taketake or give-give kind of relationship. And in this case, the man has the absolute benefit such as sexual pleasure.
Gabi (night) Kabet (mistress)
Mistress represents to other woman who has an affair with someone’s husband. Night is the usual time when infidelity happens. The
Manuel: Nagustuhan mo ba?
Tred: Mamayang gabi ugaling kabet, utak kabet, pagmamahal ang kabet
ANALYSIS
Pasay
Guy1: Malay mo dun talaga galing yan.
Christine: Sobrang overacting mo naman. Ang ganda nitong bungalow.
Christine talking with Manny with regards to her new bungalow house.
REPRESENTATION OF INFIDELITY
Tred tries to advise Christine to stop her wrongful and sinful actions and decisions; being a mistress and gold-digger.
husband can easily cheats his wife and meets his mistress at night as it is the time of slumber and when there are less people who can possibly see them. Christine: Oy! Ang bilis bilis ng panahon no? Parang kahapon nasa batulon lang ako tapos ngayun eto , de-bungalow , tapos echos artista anong say mo. Manuel, mahal na mahal kita.
de-bungalow” “artista”
“de-bungalow” and “artista” represent the investments of man. The husband make used of his money and power in able to get the girl he wanted. He offered and granted the materials longing by the other woman.
Christine: Magkaharap tayo Mrs. Salvador pero hindi tayo magkaibigan.
“Hindi tayo magkaibigan” (enemy)
The other woman and the wife see each other as rival and enemy. They both fight their rights to man. Since the other woman possesses the materials she longing for but dissatisfied, she wants to absolutely take the husband so she can achieve her goals that is to get rich and be drown from material belongings and properties.
After had their sexual interaction, Christine express her thanks about the materials given and done by Manuel.
Christine sits in front of Ana as if tries to settle things between them with Manuel.
Manuel confronts Christine regarding her scandal and disclosure their secret affair to the legal wife.
Manuel tries to explain to Christine his real emotion. He clarifies the place of his mistress to his life.
Manuel: Nagpunta ka sa bahay kung anu-ano sinabi mo. Binulgar mo ang relasyon nating dalawa. Sinong babaeng, sinong asawa ang hindi masasaktan na malaman yun? Manuel: Hindi ba sinabi ko na sayo bakit hindi pa tayo pwedeng magkita?
“binulgar” (disclosed)
‘‘binulgar” represents to disclosure of secret affair. Since their relationship is forbidden, the husband wants to keep it secret from her wife. To man, his infidelity and affair with other woman are things and case that should be conceal, that the legitimate spouse should not identify or discover it.
Manuel: Isipin mong mabuti itong nakaraang buwan, ni minsan hindi ko sinabi sayong iiwan ko si Anna para sayo. Hindi kita bina balewala Christine, lahat ng tulong na mabibigay ko sayo ay nabigay ko na lahat ang hilingin mo ay sinusunod ko na pero isang bagay lang ang huwag mong gagawin, ang papiliin ako sa inyong dalawa; ikaw o si Ana? Wala kang laban kay Ana.
“tulong” (support)
The husband supports the other woman from material hunger. In their affair, he shows that even his support is limited. It is still the wife who wins against the mistress over the husband. It explains and proves that he cannot even offer his love to the mistress. He can provide desires but not necessities.
“Relasyon” (1982) SCENE
Emil talks Dorothy, his wife, over the phone making an alibi where in fact he is with Marilou, his mistress.
Emil and Marilou are dating. Emil is hiding from her wife’s sister as he avoiding to see him from cheating his wife.
Marilou’s uncle, an attorney, explains and
DIALOGUE
REPRESENTATION OF INFIDELITY
ANALYSIS
Emil: Sinabi ko ng may meeting ako e. Mahuhuli ako. Dorothy ano ka ba? Napakaunreas onable mo naman e. Ano, basta na lang ako aalis dito? Ganon ba?
Meeting
Meeting represents to secret meet up of husband and mistress. It is one of a man’s ways of cheating. A husband tells that he is in the middle of a meeting which in fact, he is with his mistress.
Emil: Nandiyan si Evelyn, yung kapatid ni Dorothy.
Tago nang tago (keeps on hiding)
Hiding represents to the status and legality of husbandmistress relationship. A secret affair does not legally permit to be seen and be known by the public since it is intolerable type of relationship. A husband hides whenever he is with his mistress because he is anxious that his wife may find out that he cheats.
Secrecy
Marilou: Emil hindi na ata ako makakatagal ng ganito; tago nang tago.
Lou’s uncle: Iha, mahirap ang pinasukan mong yan! Isipin mong mabuti ang ginagawa mo. Unang una sa batas, wala kang legal personality,
Conjugal property
Conjugal property represents to possessions of legal partners. Since the mistress is the illegitimate one, she has no rights to any possessions of man, or even joins on any property that man has
discusses her condition as a mistress as well as the benefits that she can get from Emil.
hindi mo maaaring ikabit ang apelyido niya sa pangalan mo. Wala kang conjugal property. Maski sa sweldo niya wala kang karapatan. Yung sweldo ng lalaki belongs to the legal wife. Kung saka sakaling mamatay siya, wala kang mana. Marilou: Ma, huwag niyo naman sisihin si Emil. Kung kamalian niya, kamalian naming dalawa.
Kamalian (Fault/sin)
Marilou’s mother rebukes her for being left alone and lost by Emil.
Fault or sin represents infidelity. Betrayal is a sin in law, God’s commandments and public. It is an unfair action that is unreasonable and unacceptable.
“Minsan Lang Kitang Iibigin” (1993) SCENE
DIALOGUE
Dave: bat di ako naging kasing swerte ni alex, Ang swerte swerte niya sayo. Monique: Dave walang ganyanan huh
REPRESENTATION OF INFIDELITY Avoidance
ANALYSIS
Avoidance represent the other woman wants to escape the husband confession. When someone’s husband confessing his feeling towards the women. The women is avoiding or escaping the
Dave is confessing that he is envy with monique’s husband to had such beautiful wife.
Dave: E totoo naman e, tuwing pinagmamasad an kita kinaiingitan ko si Alex.
Monique: hindi naman ako makakapagbus iness kung hindi tumulong si Dave
Terry visited Monique’s house with evil motivation towards Monique.
Dave is talking to his wife’s bestfriend;his wife steal the phone and started to screamed and warned the woman on the telephone.
forbidden feelings.
Business partner
The business partner represents to other woman. A man’s excuse of his harmless flirtations. A man will tell that he and the other woman are just friends or buddies.
Suspicion
Suspicion represents the emotion of the wife when they feel that their husband is having an affair to other woman
Terry: Alam ko, lagi naman siyang pumapalit sa trabahong naiwan ni Alex, ganun naman talaga ang asawa ko kahit nung nabubuhay pa si Alex lalo na nung namatay si Alex
Terry: Ikaw talagang babae ka ayaw mong tumigil ang kapal kapal ng mukha mo. Sino to? Terry: bakit di mo sinabi sa akin si Monique to?
Dave admits that he is really envy with Monique’s husband.
Terry bought a new house and new furniture; Dave is angry because
Terry visited Monique’s house with evil motivation towards Monique.
Dave: Si Alex lang naman talaga ang may talent sa pag iinvest kung minsan nga naiingit ako sa kanya, na halos lahat alam niyang gawin.
Envy
Envy represents to man. A man is jealous with other man that has his desire woman.
Terry: Dave investment tong bahay na to, ano ka ba? Parang di mo alam habang tumatagal nag a-appreciate yung value, ano bang kinakatakot mo?
Investment
The investment represent their marriage; the wife bought a new big house to invest in the future
Terry: Magkunwari tayong nasa show mo pero ako yung host ikaw yung guest anong tittle ng palabas? Ikaw pitong utos: huwag kang makikiapid. May isang tanung lang ako sayo? Prangkahin mo sana ako. May relasyon ba kayo ng asawa ko?
Ten Commandments: Ika pitong utos huwag kang makikiapid.
Ten Commandments: Ika pitong utos -huwag kang makikiapid. represents forbidden relationship
Monique: Relasyon?
Fighting scene with the wife and the other woman.
Kerida, kabet number 2, mistress represents the other woman. Those are social terms used in recognizing and naming a husband’s other woman.
Other woman
Other woman represents the source of suspicion; the wife believes that the cause of changes of her husband is the other woman.
Dependent
Dependent represents the wife; Since the wife had no source of income and she felt helpless and needy without her husband therefore she can’t manage to lose her husband.
Terry: Relasyon! Kerida, kabet number 2, mistress. Relasyon
Terry: Kaya lang, worried talaga ako kay dave e talagang nagbago na siya wala nga ba talagang siyang babae?
Terry is sharing her thought about her husband suddenly changed; Monique is listening to her and also giving her a piece of advice.
Kerida, kabet number 2, mistress
Monique: Terry ayan ka na naman Terry: Totoo, sa mga kilos niya sa mga mata niya pag nakaharap siya sakin bago niya ko halikan nakikita ko yung mga mata niya hindi na sakin iba na amoy ng katawan niya, Monique: Terry ano ba naman logic yan. Terry: E totoo naman sympre naman mararamda-
man ko yun hindi naman ako dense, yang babaeng yan oras na malaman ko kung sino siya kakalbuhin ko siya, hindi ko kayang mawala si Dave nakasandal ako sa kanya e wala akong trabaho , wala akong ibang mapupuntahan siya lang ang lahat lahat sa akin , siya lang ang pamilya ko Terry: Hindi kagaya mo kaya mong mabuhay mag isa , ako wala akong alam
Monique and Dave are discussing regarding Monique’s pregnancy.
Monique: Hindi ako sure sa feelings ko sayo Dave, napaka bilis ng pangyayare. Bestfriend ko si terry kamamatay lang ni alex, baka naman hopeless lang ako ang naghahanap lang ako kasosyo sa kalungkutan at napagbalingan kita.
“Kasosyo sa kalungkutan ” Buddy/ Partner in sadness and despair
Buddy/partner represents infidelity. The reason why the other woman commits infidelity is because of her longing for her husband. She needs someone who can be with her when she is in pain and who will accompany her in all instances.
“No Other Woman” (2011) SCENE
Ram Escaler, the husband, defines how to be a salesman. The film started through voice over. Defining and comparing the same aspect of being man and a salesman.
While in a party, Charmaine’s father is with his business
DIALOGUE
REPRESENTATION OF INFIDELITY
ANALYSIS
Ram (V.O): Everyday hindi mo siguro mabibilang ang dami ng taong ma-eencounter mo, but you have to find your target. In order to win, you have to understand that this is the game of temptation. Once you find to get her, sinasabi ko sayo she will do everything what you’d wanted to do. And that’s the secret to being a good sales man. It’s all about temptation.
Being a salesman
Being a man represents and relates from being a salesman; they are both on getting what one aims for. A man is ambitious and is aiming for a goal in life. A salesman has a sales marketing that he needs to accomplish.
Charmaine: Ma baka naman mamaya di niya kerida yan. Mamaya business partner.
Business partner
The business partner represents to other woman. A man’s excuse of his harmless flirtations. A man will tell that he and the other woman are just friends or buddies.
partner who seems to be his mistress too. They do not tell anything to anyone but their actions speaks about what relationship and affair they have. Kara: Bakit ka ba gumagamit ng kobyertos? Why don’t get your hands dirty?
Ram and Kara having their lunch together. Eating seafood that you enjoy more without using spoon and forks hence hands
Charmaine has proven that her husband is cheating her. She cries and asks for advice to this mother on how she will handle that state of affairs.
Get the hands dirty
Getting hands dirty represents infidelity; it means of getting a thing impure. One’s being as a husband becomes impure if he commits infidelity.
Enemy
For a wife, her husband’s other woman is an enemy. She is competing with the mistress.
Ram: Bawal! My wifey does not permit me to you use my hand.
Charmaine’s mother: Kilalanin mo muna kung sino kalaban mo. Anak, eto ang tandaan mo, kapag ang lalaki mayat’ maya nagappalit ng babae, ok lang yun. Walang problema dun. Atleast sayo pa umuuwi. Pero pag ang lalaki hindi na siya nagpalit at may suki na siyang kabet, dun lumaban ka na. Charmaine: Hindi ko kayang
makipagagawan! Tsaka bakit kailangan kong ipaglaban kung alam kong akin?
Charmaine has proven that her husband is cheating her. She cries and asks for advice to this mother on how she will handle that state of affairs.
Charmaine: Hindi naman basta basta ang karibal ko. Heredera! Tsaka ano ba mas madaling kalaban, yung putang mahirap o yung putang mayaman?
The other woman represents a female prostitute who hooks or attaches herself to any man.
Long meeting
A long meeting implies that the other woman is a situation a husband cannot get out of.
Charmaine’s mother: Pare parehong puta lang yun! Yung mayaman original ang hermes, yung mahirap binili sa greenhills. Yun lang yun! Ram (O.S): Sorry hon, I’m stuck in a long meeting.
Charmaine called Ram and asking where is he at. Ram is making an excuse to her wife when actually he was with his other women.
Putang Mahirap /Putang mayaman (low or high class of prostitute)
Charmaine tries to cheer up Ram. She tells positive viewpoints since Ram has the feeling of impotent and has been interrogating his capabilities and power by her fatherin-law.
Ram: Lahat na lang bigay ng tatay mo! Lahat na lang hindi atin! Kaya minsan pakiramdam ko nawawalan na ko ng bayag.
Male power
The male sex organ represents power/authority. A male sex organ or guts is a “sense of potency”. It determines a man’s potency to be sexually productive. Potency is the authority to give orders and make decisions.
Charmaine’s mother: Kung ahas ka, mas ahas ako sa’yo. Tahimik lang ako pero ‘pag kinanti ako nanunuklaw!
Snake
The snake represents the other woman; it is how snake perceived in literature. In the Christian bible, the snake is a temptation; it denotes evil.
Charmaine’s mother: Madaming laway na laway diyan sa asawa mo! Pero oras na may magtangkang umagaw, get that bitch a good fight!
Salivating creature (animate)
The salivating creature (animate) represents the other woman; salivation is a sign of hunger or desire for something.
While in a room, Charmaine assists her mother to calm down who is so fuming and pissed of seeing her husband, Charmaine’s father, flirting with the other woman.
Charmaine’s mother madly warns her daughter to watch over her husband.
Kara: Bakit ka ba gumagamit ng kobyertos? Why don’t get your hands dirty? Ram and Kara having their lunch together. Eating seafood that you enjoy more without using spoon and forks hence hands
Kara trying to defend herself for being allergy on seafood. She is trying to explain the goodness of breaking the rules.
Ram visits to Kara’s house that is also placed in the resort. He asks Kara about its boring bed. That conversation means something lead them to sexual contact.
Get the hands dirty
Getting hands dirty represents infidelity; it means of getting a thing impure. One’s being as a husband becomes impure if he commits infidelity.
Kara: I’m allergic! Hindi naman ako natatakot maallergy no! Tsaka kung tatanggapin ko lang ‘to, pa’no ko malalaman na masarap pala siya? Dapat labanan mo kahit bawal because eventually, your body will just get used to it anyway.
Delectable food
Infidelity represents to a delectable food in a sense that a delicious food gives satisfaction to a palate while infidelity gives satisfaction to a sexual desire.
Ram: What would’ve you’re thinking when you’re getting that bed? It’s boring and small.
Bed having an empty space; filling an empty space
A bed having an empty space represents aloneness or of being alone. The empty space is the longing for something or someone to be with or to fill in.
Ram: Bawal! My wifey does not permit me to you use my hand.
Kara: When you see an empty space, it makes you realize that you’re alone at ayoko ng
ganon. Ram: What if someone wants to fill in that empty space?
Jelly fish (dikya)
A jelly fish represents a mistress; can be a danger. A jelly fish can be poisonous like a mistress in a marriage.
Charmaine’s mother: Naku! Ganyan talaga kapag galing sa makating dikya, nagmamarka.
Makating dikya
Makating dikya used to represent a mistress in the sense that Makati is the other symbol used to refer to a lustful woman.
Charmaine: Mababaliw siguro ko kapag nalaman kong may babae siya. Baka mapatay
Warning
The sound effect represents the mood of the scene; tension between the characters. The legal wife indirectly warns her husband
Charmaine: Babe, ano yan? Ram: Ah, wala nakuha ko’ to sa dagat. In a bazaar where Charmaine together with her mother and friend, selling pastry products, Ram arrived until Charmaine noticed her husband’s neck with skin rashes which was actually a kiss mark.
Charmaine’s friend: Jelly fish!
Charmaine’s mother commenting on Ram’s skin rashes which was actually a kiss mark.
Charmaine invited Kara to have her dinner on their house. While having their dinner and talking about relationship, Charmaine in some way warns Kara and Ram as she feels that Kara and her husband have secret affair; Kara is mistress. A dinner invitation for Kara is intentional for warning.
ko yung kabet. Silang dalawa actually.
Charmaine: You should cook more. Alam mo, the best way to a man’s heart is through his stomach. Pero sa ganda mong yan, siguro marami kang alam na short cuts.
Ram and Charmaine have their dinner in their house together with Kara. There is a tension between the two women that makes the husband feels uncomfortable. The conversation goes ironically.
and the other woman; killing someone shows how intense her love and protection to her husband
Short cuts in making man falls in love
Playing around For the other woman, She is just playing around between the legal wife and husband.
Kara: Well, I have my ways. But right now I am not looking for anything, I’m just playing around.
Kara: Well, if you’re expecting a cheap catfight. It’s not happening.
Short cuts represent cheat. The wife believes that the other woman is a cheater in their competition over the husband.
Cheap Catfight
A cheap catfight represents dispute; there is an involvement of two quiet and seemingly harmless creatures in a fight.
Charmaine fearfully talks Kara as trying to ask her from stop flirting with her husband. She uses metamorphic words that best describe Kara as mistress.
Charmaine: Binabantayan ko lang ang asawa ko. Alam mo kasi ang marriage para yang isang exclusive village, kailangan mong bantayan para hindi makapasok ang mga squatter.
Exclusive Village
For the legal wife, her husband is her property that she must protect; she must protect her husband from the mistress who’s trying to take him away.
Charmaine: E, anong tawag mo sa mang-aagaw ng asawa ng may asawa? Uuh, ahas! Bikini mo ba yan o balat mo? Kaya pala magaling kang gumapang.
Ahas (snake)
The snake used to represents a mistress. Getting one’s husband is the same as panunuklaw.
Kara: And so just you know. Yes! I enjoyed your husband! And I’m sure the feeling is mutual. Mamayang gabi habang humihilik ka, kakatok siya sa pintuan ko.
An enjoyable experience
For the other woman, being with someone’s husband is an enjoyable experience; The mutual feeling between the two is pleasure.
Charmaine: Bitawan mo ‘ko. Ang bababoy niyo! Para niyo na rin akong binaboy!
While in a hotel room, after Charmaine talked Kara, she cried and feels extremely bad to her husband.
Baboy (pig)
A pig (baboy) represents the emotion of the wife towards infidelity; the feeling of dirtiness and filthiness of her husband having sexual relationship in other woman.
Appendices B Full Transcription of Interviews Interviewee (I): CELIA BETE Sabang Dasmarinas City, Cavite 54 years old/ WIFE 35 years married Researcher/ Interviewer (R): Jennylyn Gancayco I: Nagtrabaho siya noon sa Secretary of Finance, kay Jaime. Yung secretary ng boss niya may crush sa kanya. Ngayon, sabi niya sa akin “Mang may crush sa akin yung secretary”. Ang sabi ko naman “yariin mo, babaero ka pa naman”. Sabi niya “ay, hindi.”Naging close ko yun, naging friend kasi pumupunta sa bahay. One time, nagbakasyon sila sa Baguio, one month sila doon. Nagtaka ako wala pang one month bumaba na papa mo nauna sa boss niya. Pagdating sa bahay, paikot- ikot siya sa upuan. Sabi ko“Anong nangyari sayo? Bakit nauna ka? Sabi niya wala.Tapos uminom ng beer. Sabi ko“Ano bang nangyari sayo?” Kasi hindi siya mapakali. Edi niloko ko“siguro nayari mo si Emily no? Kasi ganyan ka.”Sabi niya, “Oo nga, nayari ko nga kasi hindi nagsara ng cr” R: Yung Emily yung kaibigan mo? I: Oo. Nagbakasyon nga sila si Baguio R: Gaano katagal? I: One month nga sila dapat tapos wala pang one month nauna na siyang bumaba. Kakapanganak ko pa lang kay... ate! Kakapanganak ko pa lang sa panganay. Sabi ko
“anong nangyari, bakit nauna kang bumaba?” Sabi niya, “bilhan mo muna akong beer”.O, edi binilhan ko ng beer. Paikot-ikot sa upuan, sabi ko, “ano ba talagang nangyari sayo? Aa! Siguro may kasalanan ka. Nayari mo siguro si Emily.” Sabi niya, “oo nga Mang e. Di kasi nagsara ng cr, natukso ako kasi diba ang puti-puti nun?” Edi ayun, kinaladkad ko sa cr kasi nandoon mama ko, nandoon si mama kaya hinila ko siya sa cr. Tinadyakan ko, binayagan ko, sinabunutan ko. Hindi siya kumibo kasi kasalanan niya. Akala ko… R: Umamin din agad? I: Oo, umamin. Kasi nga natukso daw siya. Katagalan.. Akala ko matapos na ‘yon. Aba! Nagtaka ako tuwing Wednesday parating ang sabi niya sa akin “Mang, sa San Pablo ako hindi ako uuwi ha?” Sabi ko bakit every Wednesday. Kinabahan ako, siguro baka nagkatuluyan na, nagkasarapan. Tapos kapag umuwi siya kinabukasan, parang wife’s instinct, nakita ko sa bulsa niya may ticket na papuntang ano..West Pembo, Makati. Yung bus papuntang Guadalupe tapos minsan naaano ko na may resibo siyang West Pembo. Yun pala yung babae doon nakatira. Every Wednesday ng gabi doon pala siya naglilimlim. R: Naglilimlim? I: Doon siya natutulog. Na-ano ako. Sabi ko bakit… Na-ano ako, pumunta ko doon sa trabaho niya. Nakita ko yung mga damit niya nakafile d’on sa damit ng babae. Sabi ko nga “nagkaiigihan” R: Kailan mo pinuntahan yung babae? I: Siguro after mga four months. Four months kasi..
R: So, tumagal pa ng four months? I: Taon pa ang inabot kasi diba nabuo pa si Michael? O! Edi sabi ko bakit kaya. Tinanong ko siya uli wala kasi si Emily doon hindi ko matanong. Sabi niya, “ay, hindi. Pinalabhan lang yun kaya nandon sa cabinet”Edi hindi siya umamin. Sabi ko“bakit kaya every Wednesday umaalis si Dante?” Edi noong wala si Emily bumalik ako sa trabaho. Doon na! Nalaman ko. R: Saan yung trabaho? I: Doon lang din malapit lang. Malapit lang sa tinirhan. Sa Marikina, sa may Katipunan lang sila sa Loyala Heights. Sabi sa akin ng kasamahan pagbalik ko, “ate, wala na si Emily” bakit? “Nabuntis ata ng boyfriend niyang sundalo” Kinabahan na ko. Sabi ko baka si Dante na yung nakabuntis. Tapos hindi talaga inamin ni Dante hanggang isang beses hindi na naman siya mapakali sa cr, ikot siya nang ikot. Naiwan yung wallet niya doon sa ano..sa labas! Sabi ko, “ano ‘tong parang yung ano..sapot ng gagamba nakabalot sa papel? Ano to?! Aminin mo!”(husband) “Aay..ano yan Mang.. Nanganak kasi si Emily”. : Nakabalot daw si Michael kasi sa hilot lang ‘yon pinanganak e. Nakabalot si Michael, yung balot ni Michael inilagay niya sa wallet niya pampaswerte kasi pamahiin kuno. Hindi naman siya sinuwerte, minalas pa lalo. Di sabi niya… Sabiko bakit.“aay! Hindi pala.”Sabi niyang ganun, “Inilagay pala yan ng ano.. kasamahan ko kasi nanganak daw si Emily”. Parang naanu-ano siya, nabigla siya sa ano. Uupakan! Nandoon siya sa cr naligo, tinadyakan ko. Noong nalaman kong nanganak hindi ko na siya kinibo. Hindi ko na siya.. isang taon walang kibuan.
R: Magkahiwalay kayo ng bahay o isang bahay pa din? I: Isang bahay lang. Nandoon naman si Tita Sol noon e! Kapag humingi ako ng pera kasi sahod na niya “o, yung sahod mong buo ilagay mo diyan kasi gatas ni ate” Pero hindi kami nag-uusap tapos may nakausap.. may kapitbahay kasi kaming Christian pinayuhan ako kasi maski daw nagloko papa mo, hindi naman daw nagbago ng ugali, hindi nagpabaya sa pamilya, times two pa, times three, times times pa yung pagmamahal atsaka pag-aalaga niya sa pamilya niya. Katagalan napatawad.. napatawad ko din siya. Tapos noong napatawad ko na siya, pumunta naman yung babae kasi.. bakit ko siya napatawad? Kasi nangako siyang itong panganak daw ni Emily, hindi na daw niya anohin..talagang papansinin. Pinanganak lang niya kasi nga alam niyang virgin pa no’ng nadali niya, alam niyang anak niya yun. Kasi yung aanakin talagang sa kanya. Pinangalan niya sa apelyido nkiya, e diba lalaki naman si Mike? Buti na lang naging lalaki. Mula noon siguro talagang iniiwasan na niya kasi yung babae..kinutuban na naman ako.. May inutusang matanda. Ang sabi ng matanda “dito po ba nakatira si… ano..Dante Gancayco?” May kotse pa si papa mo no’n e kaya madaling makakabit kasi may kotse. Alam kong suki niya sa home service sa mekaniko kilala ko. Sabi ko, “bakit po ate?” kasi suki niya si Mrs. Reyes. Mrs. Reyes ba yun yung ginamit niyang pangalan? Basta yun! “Mrs.Reyes? Taga saan po yon?”Sabi niya bandang Cubao. Sabi ko lahat ng customer ni Dante kilala ko. Sabi ko “ay!wala!” Wala naman talaga si Dante no’n. Kinabahan ako, sabi ko hindi ko kilala yun ha. Sinundan ko si matanda hanggang nandoon si Emily magang maga pa yung dede. Siguro nagpadede pa siya sa anak niya. Nandoon pala siya sa kanto
nakatingin sa eskinita. Kitang-kita ko edi nilapitan ko. Sabi ko sa kanya, “o, ano? Naanakan ka ni Dante? Diba noong dalaga ka pa sinabahin na kita na mag-ingat ka kay Dante kasi noong kinabinataan niyan pader lang lagyan mo ng padala, siguradong yari! O, ano ngayon?Alam mo bang pinapili.. Diba noon sinabihan kita mag-ingat ka wag kang magpadali kay Dante! O, ngayon sinong pinili? Kami rin.Kawawa ka!”Noong ganon, umalis siya, tumalikod siya. Wala na siyang sinabi. Mula noon, hindi ko na siya nakita. Si Michael pala pinamigay niya sa kung saansaan pero yun talaga hindi na pinansin ni papa mo. Kung baga, nagkamali lang talaga siya noon. R: Wala kang trabaho no’n? I: Wala syempre focus lang ako no’n kay ate. R: Gaano na katagal ang relasyon niyo noong mangyari ang pangangaliwa ng asawa mo? I: Seven..Mag-e-eight years. Bale seven. Seven years kaming kasal. R: Bestfriend mo yung naging kabet ng asawa mo? I: Hindi ko bestfriend pero friend. R: Anong itsura nung… I: Maganda, maputi, makinis, sexy. Mahilig si papa mo sa sexy. R: Sa tingin mo anong dahilan ng pangangaliwa ng asawa mo? I: Aa..wala. Natukso lang talaga siya. Alam ko naman na ako ang mahal kasi kung hinsi niya ko mahal, tinakwil na siya’t lahat, ako pa rin pinili niya. R: Sa nakita mong ebidensiya bukod sa ticket ng bus, may nakita ka pa bang iba?
I: Yung nga! Yung ano ng anak niya, sapot. R: Sa mga cellphone wala naman? Text? I: Hindi pa uso cellphone noon e. R: Anong naging epekto sa relasyon at pamilya ninyo? I: Hindi ko pinaalam sa pamilya ko kasi ang pamilya ko patay na patay sa kanya. Hindi ko talaga sinabi yun, sinabi ko lang no’ng ano na, no’ng pinatawad ko na. R: Ikaw nanlamig ka? I: Oo! Syempre! Pero kasi gumawa siya ng way na mapaano e, lumuhod tapos nagpakaano talaga. Kung baga, nag-effort talaga siya para mapatawad. R: So napatunayan mo kasi may nagsabi sa inyo? I: Oo. Umamin siya tsaka yung babae pumunta sa bahay ay malapit sa amin. R: Para sayo ano ang infidelity? I: Aa, kasi si papa mo nga hindi siya yung manliligaw. Siya ang nililigawan. Siya ang inaano ng babae kasi minsan din noong nagtrabaho siya sa school bus bukod kay Emily may babaeng wala pang boyfriend yun ha, eighteen years old lang pinadalhan siya ng sulat. R: Pero yung ginarwa niyang pambabae macoconsider mo bang infidelity? I: Oo. Betrayal. R: Para sayo ano ang marriage? I: Ano, sagradong bigay sayo ng Panginoon. Yan yung binigay sayo ni God na katuwang mo sa ano, sa buhay mo. Kaya isang sagrado yun. R: Pagkatapos ng pagkakaroon ng ibang babae, one year kayong naghiwalay?
I: One year. Pero nagtiis siya sa kung anong mga salitang sinasabi ko sa kanya kahit duraan ko pa siya, hindi siya umaalis. R: Kung hindi uso ang cellphone noon, paano kayo nagcocommunicate lalo na pag malayo kayo sa isat isa? I: Wala. Basta alam kong uuwi siya. R: Walang beeper o kahit na ano? Anong form ng communication niyo? I: Hindi. Kailan lang din lumabas ang cellphone. Telephone lang. Tatawag ako sa payphone kakausapin ko boss niya. R: May ginawa ka bang paraan para ipaglaban ang relasyon niyo? I: Hindi. Wala. Pinabayaan ko siya. Pinapili ko nga siya e, “edi suamama ka doon!” Kasi ako malakas loob ko na ano.. Basta ako alam sa amin kasal ako. Ok lang sakin, ako yung taong ayaw magmakaawa. Interviewee (I): JUMEIRAH MARGEUX ADAMS Sabang Dasmarinas City, Cavite Six (6) years old/ DAUGHTER
R: Ilang taon ka na? I: Six! R: Asan na si dada mo? I: Wala. Sa Windward. R: Windward? E, saan si mimi mo? I: Dubai.
R: Hindi sila magkasama? I: Hindi. R: Bakit? I: Break na kasi sila. R: Paanong break? I: Nagkahiwalay sila dahil sa pera. Dahil kay Jeuelle. R: Bakit dahil kay Jeuelle? I: Kasi walang pangdiaper at panggatas e, hindi naman tatay ko nagbibigay, lola ko. R: Aa..bakit, may iba ng girlfriend si dada mo? I: Opo. R: Nakita mo na? I: Opo. R: Anong itsura? I: Pangit. R: Pero sexy? Hindi? I: Hindi. Mataba.Sobrang mataba. R: Pero maputi? O maitim? I: Maputi. Re: Sino mas maganda? I: Si mimi. R: Sa tingin mo bakit nagustuhan ni dada yung kabet? I: E kasi gusto niya mataba
R: Anong naramdaman mo nang nalaman mong may ibang babae si..? I: Iyak ako. R: Nasasaktan ka? Anong sinabi mo kay dada? Pinakilala ba sayo ni dada mo yung babae? I: Opo. R: Paano niya pinakilala sayo? I: Anak, ayan nga pala yung bestfriend ko. R: A, bestfriend ang sabi niya? O, tapos, anong sabi mo? I: Bestfriend mo pala yan. R: Pero alam mo na yun ang girlfriend? I: Opo. R: Sa tingin mo tama na ipinaalam sayo na may ibang girlfriend na si Dada, wala na sila ni mimi? I: Hindi po. R: Bakit naman? I: E, aksi masama yun. R: Paano kapag nakita mo si Dada at yung other girl na magkasma, anong gagawin mo? I: Tatakip ako ng unan. R: Bakit? I: Kasi ayaw ko sila makita.
Interviewee (I): “YEL” 23 years old/ SECRETARY/ OTHER WOMAN Researcher/ Interviewer (R): Jennylyn Gancayco
R: Ano ang malimit na oras na pagkikita at pagsasama ninyo? I: Twice a week. He is a businessman. Depends on his time. R: Pano kayo nagkikita? Saan o anong mga lugar ang pinupuntahan ninyo? Malayo bas a mga taong nakakakilala sa inyo? I: My house. Yes, if lalabas kami malayo sa lugar niya, mall or out of town. R: Ano ang tunay na status niya sa legal wife nya? Paano ka nakaksigurado na totoo ang mga sinasabi nya? I: Wife niya is nasa States, they are not in good terms. Base sa kanya at sa anak niya ‘cause nakakausap ko din anak niya from States. R: Ano yung mga bagay na naibigay or nai-invest nya sayo? I: Financially, material things, opportunities like yung paggastos niya na makapunta ako ng Dubai to find new career and opportunities para sa akin, but most of all effort and the love he gave and continue giving to me and for my family. R: Paano nagsimula ang relasyon ninyo? Gaano kaseryoso at kalalim ang relasyon ninyo? I: He is the HR manager sa company na pinapasukan ko. He interviewed me at the same time my mom then everything starts from that sending messages, asking for date, giving foods. But our relationship is secret because he is well respected
sacompany and alam na may asawa siya. At time comes, he decided to tell me na magresign sa company aksi mahirap situation naming tapos pinasok niya ko sa business which is Man Power Agency kung saan we don’t need to hide and we have time together as always! We are almost two years. Our relationship will turn three years on January 2015 to the point na kahit hindi ka magsalita, ‘di siya magsalita alam mo na may nangyayari o may problema even we have doubt, we still chose to trust each other. Gano’n ka-deep! R: May communication pa din ba si guy at ang legal wife niya? I: I think so. May anak sila, normal yun pero minsan ako pa yung nagrereply sa messages ng wife niya. R: Bakit ka pumatol o pumayag makipagrelasyon sa married man? I: I am always curious. I want to explore and we didn’t expect na magtatagal ang relationship at magiging seryoso kami sa isat isa. R: Para sayo, ano ang infidelity? I: Infidelity for me is a sin that makes you realized things and a sin that you can make right. It is always a choice not a chance. R: Para sayo, ano ang mistress? Maicosonsider mo ba ang iyong sarili na mistress? I: Mistress is a girl who gives “stress” on the guy. But in general, mistress is “kabet”, third party na sumisira ng relationship. I don’t think I am a mistress. Before we have the relationship, they are not ok. It’s just that they are still married that’s why in the legal aspect I am still mistress. R: Anong purpose o reason ng pagpasok mo sa isang ganyang uri ng relasyon?
Naisip mo ba kung ano kahihinatnan ng relasyon nyo at magiging epekto sa ibang tao? I: Financially, excitement, not normal experience. Those were my top reasons why I entered on this kind of relationship. My personality is I don’t think I just do it and keep going with the flow and until now I don’t have any regrets. R: Anong trabaho mo? Ng karelasyon mo? I: Encoder sa company kung saan manager siya. R: Alam ba ng asawa niya na ikaw ang bagong karelasyon? I: I don’t know really but woman’s instinct is different so I think she feels and knows something. Anyway I don’t care. She should blame herself not me or either my boyfriend. R: Kung dumating sa punto na malaman man ng legal wife ang anumang relasyon ninyo ng kanyang asawa, ano ang gagawin mo? I: I will not do any thing, I will let my boyfriend to do what he thinks right. I have pride and I know my position from the start. I have the right thing to decide. R: Kung hindi ikaw ang pipiliin ng guy, ano ang mararamdaman mo at ano ang gagawin mo? I: Masasaktan but its normal. There’s no happy ending but atleast we gave and made each other happy and memories that no one can steal. R: Nabigyan ka na ba ng singsing? Para sayo, ano ang sinisimbolo o ibig sabihin niya sa pagbibigay niya sayo ng singsing? Anong klase ito (diamond? silver?gold?) I: Yes, but it’s a silver, not normal ring because it’s ring that has three hearts. One
ring is with lock, key and heart. He always told me and he is hoping that in time we will have our chance to get married. And as a mistress is a nice thing to hear that a guy who is married still thinks that he can marry me. He is 61 years old and not normal to hope and think for that.
Expert (E): ROBERT KYLE LAXINA Southern Philippines of Science and Technology PROFESSOR (Primary and Secondary) RELATIONSHIP COUNSELOR/ PSYCHOLOGY PROFESSOR General Psychology, Behavioral Sciences Researcher/Interviewer (R): Alyssa Mari Bengusta
R: ANO ANG INFIDELITY? E: Ang ibig sabihin noon ay pagtataksil, paghahanap ng iba, paghahanap ng kalinga in which doon siya nasasatisfied. Ang tao kasing nag cocommit ng infidelity ibig sabihin no’n meron siyang hinahanap na emotional, sexual needs. R: MADALAS NA DAHIL NG PAG COCOMMIT NG INFIDELITY? E: Hindi satisfy sa sex, pangalawa physical appearance and pangatlo yung mood noon babae hindi or nung asawa hindi silana satisfy. Yung cause ng infidelity, marital problems yun, kasi usually nagkakaproblema sila, number 1 yung sexual issues, halibawa hindi sila nasasatisfied dun sa asawa nila may mga fetish tayong tinatawag , may mga lalaki kasi naghahanap ng ganitong image halimbawa gusto nila pag-uwi
yung asawa nila naka red underwear lang ganyan o kaya ang problema iba nakikita nila naka duster lang or something another yung mood pag laging nag aaway ang mag-asawa, reason yun kasi yung kailangan yung asawa niya hindi na ibibigay unfortunately may na me-meet silang panibago na halos parehas silang gusto. R: TOTOO BANG NATURE NA NG LALAKI MANGALIWA? E: Nature ng mga lalaki yung mangaliwa, kasi dito sa Pilipinas meron tayong tinatawag na “Macho image” ok lang ‘pag lalaki ang nangaliwa, ‘pag babae ang nangaliwa iba agad ang tingin , Pokpok agad, puta agad ang tingin kasi nga we are very particular “macho image” kapag lalaki ok lang na gumawa ng ganitong klaseng kasalanan so para satin, sa kultura natin even sa bible kapag ang lalaki madaming asawa ok lang kasi it was blessed by God, so ang nangyari sa kultura natin dito sa Pilipinas gano’n din ang ginagawa. R: SINO ANG MADALAS NA NAG COCOMMIT NG INFIDELITY BABAE O LALAKI? E: LALAKI. R: SA PELIKULA, PAGGAMIT NG SIMBOLISMO, KADALASAN GINAGAMIT E: Yung literal kasi ‘pag sinabing ahas is traydor, yung dikya ibig sabihin makati, usually sa pelikula ang ginagamit na symbolism yung mga tabing tabing, dilaw o puting tela. Yung pinapakita dun yung shadow nila minimize obscenity medyo conservative pa naman tayo dito sa Pilipinas, hindi pa naman pinapakita yung kung anong ginagawa nila, yung kandila ibig sabihin no’n ganun kainit ang nararamdaman nila, gano’n karubdob na tinatawag, yung ilog at tubig na umaagos, ibig sabihin no’n
nakaraos na, fountain something with water it represent ejaculation. R: PAGTITINGIN SA ORAS E: yung pagtitingin kasi ang issue kasi do’n ay time management, yung laging pinapakita yung relo, o pagmamadali kasi ang ibig kasing sabihin no’n nakaw yung sandal nila that’s why as much as possible in a shortest period of time kailangan masatisfy yung panahon na magkasama sila kasi nga usually masasabi natin na meron silang panahon para sa asawa nila. R: KADALASAN TRABAHO NG ISANG LALAKING NA IINVOLVED SA INFIDELITY E: Normal na nangangabit, karamihan kasi kung ikaw mangangabet dapat maganda trabaho mo, sabihin na natin mga businessman, o basta college graduate o mga nasa offices ibig sabihin kasi pwede kang sumuporta sa asawa mo at pwedeng sumuporta sa kabet mo pwede kang magbigay ng mga bagay at gamit na gusto ng kabit mo at ng asawa mo, siyempre nga naman kung ikaw ay mahirap at mangangabet ka pa parang napakapanget naman non although nangyayare yung mga yan dito sa Pilipinas. Dito nga satin sa Pilipinas kung sino pa mahirap yun pa yung madaming asawa. R: KADALASAN EXCUSES NG MGA LALAKI SA MGA ASAWA PAG KASAMA NILA ANG KABET NILA E: kadalasan excuses number 1 trabaho pangalawa kaibigan pangatlo sitwasyon, halimbawa yan sa trabaho alam na natin yun, nag over time, may out of time, may meeting. Yung sa kaibigan halimbawa niyaya ni ganito party ni ganito, party ni ganyan at the same time may mameet sila doon, doon magsisimula then sa sitwasyon
halibawa nasiraan, na traffic, nabundol may tinulungan may ganyan ganyan, yun ang karamihan na ginagamit. R: SA ULAM, KINALAMAN AT GINAGAMIT BILANG REPRESENTATION SA KABET: E: Sabi nga kasi nila the best way into the man’s heart is to stomach, isa rin kasing issue yan kapag ang babae o ang asawa hindi marunong mag luto o mag present yun yung ginagamit, laging pinapakita na imahe dito sa Pilipinas ang mga kabet mabilis nilang alamin yung kagustuhan ng mga lalaki. R: Bungalow E: Bungalow ibig sabihin nun ibabahay nila, ibig sabihin nun they wanted to live separately parehas sa pamilya nila, or ilalayo niya ang kabet niya sa isang lugar para meron silang specific place na pupuntahan dun, may specific time , may specific day na kung kelan siya pupunta para pag dating doon alam niya saan niya talaga makikita ang kasama niya, R: TIME NA NAGKIKITA YUNG KABET E: Kadalasan hapon, pa hapon. Halimbawa pagdating ng lunch break diyan sila nagsisimula kasi as much as possible halimbawa ako yung may kabet no, ang uwi ko ay seven o’clock sisiguraduhin ko before 7 , 8 or 9 o’clock kailangan nasa bahay na ako para nga naman di mahalata na ako ay nangangaliwa so pipiliin kong magkita laging pahapon. After lunch break madalas kasi nangyayare yan kunwari magde-date, kakain sa labas hanggang ibat-iba na yung kinakain nila pareho. R: PINAKA EBIDENSYA NG ASAWA NA MAY KABET YUNG ASAWA NILA
E: Teka lang, hindi kasi ako naniwala na ang instinct ng asawa pag nagduda siya ay totoo, kasi may babaeng paranoid may babae na konting labas ng asawa kala nila naglalandi na, so ang nangyayare sa ganun the more na prinoprovoke nila yung asawa nila sa ganun, gagawin talaga nila. Nalalaman yan dahil sa may nagsabi, dahil sa mga chismosa kapit-bahay o kakilala, pangalawa na siguro ang hinala. R: Text message: E: Kung ako mag-aasawa mas gusto kong i-practice yung privacy, ang problema kasi sa mag asawa gusto lahat ng bagay buksan nila, mapacellphone, mapafacebook gusto lahat alamin. The question is personal, parang toothbrush yan e, parang salawal yan parang brief yan na kailangan ikaw lang ang magsusuot. Yung ganun klaseng paghihinala gagawin lang nila yun kung may nakarinig o naparingan na nga sila na ganito. Hindi kasi sapat ang hinala under lang kasi yan ng paranoia, it just doubt kumbaga hindi patas, ibig sabihin ang asawa mo nahuli o ginabi ng uwi nakipaglandian agad sa iba kasi may mga factor kang dapat isipin. Halimbawa malayo may mga babae talaga na dumadating sa “postpartum” halimbawa buntis, it’s because of hormonal imbalance, iniisip nila ‘di na sila mahal kasi buntis na sila. It doesn’t mean na lahat ng iniisip nila laging tama. R: NAKAKASIRA BA TALAGA YUNG PAMBABAE NG LALAKI SA MARRIAGE? E: Definitely, oo naman. Nakakasira talaga kasi diba in biblical point of view sabi nga ang pinagsama ng diyos hindi dapat paghiwalayin ng tao saka sumumpa kayo pareho sahirap at ginhawa magkasama kayong dalawa, in social point of view bago
ka magpakasal tinanggap mo lahat nung panget na bagay dun sa mapapangasawa mo, kung ang niluluto niya ay kung anong lasa kailangan tanggapin mo yun. Kaya nga may period ng courtship, may period na dapat magiging steady kayong dalawa para makilala niyo pareho ngayon pagdating sa ganyan at kung dumating sa point na ganyan at alam niyo masisira din ang pag-aasawa niyo dapat hindi muna, ‘pag nasira ang pamilya malaking bagay yan lalo na kung may anak na maapektuhan R: PAANO YUNG CASE NA OK NAMAN YUNG LALAKI PERO NAPROVOKE LANG SIYA SA KABET? E: Hindi ako naniniwala dahil natukso lang? Lahat ng bagay na ginagawa natin panget man o maganda pare-parehas natin desisyon yun. Hindi totoo sinasabing natukso, ginusto mo yun. Hindi totoo ang sinasabing lalaki na natukso kasi ako, paano ka matutukso kung kilala mo ang sarili mo kung hanggang saan ka, at kung mahal mo asawa mo kahit mag hubad yan diyan hindi ka matutukso, the problem is laging sinasabing mga lalaki na “lalaki kasi ako naghubad na kasi yan anong gagawin ko” which is not true dapat hindi ganun lagi ang batayan. “porque may naghubad papatong ka agad” yan ang katwiran mo kasi lalaki ka, “andiyan ang palay tutukain na ng manok ba’t hindi pa tutukain?” Hindi yung totoo bakit mababawasan ba ang pagkalalaki mo ‘pag tumanggi ka sa babaeng nakahubad? Dapat nga maging proud kang gawin yun kasi may asawa ako. Mahal ko ang asawa ko dapat ganito. Ang problema nasa lalaki na talaga. Hindi dapat laging sagot ganun.
Expert (E): PAOLO EMMANUEL MAGSINO INDEPENDENT FILM DIRECTOR Researchers/Interviewers (R) R1: Jennylyn Gancayco R2: Alyssa Mari Bengusta
R1: Bakit nauuso ang mga palabas na may kabet or infidelity? E: Sabi ko nga bat nauuso aang kabet, yun kasi nararanasan ng tao, ako film maker ako iisip ako ng konsepto kung ano nga ba anong ganre ang makakarelate ang mga tao, example diba uso ang love life kadalasan din makakranas sila ng infidelities, kabet, broken family ganyan so pag gagawa ako ng film ung gagawin ko ung tatak sa tao kunbaga makakarelate sila dun sa pinapanuod nila. R1: So hindi naman siya about sa profit ganun? E: Ayun na nga e, pag yung nagustuhan ng tao ui naka relate ako diyan, maganda to panorin niyo R2: Pero may kinalaman din siya sa social problem, parang sa Pilipinas kadalasan majority ganun. E: Ganun na din. R1: Paano binibigyan direksyon ang mga ganitong uri ng palabas? E: Pano binibigyan ng direksyon? What do you mean na? R1: Nagkakaroon ba ng exaggeration? E: Oo yun, sa main stream to a sympre iba kasi ang indi sa main stream e
R2: Kahit sa indi? E: Unahin ko sa main stream, sa main stream ang nakikita ko lang na perspective medyo exaggerate e kumbaga. R2: Example? E: Kumbaga sa main stream, laging happy ending kasi un ung gusto makita ng mga tao. Kapag ka tapos makita yun ng tao ay ang panget nun ending, malungkot sila. Pero pag gusto naman nilang sumaya nanuod sila ng ganun klase ng pelikula sympre usually pag mainstream magaganda ending niyan, ay maganda yung film, maganda yun, nakarelate din ako. R2: Sa indi film? E: Sa indi film kasi more on gusto naming ipakita kung ano yung totoo, anong totoong ngyayare saka gusto namin ng kakaiba. R1: Censorship R2: So mas reality ang indi films kesa sa mainstream? E: Yun ang perspective ko, kasi sa main stream pare-parehas lang kung anong gustong tangkilikin ng tao e dun sila, yun ung gagawin ng mga main stream film makers, dun sila kikita kunbaga yun lang. R1: Ano ang mga pagbabagong nangyari o nakita sa pelikulang Pilipino particular sa infidelity (bawat dekada)? R2: 70’s hanggang 2000’s E: Siguro na-impluensyahan tayo ng Western film e, kasi dati mga 70’s -80’s parang medyo conservative pa, mga dalagang pilipina nun mga probinsyana tapos maiinlove
tapos mag kakaconflict ng konti, tapos nun nainpluemsiyahan na tayo ng konti ng film ng ibat ibang bansa parang nahaluan na tayo naging liberated na tayo diba, ngayon makikita na natin may nudity na din, di ko naman sinasabing wla pang nudity dati pero mainstream na tapos may nakikita na ano diba R1: ‘pag dating sa symbolize sa visual elements, dialogues, mas symbolistic ung dati nun 70’s 80’s? Kasi ngayun parang given na lahat ? R2: Yung dati ba indirect lang pag sinabing kabet indirect siya pag sinabi ngayon direkta na talaga? Diba sa films may gamit na symbols pag sinabing kabet puting tela, ngayun ba tahasan na yung kabet? E: Yung iba kasi film makers, katulad ng sinabi ko gusto nila yung magegets agad ng tao, yung makikita agad tru dialogue man unga actual na gusto nilang ipahayag R2: So may changes talaga? E: May changes talaga pero, tulad nga sinabi ko iba talaga ang indi film sa main stream. Pero masasabi ko na marami padin gumagawa ng symbolism R1: Ano nga bang tunay na kahulugan ng media? Gaano katotoo na sumasalamin ito sa katotohanan at buhay ng tao? E: Salamin ng katotoohanan? R1: Parang sinasabi nila na ang media kasi sumasalamin sa social issues, ano ba talaga ang tunay na kahulugan ng media? Kasi sinasabi nila malaki daw epekto ng media sa tao. E: Sobrang laki talaga ng epekto ng media sa buhay ng tao, kasi dun pinapahayag e, base sa perspective ko sobra lang namamanipula ng media ang pag iisip ng tao ganun
kalaki ang epekto ng media sa tao. ‘di ko sinasabing mali lahat, mali yung pinapahayag ng media parang exaggerate, parang naapektuhan ung mindset ng mga Pilipino pag nakakanuod sila ng film, ganun ka powerful ang media. R1: Paano nga ba nabubuo ang istorya sa pelikula tulad ng infidelity? Paano irerelate ang mga simbolong ginagamit sa mga pelikula? R2: Ano bilang director, paano mo tatapusin ang ganitong pelikula? Tingin mo tangap na bang society natin ang pagkakaroon ng kabet? At pangangaliwa o infidelity? E: Depende kasi sa mood ng writer at director yun e, kung ako gagawa ako, kung gusto ko kumita malamang sa malamang happy ending talaga yun , maganda talaga yung tataktak sa utak ng tao pero base sa personal na nararamdaman ko, kung ano talaga ang actual na ngyayare ayoko kasi ng parang tapos na gusto ko parang open ended , gano’n. Kasi ang buhay di naman natatapos yan e tuluy-tuloy yan e. R2: Sa tingin mo tangap na ba sa society ang infidelity? Sa totoong buhay? E: Oo. R1: Bilang film maker, yung open ended ba may meaning yun? Tulad ng sinabi mo ang buhay di naman natatapos? Kasi nag sabi na kapag hirap tapusin ang isang storia giangawa nilang open ended? Iba ba yun sa pananaw ng indi? Kasi ganun din daw sa mainstream giangawang open ended pg di na alam pano tatapusin ang isang storia e. E: Depende kasi sa story talaga, may mga story na nangyare sakanila in real life at na tapos na, na gets niyo? Kumbaga pwede nilang gawan ng story yun? Pwede nilang tapusin. Pero yung ibang story na nililikha lang base sa naiisip nila yun yung mga
possible na open ended.
White cloth – satingin mo bakit siya giangamit sa infidelity films?
E: White cloth? Infidelity kasi usually kasi R2: Unfaithfulness, sexual gratification E: Oo tama, pero kasi kaya un yung ginagamit puti, un kasi yung talagang giangamit sa hotel, kadalasan pag ngrerent ako ng room, puti kasi diba, alam na ng tao yun saka rules na yun ng mga interior design at sino nagpasimuno nun e, pero as an artist, visual artist din aksi ako puti kasi neutral siya bagay siya sa kahit ano, pag naglagay ka ng tao sa puti parang silang dalawa lang ung makikita kung hahaluan mo halimbawa ng sesex sila , hahaluan mo ng may blue or green parang makakasira sa intimacy ng scene
Water- seashore, ocean, rain, river
R2: Bakit laging may kasamang water or sa ocean, river at rain kadalasan ngayyare yung pagtatlik? E: Feeling ko kasi based on my perspective ulit, halimbawa sa ocean, sa sea yun eksenang ganun ibig sabihin tayong dalawa lang e, tahimik R2: Parang motel lang din? E: Siyempre ikaw mag sesex ka ba sa maingay? R2: May kinalaman ba yun sa secrecy, pagtatago nila? E: Yun, kasi isa din yun parang escape, escape sa reality pag nasa dagat ka parang ikaw lang mag isa, naririnig mo yung mga alon R2: Pero may kinalaman din yun sa infidelity?
E: Siyempre ‘pag ikaw, yun nga intimate yun eksenang gawin sympre yung gusto mo gawin syempre gusto yung sa nararamdama based dun sa tao gusto maki pag sex R2: So mas intimate talaga ung kabet kesa sa mga asawa, sympre pag doon di naman kadalasaan giangawa ng mga asawa yun, nggaganun talaga kasi usually mga asawa sa bahay lang pinapakita so ang ibigsabihin nun sexually intimacy sobrang intimate sila, sobrang wild. E: Kasi pag ganun pinufullfil ng kabet yung pagkukulang ng asawa. Kasi kung kabet ka at sa bahay lang din kayo anong pinag bago nun sa asawa R2: So parang thrill yun R1: E, ulan? Diba madalas sa pelikula ginagamitan talaga ng ulan? E: Sa mga pelikula kasi natin ginagamit ang ulan kapag may trahedya, patay, kapag mga drama kasi pampabigat ng eksena tulad ng ginawa ko sa Galub, diba mas dramatic siya tingnan? ‘Pag sa mga romance kasi ganun din, mas intimate tingnan.Mas nakakadagdag sa emotion ng mga manonood. Mas effective kapag ginagamitan minsan ng ulan R2: Anong characteristic ng isang kabet, o other woman E: Based sa nakikita ko sa community, pag magbibigay ako ng character sa kabet usually kasi walang pera yung kabet, pero maganda siya makakakita siya ng mayaman. R2: Maganda lang? Sa body size? E: Maganda visual, mukha sa katawan tapos wala siyang pera may problema sa family tas ugali niya talakera, ganun tapos liberated din tapos all out ganun ang kabet
tapos nakita ng mayaman nilandi tapos na nagustuhaan siya ng mayaman tapos nakapit lang siya dahil sa pera R2: 1975? E sa ngayon? Ano naman nakikita mong image ng kabet? Yung pinagbago? E: Sa ngayon naman, natatawa ako. Kasi ngayun nahaluan na tayo o naimpluensya na kasi tayo ng story from ibat ibang bahagi ng mundo, ginawa na din nilang may kaya yung kabet, kunbaga mas pinakita na lang dun , wala na silang pakialam dun sa problema ng kabet mismo, ang labanan na lang dun ngayon yung ganda e sinong mas maganda. R2: May katotohanan ba yun? Siyempre mayaman sila may pinag-aralan, tapos makikipag away lang para sa lalaki lang na mas mayaman pa sila kung tutuusin? E: Ta’s makikipag away sa public gagawa ng eskandalo? Parang wala naman ngyayare na ganon. R1: So part yun ng exaggeration? E: Yun ung sinasabi ko. R1: Sa tunay na pelikula pano pinapakita yung kabet? Para lang ba sila sa sexual longing ng lalaki? Lagi na lang bang talunan? R2: Tingin mo anong kadalasan reason bat nangangaliwa yung mga lalaki? E: Straight ko na sagot ko? kasi basically may mga ilang factors, magbibigay ako ng ilang factors una, nakakahanap ng kabet kasi nakukulangan sa totoong asawa, nakukulangan sa pag aalaga, pagmamahal kaya makakahanap ng kabet, is either may scene na magkalayo yung asawa “long distance relationship” makakahanap yung
babae o lalaki ng iba, pangatlo is yung nature talaga ng lalaki is tumitingin talaga sa iba hindi na sasatisfy sa isang ulam pag may paborito kang ulam, halimbawa paborito mo menudo pag aaraw araw kang nag memenudo mag sasawa ka so titikim ka ng adobo pero nag paborito mo pa di adobo. R2: Follow up lang sa sinasabi mong ulam, ulam din ang giangamit na visual ano yun representation din ba un ng infidelity? ‘pag sianbi bang ulam ano sayo yun? E: Representation din, yummy, parang yun ‘pag ka liberated na tayo pag sinabi mong ulam, kinakain masarap parang symbolism na din yun. R2: Bakit kadalasan businessman ung ginagamit sa films E: Kasi pag sinabing businessman mayaman, so sila yung madaming pera para mangabet. Kasi usually naman mahirap ka mag kakabet ka pa edi lalo kang nag hirap R1: Pero sabi in reality naman wala naman pinipili ang pangangabet diba? E: Yun. R2: So anong tingin mo giangamit sa films na excuses pag kasama lang nila yung kabet nila? E: Usually, depende naman sa story, pero as businessman usually naman kasi ginagamit nila, may meeting, may pinapatapos pa kasi sakin yung boss ko e, ganun o may project kami R2: Mga normal ng tao E: ‘pag normal ng tao usually bat ka nalalate ng uwi kasi galing ka sa trabaho , trabaho talaga ang first alibi, kasi yun ung nature ng buhay e diba magtrarabaho ka hangang gabi tapos mag oover time ka pwd mo bang sabihin ng paparty pa kami, oo
acceptable reason R2: Anong kadalasang ebidensya pag nahuhuli na may kabet? E: Text, ngayon giangamit na din ang social media. Dati makakita ka lang ng pulang marka sa polo. Paminsan naman underwear pag aniwan sa kwarto o mahuli sakto, yung ang ayoko sa ngayon e diba yung mainstream natin ngayon e pag nahuli sa akto tapos makikipag talakan mag babalikan ng salita ayun ung ayaw ko, di makakatotohan , ung mga binibigkas nilang dialogue which is malayo naman sa katotohanan mangyare. E: ngayon kasi socially na English na e. R2: Anong connection ng visual na candled lights at unbuttoned shirt sa infidelity R1: Paano nirerepresent ng visual elements at dialogues ang infidelity? E: Tama yung sinabi mo na way nalang nila yun para macaptured yun attention ng audience way din nila yun para pag isipin ung mga audience sympre as a film maker ayaw mo naman din na laging sinusubo na lang sa audience mo kaya ang way nila gumagamit na lang sila symbolism R1: Paano mo irerepresent using visual and dialogue? E: Ako mas gusto ko direct talaga.
Curriculum Vitae
ALYSSA MARI V. BENGUSTA
#54 Galleon Road Regatta Classics Subd. Anabu II-B Imus, Cavite Phone No: 0917 248 3908 Email: [email protected] [email protected]
OBJECTIVE: To work in an organization where I could find career growth and to apply my skills especially in Communication. As a hardworking, I am motivated by the opportunity to advance my skill in a dynamic environment. SKILLS: Windows XP, MS Office (Word, Excel, PowerPoint) Caring and hardworking with excellent interpersonal communication. Typing speed : average 45 wpm in 1 min Proficient in personal computer use Physically fit and active in workplace awareness Fast learner and enthusiastic to work in any organization WORK EXPERIENCE: TaskUs Inc, Call Center Content Moderator August 29 2013 – March 10, 2014 2nd Floor ARC Centre, Real 1, Aguinaldo Highway, Bacoor Cavite
End of Contract
PERSONAL PROFILE: Date of Birth Place of Birth Age Weight Height Gender Citizenship Religion Civil Status Language spoken Japanese Sports
: : : : : : : : : :
July 13, 1994 Valenzuela 20 years old 46 kg 5’2 Female Filipino Roman Catholic Single English, Filipino and Basic
:
Basketball, Volleyball And Badminton
EDUCATIONAL BACKGROUND:
DE LA SALLE UNIVERSITY-DASMARINAS (ENROLLED) AB- Communication Arts, Tertiary SY: 2010-2014 SOUTHERN PHILIPPINES INSTITUTE OF SCIENCE TECHNOLOGY Imus, Cavite Secondary SY: 2006-2010 ANABU IIB ELEMENTARY SCHOOL Imus, Cavite Primary SY: 2004-2006
EXTRA CURRICULAR ACTIVITIES 2012 – 2013 2011 –2012
Member of Vibrant Beat DLSU-D Dance Company Genshiken, Cos-Playing DLSU-D Organization
2010 – 2011Member of Delirium, Theatre Club for College of Liberal Arts De La Salle University –Dasmarinas
AND
CHARACTER REFERENCE:
ROBERT MAGDALUYO Assistant Team Leader TaskUs Inc, Imus, Cavite
09752472259
CHRISTINE CANLAS Team Leader/ Trainer Task Us Taguig
09275316265
KATHRENE ADVINCULA Registered Nurse Bacoor District Hospital Revilla’s Business Park Bacoor, Cavite
09159038187
ROBERT KYLE LAXINA 09166679258 College and High-school Professor Southern Philippines Institute of Science and Technology
I hereby certify that the above information is true to the best of my knowledge and belief.
ALYSSA MARI V. BENGUSTA Applicant
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Jennylyn B. Gancayco Block 3 Lot 5 Abraham St. Phase 1 Dexterville Classic Sabang Dasmarinas City, Cavite Mobile no.: 0927-542-8988 E-mail address:[email protected] [email protected]
OBJECTIVE To attain an internship that I can gratify with, and maximize my talents, knowledge and skills in terms of media production and communication. Work with passion and to seek a responsible for the goodness of this company. EDUCATIONAL BACKGROUND De la Salle University- Dasmarinas AB Communication Arts Major in Media Productions Tertiary SY: 2011- present Fiat Lux Academe Secondary SY: 2005-2009 Sabang Elementary School Primary SY: 1999-2005 PERSONAL INFORMATION
Date of birth: July 22, 1993 Place of birth: Calamba, Laguna Age: 21 Height: 5’
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Weight: 44 kgs Status: Single Nationality: Filipino Religion: Catholic Languages: English and Filipino Mother’s Name: Celia B. Gancayco Occupation: Housewife Father’s Name: Dante S. Gancayco Occupation: Deceased
Affiliation: Senior Member, Dasmarinas Dance Company Scholar/ Talent, City Government of Dasmarinas
(2009 up to present) (2009 up to present)
KEY SKILLS Put all the efforts in completing the given task Good Communication skills Hard work and persevere Great attention to detail Strong sense of urgency to meet deadlines Keen interest in people, facts and events Better Presence Of Mind Highly adaptable, positive, flexible, patient risk-taker who is open to new ideas AREAS OF INTEREST
Watching local and foreign films Assisting productions Interacting with people Surfing on social networking sites for informational purposes
ADDITIONAL SKILLS Computer literate Can find desired information in the internet within reasonable time Microsoft Office (Word, Power Point, and Excel) Capable in Communication Skills English and Filipino
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Basic knowledge on film/radio script writing and media productions
REFERENCE Mr. Jeremy Manicad Choreographer/ Program Manager Usaping Bayan at City Government of Dasmarinas Mobile: 0917-767- 2896 Mr. Ron Gagalac News Correspondent, Freelance Journalist ABS-CBN News Mobile: 0917- 857- 9648 Mr. Neville Carbon Filmmaker, Lecturer De la Salle University- Dasmarinas 0915- 561- 2095
I hereby certify that all information written above is true to the best of my knowledge and belief.
Jennylyn B. Gancayco Applicant