Matibay o Marupok A Content Analysis On

MATIBAY O MARUPOK?
:
A CONTENT ANALYSIS ON THE REPRESENTATION OF WOMEN IN
THE THREE HIGHEST-GROSSING FILIPINO FILMS
ADARRAH ROSE ANGULO

ALLISON AUMAN
MARY GRACE TITO
DEPARTMENT OF MASS COMMUNICATION

COLLEGE OF COMMUNICATION, ART, AND DESIGN
UNIVERSITY OF THE PHILIPPINES CEBU
JUNE 2019
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____________________ ___________________ ____________________

Adarrah Rose J. Angulo Allison Auman Mary Grace Tito
UNIVERSITY OF THE PHILIPPINES
Bachelor of Arts in Mass Communication
Adarrah Rose Angulo

Allison Auman
Mary Grace Tito
MATIBAY O MARUPOK?:
A CONTENT ANALYSIS ON THE REPRESENTATION OF WOMEN IN THE
THREE HIGHEST-GROSSING FILIPINO FILMS
Thesis Adviser
Dr. Marie Rose Arong
College of Communication, Art, and Design

University of the Philippines Cebu
Date of Submission
June 2019
Permission is given for the following people to have access to this thesis:
Available to the general public Yes
Available only after consultation with author/thesis adviser Yes
Available only to those bound by confidentiality agreement Yes
Students’ Signature:
Signature of Thesis Adviser:
MATIBAY O MARUPOK?:
Adarrah Rose Angulo
Allison Auman
Mary Grace Tito
Submitted to the
COLLEGE OF COMMUNICATION, ART, AND DESIGN
University of the Philippines Cebu
In partial fulfillment of the requirements
for the degree of
BACHELOR OF ARTS IN MASS COMMUNICATION
June 2019
MATIBAY O MARUPOK?:
by
ADARRAH ROSE ANGULO
ALLISON AUMAN
MARY GRACE TITO
has been accepted for

the degree of BACHELOR OF ARTS IN MASS COMMUNICATION
by
Professor Marie Rose Arong, PhD
and approved for the

University of the Philippines College of Communication, Art, and Design
by
Professor Palmy Marinel P. Tudtud, OIC

Dean, College of Communication, Art, and Design
ACKNOWLEDGMENT
If not for the indispensable support and guidance of several people, the following
thesis would not have been realized.
To Prof. Rose Arong, our ever-patient thesis adviser, we extend our immense
gratitude and appreciation. Without her expert direction and determination to see us
through the entire research process, this endeavor would not have been the same.
Our thesis panelists, Miss Jiji Borlasa and Prof. Januar Yap, offered us insights
that proved to be critical in our improvement and comprehension of this study, and for
this we owe them many thanks.
Outside instrumental assistance, we are grateful to our respective families, who
remained understanding and considerate through all the missed curfews, meals, and
family gatherings, in their support of this inevitably demanding project.
Many friends were witness to our high and low points throughout this research
journey, including and especially us with one another. For remaining kind, thoughtful,
and for not giving up, thank you.

This is for women, and the women in girls.
May we hear them, understand them, lift them;
may they be reminded in the end
of Glinda the Good Witch's words:
"You had the power all along my dear."

(The Wizard of Oz by L. Frank Baum)
ABSTRACT
Angulo, A.J., Auman, A., & Tito, M.G. (2019). Matibay o Marupok?: A Content Analysis
on the Representation of Women in the Three Highest-Grossing Filipino Films.
Unpublished Undergraduate Thesis, University of the Philippines Cebu Department of
Mass Communication, College of Communication, Art, and Design.
Since the appearance of women in film in as early as the 1910s, female cinematic
portrayal has been consistently characterized in an incomplete and hyper-traditional
manner. This thesis examines the representation of women in the top three highest-
grossing Philippine films through a derivational multi-level analysis. By observing the
Theory of Intratextuality, it identifies the characterization of fourteen (14) female
characters (determined by physical appearance and attractiveness, socioeconomic status,
language, personality and behavior, and interpersonal relationships) to discern each
portrayal’s prominence, treatment, and tone.1 With stereotypes being perpetuated in film
and influencing real-life perceptions of women, each portrayal is categorized2 so as to
probe into recurring trends, in keeping with the Feminist Film Theory. Through coding
forms and Multimodal Discourse Analysis, the study reveals The Hows of Us (2018), The
Super Parental Guardians (2016), and Gandarrapiddo: The Revenger Squad (2017) as
marked with subtle stereotypical traps and multifaceted progression in their
representation of women. This challenges old and clear-cut dichotomies in female
portrayal, and confers a skeptical echo in the question of matibay o marupok.
1
Quistadio’s (2007) research Stereotyping of the Bisaya in Selected Philippine Comedy Films employed the
variables of prominence, treatment, and tone in studying the type of portrayal of Bisaya characters.
2
Based on related findings (Gallagher, 1980; Murphy, 2015; Roso, 2008; Roces, 2010; and Zheng, 2011).
vi
TABLE OF CONTENTS
Page
Title Page i
Approval Sheet ii
Acknowledgment iii
Dedication iv
Abstract v
Table of Contents vi
List of Tables ix
List of Figures x
I. INTRODUCTION 1
A. Background of the Study 1
B. Statement of the Problem and Objectives 5
C. Significance of the Study 6
II. REVIEW OF RELATED LITERATURE 8

A. Perceptions of women in the Philippines 8
B. The image of women in media 10
C. How media shape perceptions of women 16
III. STUDY FRAMEWORK 20

A. Theory of Intratextuality 21
B. Feminist Film Theory 22
IV. METHODOLOGY 25
A. Research Design and Methods 25
i. Multimodal Discourse Analysis 26
B. Concepts and Indicators/Variables and Measures 28
C. Research Instruments 33
vii
D. Units of Analysis and Sampling 33

E. Data Gathering/Generation and Construction 34
F. Data Analysis 36
G. Scope and Limitations 37
V. RESULTS AND DISCUSSION 38

A. Results 38
i. Characterization 38
1. The Hows of Us: Characterization 39
a. George 39
b. George’s mother 43
c. Tita Lola 44
d. Awee 44
2. The Super Parental Guardians: Characterization 46
a. Emmy 46
b. Marife 47
c. Liza 49
d. Sarah 50
e. The maid 52
f. School principal 53
g. Schoolmate’s mother 54
3. Gandarrapiddo: Characterization 55
a. Cassey/Cassandra/Kweenie 56
b. Peppa/Barna 60
c. Velle 61
ii. Prominence, Treatment, and Tone 62
1. Prominence 63
2. Treatment 64
3. Tone 66
iii. Categories 68
1. The Hows of Us 68
viii
2. The Super Parental Guardians 72

3. Gandarrapiddo 78
B. Discussion 84
VI. SUMMARY AND CONCLUSION 93

A. Summary 93
B. Conclusion 96
VII. IMPLICATIONS AND RECOMMENDATIONS 99

A. Theoretical Issues 99
B. Methodological Issues 100
C. Practical Issues 101
REFERENCES 102
APPENDICES 106
A. Coding Form (Level 1) 106
B. Coding Form (Level 2) 107
C. Coding Guide (Level 1) 108
D. Coding Guide (Level 2) 110
E. Collated Coding Form (Level 1, The Hows of Us) 111
F. Collated Coding Form (Level 1, The Super Parental Guardians) 125
G. Collated Coding Form (Level 1, Gandarrapiddo) 139
H. Coded Form (Level 2, The Hows of Us) 154
I. Coded Form (Level 2, The Super Parental Guardians) 155
J. Coded Form (Level 2, Gandarrapiddo) 158
K. Categorization Form 160
ix
LIST OF TABLES
Number Title Page
1 Personality codes adopted from Zheng (2011) 29
2 Behavioral patterns adopted from Kinnunen (2016) 29
3 Categorization of female characters as most popularly depicted in 31

media based on the findings of Gallagher (1980), Murphy (2015),
Roso (2008), Roces (2010) and Zheng (2011)
4 The study’s concepts, indicators, and measures in line with the 32

research objectives
5 A list of the female characters in the sample and their respective roles 35
6 Summary of each female character’s portrayal as analyzed through 67

prominence, treatment, and tone
7 The characters’ portrayal by categories introduced in Table 3 82
8 New categories constructed to classify characters that have deviated 83

from the existing model and belonging to a pattern of similar
portrayals from preceding texts
x
LIST OF FIGURES
Number Title Page
1 Diagram showing the relationship between key concepts in the study 23
2 George early in the film and later on, when she reunites with Primo 40
3 George early in the film and later on, when she reunites with Primo 40
4 George struggling to support a drunk Primo, minutes before her 41

admission test
5 George hurling a vase at Primo in an attempt to drive him away from 42

their house
6 George’s mother coming out of the hospital with her daughter, son, 43
and Mikko. She’s wearing a long-sleeved shirt with blue jeans
7 Tita Lola, wearing a pink tank top and tight blue shorts, arguing with 44
her partner about who gets to keep the things they bought together as
he is about to leave
8 Awee with George. She is wearing a brown top, red pants, and a 45
patterned kimono, as well as jewelry and makeup
9 Emmy with Jake, the boyfriend she is spying for 47
10 Marife approaching Arci while dressed in a green Filipiniana. Her 48

personal assistant arranges her train while following her
11 Liza helping Arci out at Marife’s house. She’s wearing a white tank 49
top, a patterned purple skirt, and sandals
12 Sarah in a yellow cardigan, a pink top, jean shorts, red sandals, and 51
hoop earrings
13 The maid in her uniform being strung along by Arci and his friends 53
14 Megan and Ernie’s school principal wearing a collared magenta 54

shirt, black dress pants, and eyeglasses
15 Megan and Ernie’s schoolmate and his mother, whose hair is held 55
back by a bandana and has a neck tattoo
xi
16 Cassey wears an unconventional wardrobe and has frizzy black hair 57

and a huge mole on her cheek. She’s anxiously watching Renz and
her brother in a battle
17 Cassey transformed into famous model Cassandra Stockings 58
18 Cassandra, who reveals herself to Emy, confronts him about leaving 58

her and chokes him in frustration after repeatedly slapping him
19 Kweenie talking to Salamean. Her signature gold costume is an 59

elaborate two-piece ensemble that emphasizes her figure
20 Peppa smiling at Emy upon recognizing her as Barna. He had just 60

called her ‘Balyena
21 Velle giving a small smile as she looks at Chino intently while he 62

rants
22 George glancing over her shoulder as Mikko asks if she even has 69
time to study while working
23 George on her way to her exam but she immediately tells the jeepney 69
to stop so she can go back to Primo, abandoning her exam to take
care of him
24 Awee in the office with George 69
25 Awee visiting George, wearing a loose pink, long-sleeved, blouse 70

and denim jeans. Her outfit is casual, proper, and, decently covers
her
26 Awee enthusiastically asking George to introduce her to Primo 70
27 Awee hitting George in a giddy manner while complimenting Primo 71

on his good looks
28 George’s mother tending to Yohan while in a video chat with 71

George. She tells her daughter not to worry about the money needed
for Yohan’s medical check-up but George disagrees
29 George’s mother tending to Yohan while in a video chat with 71

George. She tells her daughter not to worry about the money needed
for Yohan’s medical check-up but George disagrees
30 Tita Lola hitting her partner with a piece of clothing and screaming 72
at him to leave
xii
31 Emmy pointing her weapon at Paco and admitting that she only 73
dated him so she could spy on him for Jake, her real love
32 Marife threatening not to help Arci with his migration to Korea after 73
he complains about his workload
33 Marife kidnapping the children and keeping them hostage in a train, 74

where she orders her henchmen to kill them
34 Close-up of Liza as she introduces herself to Marife 74
35 Arci slapping Liza 75
36 Paco looking at Megan in distaste as he dances, while his sister 75

Sarah dances along while gushing to Paco about how cute her
children are
37 As Sarah slowly passes away in Arci’s arms, she begs him to take 76
care of her children
38 Liza yelling in surprise as Marife’s maid comes into the scene 76
39 Marife’s maid continuing to serve Paco juice and massage him 77
40 Marife’s maid being tricked into climbing the tall ladder for a picture 77
41 Arci and the student’s mom getting into an argument 78
42 Cassandra cutting off the interview to leave and start working 79
43 Cassandra throwing a fit of rage, beating up her henchmen, because 79

she is so mad about Rapiddo being a trending superhero
44 Peppa trying to hit Emy with a wooden stick, for calling her a whale 80
45 Velle looking at Chino intently and referring to him as her “bro” 81
46 Velle looking at Chino intently and referring to him as her “bro” 81

1
CHAPTER 1
INTRODUCTION
Background of the Study
The appearance of women in film narratives can be traced back to the 1910s. In a
history characterized with tensions and change, early cinema saw women who were
unrestrained by social conventions of their gender to women who were turned into
passive, virtuous heroines and silent sufferers. This was done as a conscious effort to
establish the supposed cultural respectability of cinema. Films such as Back to God’s
Country (1919), Jezebel (1938), Stella Dallas (1937), and The Moon’s Our Home (1936)
were born out of an ethos of selflessness prescribed for women, which may as well be
interpreted as primed self-sacrifice.
The rise of these women’s films, which were female-centered narratives largely
anchored on what were regarded as “women’s concerns,” displayed a paradoxical turn in
the representation of women and femininity in cinema. Female characters were shown as
spirited, independent career figures who gave up their single lives for the conventional
role of a dutiful, submissive bride. This was soon followed by a desublimation of films in
Hollywood, where gender themes were readily explored in sexualized angles. The halt to
the moral elevation of cinema, however, was not invested in opening up to varying
constructions of gender through social values, but in intense themes of fantasy and desire
that further sexualized women. This can be seen in films like Straw Dogs (1972), Klute
(1971), and Psycho (1960).
In early Philippine cinema, women were portrayed as powerless victims who
couldn’t stand threats and intimidation. The common conflict situation in many
2
melodramas was the love triangle where you would not find women who were rude,
overbearing, and superior as men. They were expected to be courteous, patient, and
submissive to their domineering husbands since they are portrayed as the inferior sex.
Women as mothers were often the peacemaker. If you happened to see a film that
had gang war scenes, there was always a woman beside the antagonist male character
who would speak sweetly and convince him to keep calm. This is probably in congruence
with what Brittan (1989) referred to as a “necessary convention” wherein society
virtually spoils the women character through stereotypes.
Although women in films attract male audiences because of the so-called
“woman’s body power,” the birth of the famous superhero Darna gave Filipino
moviegoers a new side of women when she had her action debut—in a series of action
films—in Fernando Poe Senior’s Royal Films production, Darna (1951).
On the other hand, the current and previous decades have witnessed the apparent
rise of high-profile films featuring feisty and powerful female protagonists. This is seen
in the popular reception of The Hunger Games (2012) franchise, the Divergent (2014)
series, Maleficent (2014), and the Resident Evil (2002) franchise.
Although cinema in recent years has presented women more diversely than in
decades past, it has been shown that women in films continue to be shown in traditional
roles as wife, mother, and lover to a man (Lang, 2015). More often than not, they are
depicted as overly emotional characters who are dependent on others, especially in
comparison to roles normally assigned to ambitious male characters (Murphy, 2015). In
addition, many films geared toward female audiences habitually turn out to be
disappointing in terms of how unrealistic and unrelatable they are—stories lead to

3
outcomes reminiscent of women’s self-sacrifice in the 20th century, encouraging the
audience to identify with the female figures who are victims or portrayed as helpless on
screen (Murphy, 2015). Moreover, in recent 2010s films, the majority of female
characters are more likely to be involved in domestic life instead of career life, as well as
being younger figures in informal positions. Today, as Philippine cinema approaches its
hundredth year in history, has the same image become slowly overturned, or persistently
ingrained?
Despite being named as one of the most gender-equal countries in the world, the
Philippines still has a long way to go in completely dismantling socialized gender roles.
In 2017, the country was tenth globally on the World Economic Forum’s ranking in
gender parity. In the Asia Pacific Region, the Philippines has been making the most
progress in diversifying the labor sector, with a ratio of 0.96 female to male in leadership
positions, and 1.42 women per man in technical and professional jobs (McKinsey Global
Institute, 2018). In its profile of violence against women, the country has a recorded 18%
of women compared to the region’s average of 28%. In contrast to the best global rate of
6%, however, this is an area that leaves much to be desired.
In March 2018, Senator Risa Hontiveros revealed that there are at least two
women every day in Manila who experience harassment in the forms of “acts of
lasciviousness, sexual harassment, rape and violence.” President Rodrigo Duterte himself
drew repeated condemnation for his insults and misogynistic remarks: a rape joke about
an Australian nun, another joke about ordering soldiers to shoot female rebels in the
vagina because “they are nothing without it,” and an assurance to soldiers fighting ISIS
affiliates that they could rape up to three women and he would protect them.
4
Filipino filmmakers, in response to the growing awareness of women’s
movements, have tried to revolutionize the portrayal of women in a variety of ways.
Particularly, Filipino indie films across the 21st century challenge some current cinematic
representations of motherhood by an optimistic staging of the mother character. What
they have proven so far is the fact that motherhood, as reflected in independent movie
production, is shifting its form, presentation, and packaging (Alfajora). As much as the
historical forces operating in society influence the contemporary social context, it is
apparent that in turn, Filipino films of the 21st century shape women’s lives as people see
these movies.
Today, nineteen years into the 21st century, Filipino films have turned to female-
centered stories such as in Rosario (2010), Working Girls (2010), One More Chance
(2007), and Four Sisters and a Wedding (2013). The image of the mother and her role
around the household is the center of the plots in successful films such as the Ang
Tanging Ina series (2003-2010), Anak (2000), Caregiver (2008), A Mother’s Story (2011),
and In My Life (2009).
With widely-received films representing women and their lives, there is a need to
raise the discourse on this representation in Philippine society. In comparison with men in
films, how often are women represented in Philippine cinema? In what ways are they
represented? Are these accurate and realistic representations? Given the rise of feminist
movements around the world and in the country, as well as advancing perceptions of
women, do Filipino films reflect these social changes? Or do they do the opposite?
5
Statement of the Problem and Objectives
Through content analysis, this study analyzed how women are represented in the
top three highest-grossing Filipino films as of the time of research. These films are: The
Hows of Us (2018), The Super Parental Guardians (2016), and Gandarrapiddo: The
Revenger Squad (2017).
To answer the research problem, specifically, this study sought to:
1. Describe the portrayal of women in the three highest-grossing Filipino
films in terms of the following elements of characterization:
a. physical appearance and attractiveness
b. socio-economic status
c. language
d. personality and behavior
e. interpersonal relationships;
2. Determine the common characteristics of women in the films in terms of
the following variables:
a. prominence
b. treatment
c. tone
3. Categorize the portrayals of women found in the three films.

6
Significance of the Study
The importance of film representation for minority groups is undeniable. Roles in
film not only provide a platform to spread awareness and knowledge about certain
minority groups, but it also aids in breaking stigma and existing stereotypes against said
communities. Women continue to be represented in film, as it is a medium that serves as
an avenue of representation for different types of individuals. Therefore, the findings of
this research paper are relevant and beneficial to multiple stakeholders, including:
Women and girls. This study identified key factors in media that show how
sexism and misogyny is promoted and condoned in society. In identifying women’s
representation in film, women and girls will be made more aware of how society views
them, and how these views are ingrained not just culturally but also in the media that they
and the people around them are exposed to. This awareness will allow them to recognize
and call out any problematic behavior that oppresses them due to these views.
Film viewers. This research will benefit viewers by aiding them in identifying the
differences and similarities between portrayals of women in media and women in
actuality. This will enable them to be more critical of the films they consume, and spot
representations of women that are incomplete and unattuned to reality.
Film producers and directors. This study will greatly benefit producers of
content who aim to produce progressive films that do not replicate the misogynistic
practices in the film industry that have been highly criticized over the years. Through
more sensitive representations in their products, the film industry as a whole will be
7
enlightened to shift its dynamics toward a healthier form of content that satisfies their
market, which include women.
Future researchers. This study contributes to the discourse on how women’s
representation is impacted by the media, and identified what problematic practices
continue to exist in the industry. Future researchers can also choose to mirror the
framework and methodology used when conducting a study of the same kind or choosing
to expand the findings—from this study’s critical examination of text and categorization
of the portrayals of women identified, to branching out to what possible solutions to
address the categories identified that are problematic and misrepresent women.
8
CHAPTER 2
REVIEW OF RELATED LITERATURE
Based on the objectives of this study, a review of literature relevant to the
following concepts was conducted: the significance of film as a medium in the
Philippines, prejudice against women in the Philippines, the image of women as
presented in media, and how media shape perceptions of women and contribute to the
development of cultures.
Perceptions of women in the Philippines
Views against women and patriarchal dominance have been present in Philippine
society longer than film. The Spanish machismo and the Roman Catholic Church’s
idealization of the domesticated woman brought into the country an ideology that pushed
aside the traditionally matriarchal values of pre-colonial Philippines. Spanish education
stressed norms on gender roles that required women to be subservient to male figures
from their husbands to priests. Baloloy (2014) identifies this to be part of a
fundamentalist system in the Philippine setting, where there is a need to control women
and their sexuality, especially their relationships, actions, and physical appearance.
The Philippine Commission on Women defines violence against women as a form
of male expression of controlling women to maintain power. In 2013, the number of
cases of violence against women reported to the Philippine National Police saw a 500%
increase since 1997, with 23,865 abuses recorded, according to a news report from
Rappler (Rodriguez, 2015).

9
Another PNP report showed that since 2017, there have been over 1 600 children
below the age of eighteen who have been apprehended by cops after being accused of
committing rape. According to PNP Women and Children’s Protection Center - VAWC
chief Senior Superintendent Angela Alejano, movies and advertisements are two of the
main influencers of rape committed by minors (Rappler, January 2019).
In his master’s thesis that analyzes rapists’ perceptions of sex, rape, and women,
Jim Rey Baloloy (2014) found that social acceptance and a harmful standard of
masculinity were among the influences behind such attitudes against women. Women
were usually viewed as objects to be used for the fulfillment of a man’s pleasure or goal.
The Filipino culture of viewing women as housewives assumes that men are the stronger
gender, leading to harassment in the workplace, sexist language, and catcalling on the
streets. The social gratification that men receive for being able to regulate women and
their sexuality, for being the domineering gender, is to blame for these consequences
(Baloloy, 2014; Rodriguez, 2015).
Such a mentality in a culture strengthens social expectations of the gender roles
(McKinsey Global Institute, 2018). In a May 2018 report of the McKinsey Global
Institute, a business and economic research association, it is noted that the experiences
and achievements of Filipinas are heavily affected by their socio-economic status, which
decide their access to education and healthcare. Upper- and middle-class women have
more and better opportunities that are similar or equal to the ones offered to men, while
those with lower incomes do not. Furthermore, even with many women doing just as well
as men, Philippine society is still ruled by the age-old conventions of patriarchy.

10
It should be noted that the McKinsey report records the views and traditionally
held notions of women from the women themselves. Not only are attitudes against
women held by men as a result from a toxic standard of masculinity, but also by women,
who are culturally and systematically conditioned to believe what society has expected
them to believe about themselves. Women still feel they alone are ultimately responsible
for taking care of the house and their family, leading them to become reluctant when
offered with a senior job, or a “double burden” (McKinsey Global Institute, 2018).
The image of women in media
Women are underrepresented in the media, and this underrepresentation is made
worse by the misrepresentation that occurs when they are represented.
In her undergraduate study “The role of women in film: Supporting the men—An
analysis of how culture influences the changing discourse on gender representations in
film,” Jocelyn Murphy (2015) examined the representation of women in top-grossing
American movies over a 20-year span, from 1993-2013. She found that although
representations of women are improving, as seen in Jurassic Park (1993), Pirates of the
Caribbean: The Curse of the Black Pearl (2003) to The Hunger Games: Catching Fire
(2013), they are still not as inclusive or as important as those of men. Women in these
films, studied through content analysis, were gutsy and intelligent, but still remained in
stereotypical situations, “caught between competing demands to be strong and
independent while retaining their femininity” (Ferris and Young as cited by Murphy,
2015, p. 9).
11
One of these women was Liv Tyler’s character in Armaggedon, who had a career
but was more engrossed in her romance (Murphy, 2015). Murphy noted that this trend
may be due to social influences, such as post-feminism. Complex and more balanced
female characters may have been present and become more so in later films, but they are
unrealistically represented still through the norms of gender stereotypes.
Another issue in the films examined by Murphy (2015) is the objectification that
occurs. Only two of the 41 women central to the films’ narratives were protagonists, and
the films tended to display lesser objectification of them. This resulted in a high level of
objectification of background female characters—ranging from minimal nonsexual skin
exposure to full sexual nudity, and often shown in pool, strip club, and large dance scenes.
In Philippine media, a formulaic picture of women, particularly mothers, is
reinforced. In her undergraduate thesis entitled Images of Mothers in Selected Films from
1980s to the Present, Cristina Roso (2008) found through content analysis that the most
common image of a mother when it comes to her physical appearance is a short-haired,
fair-skinned, and short in height woman.
The results further revealed that Filipino films continue to perpetuate double standards
and the common stereotypes of mothers—naggers, weak, emotional, helpless, martyr,
and survivor. According to Roso (2008, p. 42):
There were mothers who were into (a) marginalization, whose participation in
development is still limited to traditional programs and projects like cooking,
sewing, and making handicrafts; (b) subordination, who still are in their
12
secondary status in society; (c) multiple burden, the condition in which they
perform several tasks and responsibilities despite their limited time and energy.
Roso’s (2008) study paints a picture of an industry where gender biases still persist.
The image of the Filipina woman as martyr is a narrative that does not just affect
mothers or those characters in familial roles, but also young, unmarried women who fit
the stereotype of “Mater Dolorosa” or the “Virgin Mary” ideal, as Mina Roces pointed
out in her article, “Rethinking ‘the Filipino Woman’” (2010). Roces discussed the grand
narrative that stereotypes the Filipino women as obedient, suffering people who can be
used to pay off debts. Iconic examples that have brought these traits forward are
characters created by Jose Rizal—the likes of Maria Clara, Sisa and Juli—wherein Sisa
embodies the mother who suffers through domestic violence and her husband taking
away her salary to fund his vices, while Juli is used as “pambayad ng utang” because she
was the one who cleared her father’s debt by rendering domestic service. Meanwhile,
Maria Clara, whose character as the “beautiful, virginal, convent-school educated, upper-
class heroine” has been the epitome of the perfect woman, and later on, she was adopted
to be the “classic Filipino woman” (p. 41).
When it comes to familial roles, Roso concluded that Filipino mothers are often
portrayed as nurturing individuals who love their husband and children more than their
own lives (2008). This is linked to the supposed role of a mother in which she is left at
home to take care of the children. The notion that couples should be married to have a
moral and blessed life also originated from the Philippines’ colonial past. This explains
why many of the mothers were portrayed as married housewives in movies.

13
In the same way, the shift of social classes, especially rising from poverty, was
evident in the selected portrayals. Roso (2008) was able to identify two factors that help
Filipino mothers in getting ahead: marriage to a well-off man and/or earning a successful
career.
Interestingly, there was already evidence of the evolving professional and
household roles in the films. Some women characters in the 2000s did not rush in
marriage because they wanted to pursue their personal dreams first. Career women took
the spotlight, and “in their goal to provide a good life for their families, they now differ
with the types of jobs they have and how they would handle their family problems”
(Roso, 2008, p. 43).
Filipino independent filmmakers across the 21st century in particular are shifting
the “form, packaging, and presentation” of their craft. They are starting to break the
preconceived mother images by staging her as more assertive and insistent according to
Alfajora (n.d.) in his research entitled Representations of Motherhood in Philippine
Contemporary Films of the 21st Century: Reputation, Revolution, and Redefinition.
However, this does not urge the sympathy of the audience towards the male character,
and it doesn’t also imply that the noble and loving character attributed to the mother
figure is changing.
Elizabeth Siano (1975) echoes Alfajora’s observation that cinema falls short in its
portrayal of women in her critique of the feminist film magazine, Women and Film. She
notes a common sentiment in the publication, which is the film industry’s habit of failing
to characterize women in “fully human forms,” lacking of independence and dignity.
Siano also found that there were films with independent female characters, but they fail
14
as representations of women. These characters remain in their repressive situations and
end up falling into their own stereotypes. This way of depicting women endures in
cinema even decades later (Murphy, 2015).
Siano (1975) observed a distinct preference of films criticized—Women and Film
hardly featured movies about happily married women. She considers this in saying that
insisting exclusively for the strong-female model is detrimental to the variety and truth of
reality and cinematic expression. This suggests that although it is important to counter the
orthodox image of women (e.g. weak, dependent, submissive), the process should be a
conscious one wherein not only the one opposite image is constantly shown (e.g. strong,
completely independent, feisty), but balanced with a sensitive and complete
representation that is attuned to women in actuality.
The oversimplified woman is a persistent image in film, and through the years has
become a characterization that is almost universal. The study done by Gallagher Margaret
(1980) is a cross-cultural review of media representation of women around the world. Her
scope involved nearly all forms of mass media, from newspapers to cinema, and
described media output with regard to women in North America, Latin America, Europe,
the Middle East, Africa, and Asia.
Gallagher (1980) found a striking similarity in the treatment of female roles
across numerous cultures. One of the study’s findings was a general attitude against
women which consisted of a distorted view of them. Many newspapers and magazines’
approach toward women and their concerns was to portray them as not newsworthy, often
referring to them merely as the wife, daughter, or mother of whichever men were
highlighted. In their own right, they were presented as entertainers or fashion icons. In
15
entertainment shows and magazine features, the dominant view of women almost always
presented them within the domestic sphere. Although it is presented differently from
country to country, Gallagher (1980) identified a common “dichotomous motif which
defines women as good or bad, mother or whore, virgin or call-girl, even traditional or
modern.”
In advertisements, women’s sexuality and looks are used as “bait” (Gallagher,
1980). Female customers, meanwhile, are patronized and manipulated, an indicator of
belittling their intelligence and will. Movies kept women in their typical men-and-
romance endeavors, where the good or poor girl’s “reward” is the rich ideal man and
showed them to be physically attractive but incapable of solving problems. They were
self-sacrificing, too emotional, passive, and were required to pursue marriage as their one
important goal.
In China, Zhuyi Zheng’s (2011) master’s thesis found that the dominant image of
women in Chinese TV dramas since 1979 were young, good-looking, and independent
wives and mothers. Though these two family roles were depicted the most often, the
touch of independence was lent to most of these women having jobs. These jobs,
however, were mostly in the fields of education, retail, arts, and the media, with the least
representation of female scientists. The twenty-first century saw more female characters
depicted as figures of authority, such as a rich, powerful, and intelligent CEO, but the
majority of these women were also shown to be wives and mothers.
Familial roles are shown to be the media’s favorite portrayal of women, from the
previous century to the present day (Gallagher, 1980; Murphy, 2015; Roso, 2008; Zheng,
2011). Women are most often the caretakers of the family, the mother, and the wife.
16
Gallagher emphasized the way female portrayals seem to be split into two contrasting
roles, whether as the pure, caring, honest lady, or the poor, promiscuous, male-dependent
lover. Murphy filled the gap between these dichotomies a little by acknowledging the
female roles lending a bit more agency to the woman, such as the busy and feisty career
woman who also choose to stay committed in their love lives. Despite this, however, she
is still not free from the male objectifying gaze and renderings of her character that are
defined by her relationships to a man (Gallagher, 1980; Murphy, 2015).
How media shape perceptions of women
Woven throughout our daily lives, media embed their messages into our
consciousness at every turn. Exposure from all forms of media begin to shape our
perceptions of ourselves and others (Wood, 1994).
As discussed earlier, women are often portrayed solely as homemakers and
caretakers of the family, dependent on men, or as objects of male attention, while men are
typically characterized as powerful and dominant. There is little room given for
alternative visions of femininity and masculinity. As explained by Murphy (2015, p.6),
“rather than providing realistic representations in the media, men and women both tend to
be depicted in a hyper-traditional manner, which maintains stereotypes of personality
traits, capabilities, and aspirations.”
Such portrayals influence perceptions in terms of what society may expect from
men and women, and also what they may expect from themselves. They promote an
unbalanced vision of the roles of women and men in society (Kangas, Haider, et.al 2015).
17
Similarly, other studies prove that stereotypical portrayals of women can
significantly impact people’s beliefs about women in real life. In one psychological
experiment entitled The Impact of Factual versus Fictional Media Portrayals on Cultural
Stereotypes, Sheila Murphy (1998) concluded that stereotypical portrayals of women
harmed women’s perceived credibility. Accountability for an abusive relationship
depended on how stereotype-free a media portrayal was.
A study by Christopher Ferguson (2012) entitled Positive Female Role-Models
Eliminate Negative Effects of Sexually Violent Media proved that the presence of strong,
positive female role models in scripted dramas could decrease the unflattering emotional
effects of sexually violent media. These role models decreased anxiety in women and
sexist attitudes held by men towards women. Girls who watch more sexually objectifying
media are more likely to objectify themselves and internalize the ideals of beauty
portrayed in such media.
Lastly, a study entitled Exploring the Effect of Media Images on Women’s
Leadership, Self-perceptions, and Aspirations ascertained that viewing media images of
powerful women decreased women’s negative self-perceptions and increased women’s
leadership desires (Simon, 2012). All of these studies indicate that media play an
important role in the formation and enforcement (or destruction) of cultural stereotypes
surrounding women and gender in general.
Aiming to analyze the extent of stereotyping given to Bisaya characters, Arrah
Camillia Quistadio studied six local comedy films released from 2002 to 2006 in her
undergraduate thesis entitled Stereotyping of the Bisaya in Selected Philippine Comedy
Films.
18
First, she scrutinized the Bisaya characters through identifying the traits that were
used to portray them which includes physical features, obvious demographic
characteristics, personality, and psychological characteristics. Then, she incorporated
Pernia’s (2004) content analysis variables of prominence, treatment, and tone to find out
how these traits were portrayed. She studied how the different text correlates to each
other in order to further understand what message the sample conveys.
The Bisaya character descriptions and the analysis based on the variables of
prominence, treatment, and tone both answered how the Bisaya is represented in the
selected films. The results revealed that the most common stereotype of the Bisaya is
someone who mispronounces Tagalog and English words. Moreover, the researcher also
noticed the dominance of erotic or sex-related characteristics in the films, and most of the
portrayals were elaborate.
Our study, which also deals with the representation of a group in films, can apply
relevant parts of Quistadio’s operational framework and research methodology in
answering the research problem at hand.
This literature review attempted to establish that film as a medium is a powerful
social tool, and Filipinos are active and keen consumers of cinematic content; that in the
Philippines, prejudices against women have existed and continue to exist. It also
demonstrates the common images of women among the media, and that these images are
ubiquitous across the world. Finally, it verifies the mass media’s capacity to form
individual perceptions that contribute to a wider culture.

19
This study acknowledges that there are few materials substantiating the discourse
on women’s representation in Philippine media over the years, and thus endeavors to
address this gap by an evaluation of women in the most widely-received Filipino movies.
With the above literature, this study seeks to identify a concrete image of women in
Philippine film, and with the subsequent analysis determine its implications in relation to
the current Philippine society, especially women.

20
CHAPTER 3
STUDY FRAMEWORK
Women are underrepresented and misrepresented in media. In the real world, they
are oppressed and restrained.
People’s behavior toward others is based on how they see them, and how they see
others depends on how the other people are represented. With regard to women, this is a
process that is also applicable. Meaning is attributed to something through how we
represent them, and this representation—what we think, say, and feel about them―is
made possible through a representation system.
In the book Representation: Cultural Representations and Signifying Practices,
Stuart Hall (1997) identifies representation systems as the languages that are used in a
culture. This may be spoken, written, visual, or facial languages that can be found in
fashion, television, photography, traffic signs, and art. Hall further defines representation
as “the production of the meaning of the concepts in our minds through language” (p.17).
Richard Dyer (1993), a media theorist, views representation as the same complex
process. Media products are constructed aspects of reality that are not complete
presentations, but re-presentations. Behind a representation is a framed ideology or set of
beliefs that refers to reality. Thus, a media representation can be understood as the
manufacturing of concepts of reality (i.e. people, places, events, ideas, cultural norms)
through any medium.

21
Theory of Intratextuality
The representations in media presented as texts is framed in many ways, as Daniel
Chandler puts in his book Semiotics the Basics (2007). Hall’s (1997) assessment of
Ferdinand de Saussure’s semiotics brings attention to the importance of the reference to
real-life concepts between the representer and the represented in such media
representations. These concepts, functioning as texts in media, interact in a system
dependent on social and cultural context, in a phenomenon that is called intertextuality.
And while intertextuality is the non-isolation of texts from one another in their creation,
its outgrowth, focusing on the internal relations within a text, is intratextuality.
Gérard Genette’s elaboration on a more inclusive term than intertextuality, that is,
transtextuality, gave way to the development of the concept of intratextuality (Siwkowski,
2012; Chandler, 2007). Though the theory is provided in a limited array of academic
sources, Chandler identifies an important concept behind it termed anchorage by Roland
Barthes. He notes that the principal function of anchorage is ideological, that “linguistic
elements can serve to ‘anchor’ (or constrain) the preferred readings of an image” (pg.
204). Content that employs text-image codes such as photographs, maps, advertisements,
to films and comics sees this process in play. He specifies film and television to contain
more codes involved in the intratextual system, asserting that “the dynamic patterns of
dominance between them contribute to the generation of meaning” (pg. 205).
This meaning within textual landscapes, Palmer (2002) says, is gained through a
“full realization of their overlapping and interpenetrating internal contexts and signs that
express concepts and archetypal motifs” (pg. 1).

22
The principles of intratextuality were helpful in guiding this study to glean the
intended meaning—a perception of women as portrayed in media—communicated
through the organized codes present in a text such as film, in line with the research
objectives.
Feminist Film Theory
In examining women’s place in the manner of cinematic representation, Feminist
Film Theory was used to focus on the function of female characters, particularly film
narratives or genres that hold stereotypes, as a reflection of how society view women.
Smelik (2007, p. 491) explained that through the years, “the important theoretical shift is
from an understanding of cinema as reflecting reality to a view of cinema as constructing
a particular, ideological, view of reality.”
Feminist film theory was introduced after the development of women’s studies in
the 1960s to 1970s. It emerged due to the lack of true-to-life images of women in cinema.
As a result, women were encouraged to actively critique stereotypical representations in
film, rather than merely accepting them. Some works on this theory by Marjorie Rosen
(Popcorn Venus: Women, Movies, and the American Dream, 1973) and Molly Haskell
(From Reverence to Rape: The Treatment of Women in Movies, 1974) look at the
depiction of women in films in connection to their historical context. Feminist critiques
further explore the common stereotypes that are present in films, in addition to their
screen time and the extent to which the women were shown as “active or passive.”
In addition to this theory is Laura Mulvey's now-classic essay, "Visual Pleasure
and Narrative Cinema" (1975), which claimed that men and women are differentially
23
positioned by cinema: men as subjects identifying with agents who drive the film's
narrative forward, women as objects for masculine desire and fetishistic gazing.
This theory is consistent with this study since the focus of the researchers is on
the portrayal of women in Philippine cinema. The three highest-grossing Filipino films
were scrutinized to look at the “realism” in women representation in the local film
industry.
Figure 1, found below, depicts the connection between the study’s main concepts
of characterization, intratextuality, prominence, treatment, tone, and representation.
Characterization, as the main element that is directly woven in the narrative of the films,
was the aspect subject to scrutiny to discern and describe a woman’s portrayal. Character
is determined by the woman’s physical appearance and attractiveness, language,
personality and behavior, and interpersonal relationships.
Figure 1. Diagram showing the relationship between key concepts in the study.
REPRESENTATION
Prominence
Characterization
Physical appearance and
attractiveness
Language
Treatment Socioeconomic status Tone
Personality & behavior
Interpersonal
relationships
24
To satisfy the objectives of this research, two main theories were used, namely the
Theory of Intratextuality and the Feminist Film Theory.
The Feminist Film Theory serves as the study’s overarching or umbrella theory.
The representation of the women as described by their character was assessed in relation
to Pernia’s (2004) variables of prominence, treatment, and tone with the help of the
Theory of Intratextuality. At this point, the characteristics that the female characters have
in common, within each film’s context, was determined. Through the perspective of the
Feminist Film Theory, all the ascertained portrayals in the film were then identified into
categories that separate stereotypical representations. All the aforementioned variables
encompass each female character’s representations within the scope of this study.
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CHAPTER 4
METHODOLOGY
Research Design and Methods
In evaluating how women are represented in mainstream Filipino films, the
researchers have selected the three highest-grossing films produced domestically. These
films were chosen on the basis of criteria that required the film being cited as one of the
three highest-grossing Filipino films and the availability of a copy of the film to review
for data analysis. In analyzing the content of these films, the characters played by the
female actresses will be subject to scrutiny, focusing particularly on how they are
portrayed in film through their: physical appearance, socio-economic status, language,
personality and behavior, and relationships with other characters.
In relation to the Theory of Intratextuality, meaning-making is derived from the
media content through text interwoven with deeper concepts. It was then only appropriate
to study what determines the text different by applying the concepts of prominence,
treatment, and tone—in order to further understand what message the sample conveys.
Quistadio (2007) used these variables to put and categorize the Bisaya
representation in the context of the films where they appear in. Prominence refers to the
emphasis of the film, which consists of separate sub-concepts like focus or issue in the
film, topic of film, type of film, occurrence of the Bisaya character as the main character
or not, length of exposure of said character, and their identification type, whether they
were generic or named.

26
Treatment refers to the extent of which the film portrays the issue and the Bisaya
character, which is classified into positive, if there are generally more favourable
statements, portrayal, and or implications for the issue; negative, if there is generally
more criticism for the issue or character; neutral, if there is merely a portrayal of events
that give neither positive nor negative implications about the issue or character; simple
and one-side treatment, if only one aspect of the issue/or character is presented; and
elaborate and multifaceted if at least one other view, opinion or perspective regarding the
issue/character is also presented.
Tone describes the manner in which the film presents the elements within it.
Straightforward tone if there is upfront portrayal of the events; interpretative tone if it
provides in-depth analysis with backgrounders, and even predictions, that are data-based;
an emotional or dramatic tone aims to evoke melodramatic feelings in the viewer; erotic
tone has strong sexual undertones; light or whimsical tone if the issue is provided a
comical or relaxed portrayal; and satirical and sarcastic tone if it tends to evoke a critical
impression on the viewer, including films that are slyly humorous.
Using all these aspects, the researchers were able to aptly determine each film’s
representation of women.
Multimodal Discourse Analysis
Multimodal Discourse Analysis (MDA) scrutinizes the ways in which
meaning‐making practices and social interactions occur through various communicative
modes. In studying films, this approach looks at how the different cinematic elements
work together to form a complete discourse.

27
In the second edition of their book entitled Reading Images: The Grammar of
Visual Design (2006), Gunther Kress and Theo van Leeuwen considered the integration
of the “representational, interactive, and textual meanings” in various elements as an
effective model for studying all modes of representation, including images (p.20). This
breaks down films for instance, into more interpretable object of analysis.
In this study, Multimodal Discourse Analysis served as the specific approach in
determining women’s cinematic representation. With the Theory of Intratextuality in
mind, the unique insight offered by the multimodal approach aided this study in
determining how diverse modes work together in shaping the meaning of the text as far
as representation of women is concerned. Through this method, the study scrutinized the
meaning-making process in the films by breaking down the examination of broad
multimodal texts into more specific areas of study.
Given its intratextuality, characterization was identified using the MDA method.
To achieve this, a range of multimodal texts were determined. These are what Andrew
Burn, in his research Kineikonic Mode: towards a Multimodal Approach to Moving
Image Media, labelled as contributory modes (speech, dramatic action, costume, gesture).
These modes were found within the element of characterization (physical appearance,
socio-economic status, language, personality and behavior, and interpersonal
relationships).
The research is qualitative in nature, focusing on the content analysis of the
selected films and their representation of women. This data analysis thus required the
researchers to view the selected films in the lens of Feminist Film Theory, which aided in
the critical assessment of how women are represented in the sample.

28
Concepts and Indicators/Variables and Measures
In determining the representation of women in the selected films, content analysis
was used so as to identify the indicators that are each female character’s physical
appearance and attractiveness, socio-economic status, language, personality and
behavior, and relationships with other people.
A female character was defined as one who is part of the film’s cast, identifies,
and was identified as a female in the film. A female character’s physical appearance and
attractiveness was indicated through facial and bodily features, stature, body size,
clothing, makeup, and physical conditions. Attractiveness in particular was indicated by
verbal or nonverbal expressions from other characters about her physical appearance. Her
socioeconomic status was identified by her occupation/s, living conditions, lifestyle, level
of education, ethnic background, etc.
A female character’s verbal and nonverbal manners, such as speech, body
language, gestures and facial expressions are viewed as indicators of her language. In
addition, how she talks and what she talks about were considered as part of her language.
Her personality and behavior involved the attitudes she displays and the approaches she
employs when interacting with her surroundings and other characters.
For personality and behavior, two models from previous studies were referred to
as guides. Zheng (2011), in her master’s thesis Stereotyping of women’s images
portrayed in prime time Chinese TV series from 1979 to 2008: Has the picture changed
over time?, uses a modified set of codes from another study that simplifies different
29
attitudes of women portrayed in media. This results in four pairs of contrasting
descriptions, shown in Table 1 below.
Table 1. Personality codes adopted from Zheng (2011).
self-governed/independent dependent
optimistic pessimistic
fashionable/extrovert constrained/reversed
aggressive quiet/soft/weak
The second model, shown in Table 2, is utilized in Kinnunen’s Badass Bitches,
Damsels in Distress, or Something in Between?: Representation of female characters in
superhero action films (2016), also a master’s thesis. Adopted from a study that looked at
behavioral patterns in fictional television, Kinnunen referred to a list of personality
characteristics in order to understand how well or poorly a female character in a film was
constructed.
Table 2. Behavioral patterns adopted from Kinnunen (2016).
Ingenuity Incompetence
Physical aggression Victim of physical aggression
Verbal aggression Victim of verbal aggression
Leadership Follower
Rescuing (bravery) Helpless
Achievement Failure
Asking for advice/protection Guidance given
Object of reward
Shows affection
Praises
30
The last indicator for a woman’s characterization in the films were her
interpersonal relationships, marked by their involvement with people whom the character
closely and/or personally interacts with. These relationships include those with family
members, friends, and colleagues, and will be related to the character’s representation in
terms of the nature of the said relationships (i.e. of mutual respect, involves open
affection, dependent, abusive). All of the elements that determined the female character’s
portrayal were measured through coding forms that were created by the researchers and
modeled after Zheng (2011), Kinnunen (2016), and Chua, Dalisay, and Obeñita’s (2018)
coding guides.
The variable of plot was initially adopted as one of the main elements to be
utilized as an indicator of the female characters’ portrayal. However, it was determined
by the researchers that its function would only be limited to being a contextual indicator
of the sample’s characterization of women. The role of each film’s plot to this study’s
analysis was merely to provide background for each character’s respective
characterization and prominence, thus its removal.
Through these variables and the perspectives of the Theory of Intratextuality and
Feminist Film Theory, the portrayal of the women was ascertained. From this assessment,
the common aspects to be found in these portrayals was classified in terms of their
prominence, treatment, and tone (Pernia, 2004). Prominence was defined by the focus or
issue, topic of film, type of character, and their identification. Treatment was classified as
positive, negative, neutral, simple, one-sided and elaborative. Lastly, tone was identified
as straightforward, interpretative, emotional or dramatic, satirical and sarcastic, and light
or whimsical (Pernia as cited by Quistadio, 2007).

31
Lastly, the identified representations in terms character and then of prominence,
treatment, and tone, were then categorized accordingly. These categories were derived
from the findings of the related studies of Gallagher (1980), Murphy (2015), Roso (2008),
Roces (2010) and Zheng (2011), and presented in a model constructed by the researchers.
The characteristics lent to the dominant images of women as determined in the
aforementioned studies—such as being emotional, having above average looks,
dependency on others, and subservience—were taken by the researchers and solidified
into compact descriptions of women as portrayed in general, often non-Philippine, media.
Eight categories are described in Table 3 below.
Table 3. Categorization of female characters as most popularly depicted in media

based on the findings of Gallagher (1980), Murphy (2015), Roso (2008), Roces
(2010) and Zheng (2011).
The Madonna Caring and attentive, the Madonna is a full-time wife and/or mother. She takes care of the house
while faithfully waiting for her husband and/or kids to come home. Virtuous and often the voice
of reason during conflicts, her marriage and domestic life define her character.
The Maria Clara The beautiful, virginal, convent-educated, upper-class heroine, who is a shy and obedient daughter
expected to behave like a saint: devoted to prayer and good charitable works, which may manifest
in the extreme in martyr-like acts.
The Career The Career Woman is intelligent, good-looking, and independent, and her job is the love of her
Woman life. She works hard and though she may have other commitments from time to time, she mostly
prioritizes the fulfilment of her dreams or passion. Likely to be headstrong and oriented to urban
life.
The Career The second Career Woman is depicted as what the career woman would be if she focused on
Woman 2: The romance just as much as her work, if not more. As a result, she is often seen as an emotional
Wasted Potential character whose development could have been lent more dimensionality if it didn’t rely heavily on
her relationships to her father, brother, friend, or lover.
The Leader Competent, smart, and often talented in multiple aspects, the Leader shows superior skill in
guiding entire groups, from battle squads to corporations, to success. She is seen as making
rational and independent decisions and is often respected and admired, if not feared.
The Damsel in The Damsel in Distress is a pretty but seemingly helpless lady whose fate in the story depends on
Distress a male hand reaching out—be it in the form of marriage, prostitution, or something similar. Her
life can be tumultuous, maybe even tragic, and most likely less than ideal.
The Scarlet Often depicted as gorgeous and seductive, the Scarlet Woman easily charms the men around her
Woman and basks in their attention. Her character’s purpose revolves around having casual sexual
relationships with these men, many of whom see her as nothing but a sex object.
Aberrant This female character fits none of the above categories.

32
The categorical model provides but overarching descriptions of dominant images
of women in media that are not absolute, and allowed the researchers to spot any possibly
recurring trend in the representation of women in top mainstream films, as well as any
aberrant portrayals and those that only perpetuate present stereotypes. A character may
satisfy more than one category, but not all of them. A character may also fit part of the
characterization of a category, but not completely. Table 4 shows the framework
discussed in this section as it is to be utilized in this study.
Table 4. The study’s concepts, indicators, and measures in line with the research
objectives.
Objective Theory/ies Concept/s and indicator/s Measure/s
Describe the portrayal of Feminist film, Characterization, text, mode Description of facial features,
women in the three intratextuality stature, body size, clothing,
highest-grossing Filipino makeup, physical conditions,
films in terms of the occupation/s, living conditions,
following elements: lifestyle, education, ethnicity,
characterization (physical verbal or nonverbal expressions
appearance and from other characters about her
attractiveness, physical appearance; speech, body
socioeconomic status, language, gestures, way of talking,
language, personality and subjects talked about; attitudes,
behavior, interpersonal approaches employed in
relationships) interactions; nature of involvement
with other people
Determine the common Feminist film, Prominence, treatment, tone, Focus or issue, topic of film, genre
characteristics of women intratextuality text of film, occurrence as lead
in the films in terms of the character or not, named or
following variables: generic; positive, negative, neutral,
prominence, treatment, simple, one-sided, elaborative;
and tone straightforward, interpretive,
dramatic, satirical, light
Categorize the portrayals Feminist film The Madonna, The Maria Characterization, prominence,
of women found in the Clara, The Career Woman, treatment, tone
three films The Career Woman 2: The
Wasted Potential, The Leader,
The Damsel in Distress, The
Scarlet Woman, Aberrant
33
Research Instruments
The data gathered was obtained by utilizing accessible Filipino films in the
Philippines that have grossed the highest figures in Philippine box office history. The
films were acquired through online streaming sites, rental stores, and copy loans. Using
computers or television sets, each of the films were viewed separately by each of the
researchers, then together, and then viewed repeatedly. This allowed for both individual
exposure and social reorientation. The repeated exposure was also a condition of the
viewing experience that observes an assertion in the principles of media representation,
which is that repeated viewing will impose a perception of the representation to be
natural.
Units of Analysis and Sampling
In this study, the following selected Filipino films comprised the sample:
1. The Hows of Us (2018)
This film follows a young couple who plan their dream of growing old
together, facing misunderstandings and different career paths in their long-term
relationship.
2. The Super Parental Guardians (2016)
After his friend is murdered, a young man accepts custody of her two
children together with their uncle. They become the kids’ guardians and embark
on adventures.
34
3. Gandarrapiddo: The Revenger Squad (2017)
The Revenger Squad is a team of siblings who reveal their superpowers to
protect what is important to them, but during their missions, secrets arise that
threaten to ruin what they’ve been protecting the whole time.
Shortlisted by probability sampling, the list of films was finalized with each film
satisfying two main criteria: top-grossing and availability. The first criterion indicates
that the film is one of the highest-grossing films from the country. This ensures, to an
extent, that a large population has seen it, and may have repeatedly seen it. Being a top-
grossing box office film will be the measure of the film’s popularity. The characters to be
analyzed comprised those who are part of the film’s cast and are identified by the film’s
narrative as female. Selection of the scenes to be scrutinized was done by non-random
sampling, only picking the ones that feature the women in some way, whether through
narration, their physical presence or through other characters’ regard of her.
Data Gathering/Generation and Construction
The three films, namely The Hows of Us (2018), The Super Parental Guardians
(2016), and Gandarrapiddo: The Revenger Squad (2017) were acquired from online
streaming sites and local video rental stores. The synopses of the said films were taken
from their video labels and official websites.
Each film was viewed independently by the researchers. To examine the
characterization of female roles in the selected Filipino films, Multimodal Discourse

35
Analysis was incorporated. Through coding schemes, the researchers looked at the
characterization by physical appearance, language, personality, and relationships with
other characters. For each scene or text, the elements or modes were documented. From
here, the common characteristics were assessed, categorized, and summarized by the
researchers.
A total of fourteen (14) female characters were selected by the researchers for
analysis. Apart from all being on the film’s cast list and provided identification as female
in the film’s narrative, these characters were also selected on the basis of having been
given screen time deemed by the researchers as sufficient, not only in terms of duration,
but also of level of female characterization, comprising indicators of such. A few female
characters listed among the cast, mostly minor and cameo roles, were thus excluded by
the researchers for a productive and more informed analysis. Table 5 below lists all
fourteen characters and their respective roles in the films.
Table 5. A list of the female characters in the sample and their respective roles.
Movie Character Role
The Hows of Us George girlfriend, daughter, friend, protagonist
Tita Lola grandmother
George’s mother mother
Awee friend
The Super Parental Guardians Marife wife, villain
Emmy girlfriend
Liza friend
Sarah friend, mother
Principal (unnamed) school administrator
Schoolmate’s mother (unnamed) mother

36
Maid (unnamed) housemaid
Gandarrapiddo Cassey/Cassandra/Kweenie sister, girlfriend, villain
Peppa/Barna friend, superhero
Velle friend
Data Analysis
The researchers used qualitative and quantitative techniques for the analysis of the
selected films.
Content analysis was two-fold: (1) an analysis based on female character
descriptions to identify patterns in their traits within the sample and (2) an analysis based
on the variables of prominence, treatment, and tone (Pernia as cited by Quistadio, 2007)
which aims to identify the women portrayals in the context of the films where they
appear in.
The roles of the women, their names, and descriptions were noted using
Multimodal Discourse Analysis. The coding schemes include the following modes: facial
features, facial expressions, stature, body size, clothing, makeup, physical conditions,
speech, and gesture.
The information in the second level of the analysis was also organized through
coding forms by the variables of prominence, treatment, and tone. The data from this
level of analysis, containing integrated data from the first level, was then used as the
basis for the classification of the female portrayals into compact descriptions or
categories.
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The discussion of the results followed, then the researchers summarized the
portrayals of women in the three highest-grossing Filipino films of all time.
Scope and Limitations
This scope of this research was narrowed down to three films that are, as of the
time of writing, the highest-grossing in Philippine film history. They were chosen
according to criteria that requires the film being cited as top-grossing and the availability
of a copy of the film to review for data analysis.
The female characters evaluated are limited only to those listed in the film’s cast,
understood to be the actors who appear on screen for any duration. This limitation
therefore looked at roles that identify as female, and are regarded by other characters as
female in the film. In addition, characters that satisfied these two main criteria, but
exhibited limited exposure in terms of duration and characterization, were not included.
The films studied were limited to Filipino films, which means that they were
produced, directed and/or acted by Filipinos and that the film was released and available
for viewing in the Philippines.

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CHAPTER 5
RESULTS AND DISCUSSION
This chapter is organized around this study’s objectives: to determine the
portrayal of women through the selected films’ (1) characterization, (2) prominence,
treatment, and tone, and (3) portrayals based on existing categories derived from studies
as well as new categories added for deviating characters. In line with these, the
researchers gathered data as guided by the Theory of Intratextuality and Feminist Film
Theory, and through the method of Multimodal Discourse Analysis.
The first part of this chapter presents the women’s characterization in their
respective films, namely The Hows of Us, The Super Parental Guardians, and
Gandarrapiddo: The Revenger Squad. Following this section, the second part discusses
aspects pertaining to the fourteen (14) identified female characters in relation to
prominence, treatment, and tone in the films. The third part describes and assesses the
categories under which the characters have been classified. In addition, it will discuss the
findings that revealed deviations from established female portrayals through new
categories the researchers devised so as to supplement existing models.
Results
I. Characterization
This section elaborates on the ways the female characters in the selected films are
characterized in terms of their physical attributes, their position socially and
economically, how they communicate verbally and non-verbally, their personality, the
39
way they behave with and without others, and the aspects that illustrate their
interpersonal relationships. This discussion is derived from the data collected through
individual coding forms for each of the three films which were then collated by the
researchers.
A. The Hows of Us: Characterization
The 2018 film The Hows of Us features the story of longtime couple George
(Kathryn Bernardo) and Primo (Daniel Padilla), and the obstacles they face throughout
their relationship. The two meet in a debate contest and become a couple during their
college years. When George’s grandmother dies, she leaves her house to George and
Primo, who move in and promise to support each other in their pursuit of their ambitions.
Four female characters were selected by the researchers for this film’s analysis,
namely: George, her mother (Jean Garcia), Tita Lola (Susan Africa), her grandmother,
and Awee, her friend and colleague (Ria Atayde).
1. George
In terms of physical appearance, George is shown as a slim Morena of average
height and straight dark hair almost reaching her elbows. Her wardrobe for the first part
of the film is simplistic and minimal. She would often be carrying various objects, mostly
books or some documents. She wears minimal to no makeup and almost no jewelry aside
from an occasional watch. Her fashion visibly adapts to her current lifestyle.
40
Figures 2 and 3. George early in the film and later on, when she reunites with Primo.
Her socioeconomic status depicts her as a middle-class woman. Early in the film,
George is shown to be a working student living with her grandmother apart from her
mother and brother. She then lives with her partner in the same house, which they inherit
from her grandmother. During most of their cohabitation, George single-handedly covers
the cost of her medical education as well as both of their living expenses by working
multiple jobs. This living situation overwhelms her to the point that she ends up not only
missing the National Medical Admission Test (NMAT), but also missing their water and
electricity bills. Later on she is shown to be working in an office job while still studying
for the NMAT. What she does in this job, however, is not explored further in the film.
Her social circle is shown to have expanded and she is able to finance her brother’s
constant medical needs for diabetes, while also being confident in being able to put
herself through medical school.
George’s socioeconomic position ultimately forms part of the conflict between
her and Primo. In scene 15, she articulates the consequences of all the time she spent to
sustain her life with Primo by comparing her position to friends her age who were nearly
done with medical school or those who were already “happily married.”
41
As for her language, George, which is short for Georgina, has a soft voice for
most of the film, even in scenes that test her patience. When she fetches Primo while he’s
drunk, as in scene 8 (see Figure 4), she listens and responds in a soft, albeit shaky voice,
never raising it, never retorting. The only times she displays verbal aggression are during
matters involving Primo, such as in scene 1, when they both discover the other in the
same house, during their falling-out argument in scene 8, and when George rants to her
friend Awee about Primo’s reentry into her life in scene 9. In later scenes, instead of a
primarily soft tone, her voice rings clear and firm, especially when she rejects Primo’s
advances and requests. She speaks in both Tagalog and English and uses curse words
such as “putang ina” and “shit.” Both words, however, are used in contrasting situations
and sparingly. She throws “putang ina” at Primo in scene 8 as she’s criticizing him. She
mutters “shit” to curse herself in scene 11 for still being moved by Primo. Both instances
of her use of strong language demonstrate her responses to emotions she had been
suppressing.
Figure 4. George struggling to support a drunk Primo, minutes before her admission test.
In terms of her personality and behavior, her patience as shown in scene 8 is how
George is largely characterized in the first part of the film. There is a hint of assertiveness
42
in George’s personality and behavior shown early on during the debate encounter,
followed by her self-efficiency and being family-oriented. However, she turns to
passiveness when her friend Mikko criticizes her, like in scenes 4 and 5.
Thus, she has few displays of verbal aggression, but they would sometimes come
with physical aggression, although a slight one. In scene 1 she hurls a ceramic vase in
Primo’s direction when she discovers he has come back (see Figure 5).
Figure 5. George hurling a vase at Primo in an attempt to drive him away from their
house.
Her infrequent outbursts turn into a balanced approach in her behavior that is
mainly assertive in her later dealings with Primo. She is depicted as civil but
uncompromising on the sale of the house and their bathroom schedule, as well as when
she marks the line that divides their territory inside the house. She displays slyness in
scene 12 when she uses Primo’s preoccupation with her body to her advantage, and
almost falls victim to the same tactic by Primo in scene 13 if not for the cautiousness and
level-headedness that mark her personality. Her sarcastic side and short-temperedness are
also personality aspects that tend to be induced by Primo.
George’s interpersonal relationships are primarily with Primo, her family, and
friends. Her dedication to and faith in Primo push her to selflessly let him do what he
43
deems is necessary at his own pace while letting him depend almost completely on her, as
shown in scene 6. She has an open bond with her family, whom she supports almost as
much as she supports herself, as portrayed in scene 10. Respect marks her relationship
with her friends for most of the film, with concern for George that does not overstep her
agency to decide for herself.
2. George’s mother
George’s mother and grandmother are two of the closest people around her. Her
mother’s physical appearance depicts her to be a slender fair-skinned woman with
medium-length brown hair, neatly clad and styled, as shown in figure 6. She dresses
minimally, scarcely accessorizing her appearance. Indicators of her socioeconomic status
do not imply what her occupation is, but mainly show her as a single mother of two who
somewhat relies on her daughter to help her with her son’s medical expenses. Her
language is marked by a gentle but firm voice, and she often only speaks when the topic
involves her or her children. Her personality and behavior indicate sternness when she
hears about Primo’s return, shown in scene 10. To her children, the ones she holds the
most prominent interpersonal relationships with, she is a gentle and concerned mother.
Figure 6. George’s mother coming out of the hospital with her daughter, son, and Mikko.
She’s wearing a long-sleeved shirt with blue jeans.
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3. Tita Lola
George’s grandmother, whom George calls Tita Lola, is a woman whose physical
appearance of shoulder-length straight black hair, a slim body, medium complexion, and
big dark eyes give her a youthful look. In terms of socioeconomic status, she is portrayed
as an independent woman who supports herself and provides for her granddaughter. She
is also suggested to be living with a partner in her house, which has appliances, furniture,
and several rooms, up until scene 3. In this scene, where she is introduced, her language
is a prominent aspect of her character as she is seen yelling at her partner. Her personality
and behavior manifest in her acting aggressively against the man, hitting him with the
shorts she took off of him. She has close interpersonal relationships with George and
Primo, whose bond she displays a lot of faith in by entrusting her house to them after her
death.
Figure 7. Tita Lola, wearing a pink tank top and tight blue shorts, arguing with her
partner about who gets to keep the things they bought together as he is about to leave.
4. Awee
Awee, whose physical appearance is indicated by a figure that is fit and somewhat
larger, looks to be about George’s peer (refer to figure 8). She has a fair complexion, and
45
is taller than George. She wears a corporate style similar to George’s, but in a more boho
and casual manner. The colors she wears are brighter as well, such as red and pink stripes.
Her makeup is full-face, and she wears earrings and bracelets.
The primary indicator of her socioeconomic status is her having more or less the
same job as George in an office. Aspects of this job, however, aren’t shown to give a
more specific idea of her work. Her language portrays her as having a loud, high-pitched
voice that she uses to speak in Tagalog and English, or often a mix of the two. For her
personality and behavior, she is portrayed as an outgoing woman who can be practical, as
shown when she is quick to offer a suggestion to George about her “pest” in scene 9. But
then she becomes excited once she realizes her friend is referring to her love life. She
comments on Primo’s looks in scene 14, and deems George and Mikko harsh for
spurning Primo. Awee’s foremost interpersonal relationship in the film is with George,
and she appears to be a good friend of hers for some time, as she could pick up on
George’s mood and guess the possible cause, and also knows about George’s old home
being empty for the past two years. This is all observed in scene 9 of the film. She also
shows genuine interest in her friend’s personal life, which George comfortably allows her
a peek into.
Figure 8. Awee with George. She is wearing a brown top, red pants, and a patterned
kimono, as well as jewelry and makeup.
46
B. The Super Parental Guardians: Characterization
The Super Parental Guardians, from 2016, stars Vice Ganda as Arci, a gay man
who has to look after her murdered friend Sarah’s (Matet de Leon) children together with
their uncle Paco (Coco Martin). In this film, various female characters with varying
screen times were selected by the researchers, totaling up to seven women. Aside from
Sarah, there is Emmy (Bela Padilla), Paco’s girlfriend and then ex-girlfriend; Marife
(Assunta de Rossi), Arci’s boss and the film’s antagonist; Liza (Kiray Celis), one of
Arci’s friends who lives with him; Marife’s maid (Twinkle Dy), who attends to Arci,
Paco, and the children while they stay at Marife’s house; the children’s school principal
(Shermaine Santiago); and a schoolmate’s mother (Angeline Kanapi).
1. Emmy
The first to appear, Emmy, shows up only in one scene, early on in the film. In
terms of physical appearance, Emmy is depicted to be a young woman of average height,
a fair complexion, and medium-length brown hair streaked with red, orange, and pink
(refer to figure 9). She enters the scene wearing casual clothes—a red-orange sleeveless
top over a teal bralette inserted into tight red shorts, a red fanny pack and black flip-flops.
She has shapely brows and pearl earrings on. The makeup on her face is light except for a
bold red lipstick.
Indicators of her socioeconomic status, aside from her clothes, include her
presence in and familiarity of a poor dilapidated community. She is also caught in the
middle of a gang fight. Her language reveals her to have a loud and imposing voice. She
47
is direct in her words and yells at the men with authority. Her personality and behavior
has her disrupting an ongoing gang fight and attempting to break it up by throwing
multiple bombs and yelling at the fighting men as if annoyed. More of her personality
and behavior is shown when she coldly reveals the truth behind the situation—she had
spied on one of the gangs by dating their leader, Paco. She shows no hint of remorse for
her deceit, only smugness, and no aversion to the other gang leader Jake’s physical
display of intimacy. She is first shown to have a close interpersonal relationship with
Paco, one which is implied to have been a mere facade. Her real partner is Jake, whom
she is shown to be loyal to and intimate with.
Figure 9. Emmy with Jake, the boyfriend she is spying for.
2. Marife
The film’s main antagonist is a woman named Marife Delos Santos. Marife is
depicted as having a physical appearance with a slim and fit figure, short black hair,
average height, and medium skin tone (see figure 10). She is usually clad in fashionable
designer-looking clothing, such as gold shoes and jewelry. Both light quaint makeup as
well heavier makeup with darker shades highlight her face.

48
Figure 10. Marife approaching Arci while dressed in a green Filipiniana. Her personal
assistant arranges her train while following her.
As to her socioeconomic status, she is the wife of the Police Director General, and
her first appearance in the film exhibits her position as someone in power as she enters in
a tailored Filipiniana with green sequins and a lace train, and followed around by a
personal assistant. Her privilege allows her to take a vacation in Europe just to escape
from the tropical heat. She also owns several houses.
Her language shifts between a civil but condescending tone and a pleasant and
sweet tone. She speaks in a clear and hard voice that she raises when she exchanges sharp
words in a screaming voice with the two boys, Megan and Ernie.
The film depicts Marife’s personality and behavior to be snobby and manipulative
early on in the film. In scene 3, she threatens to withdraw her support from Arci’s
migration plans when he complains about his workload. She appears to be impatient and
snappy as well, and is condescending toward other people, such as Arci’s friends, as
shown in scene 2. In scene 3, after both meeting Arci’s friends and talking to Arci about
his workload, she turns to other guests in a different, accommodating tone, gesturing
pleasantly and exhibiting a two-faced personality. Later in the film, in scene 20, her fully
49
blown temper is seen in her behavior with the children she kidnaps. She reveals no mercy,
and ruthlessly tells the children that she is about to kill them, along with other victims.
The film does not depict any particularly close relationships with others besides
Arci. As his employer, she is demanding and does not seem to hold him in high regard.
As she is also his backer for his migration plans, she uses this to her advantage and keeps
Arci at her bidding.
3. Liza
Liza is a member of the protagonist’s inner circle of friends. Her physical
appearance shows her to be a small woman with fair complexion, frizzy black hair with
bangs, small dark eyes, and a wide nose. Her figure is neither thin nor fat, and many of
her outfits are in the casual girly fashion (refer to figure 11). The obvious exception from
this style would be her outfit during Sarah’s funeral in scene 10, which is a Gothic getup
involving black lipstick and gloves. She wears light makeup at least twice in the film,
including in scene 2. A reference to her attractiveness is made at least once, when a maid
in Marife’s house calls Liza and her friends ugly in scene 11.
Figure 11. Liza helping Arci out at Marife’s house. She’s wearing a white tank top, a
patterned purple skirt, and sandals.
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In terms of her socioeconomic status, the film indicates that she is poor, but has a
stable yet limited social circle. Her livelihood is not hinted at, and she is portrayed as
often tagging along with her friends. Furthermore, she is also shown to be living together
with them in a small house, where they share meager meals like of sardines, rice, and
some soup, as shown in scene 6.
For her language, she speaks in a high-pitched voice and not very often in most of
her scenes. She communicates more with her nonverbal language, such as clapping,
squealing, screaming, and gesturing in a thumbs up.
Her personality and behavior are characterized with easygoingness. When Marife
makes a mistake with her name in scene 2, Liza eagerly corrects her, unfazed by her
haughtiness. Apart from partaking in her friends’ antics, she also displays a significant
level of interest in men, and good-looking men in particular, to whom she reacts with
enthusiasm. This regard for good looks is held along with a disregard for what she deems
to be unattractive, shown in scene 11, where she screams upon seeing Marife’s maid and
calls her a dog.
Characterization of her interpersonal relationship with her friends, aside from
living with them and often spending time with them, includes contributing to their chores
at home, indicated in scene 12; listening to Arci attentively like in scene 6; and fighting
off Marife’s men in scene 21.
4. Sarah
Sarah is a woman whose physical appearance is marked with average height,
brown hair, fair skin, and a slightly matronly figure (refer to figure 12). She has thin and
51
arched brows, and a Roman nose. Her fashion is marked sometimes with standard
choices of jeans, pants, and a T-shirt, and other times with more creative combinations,
such as a pink tank top under a striped yellow cardigan. The only instance her
attractiveness is referred to is when she compliments her looks in scene 5 while looking
in the mirror, saying, “Ang ganda mo” after using a whitening soap. She wears minimal
makeup, and often only brings a bag with her.
Her socioeconomic status depicts her as a single mother of two living with her
children and brother in a decrepit community where crime is becoming all too common.
In scene 8, she is described by her son as addicted to the street food balut and a heavy
coffee drinker, which indicate her lifestyle. Being in her poor environment leads her to
witness a murder, and becoming the victim of one.
Figure 12. Sarah in a yellow cardigan, a pink top, jean shorts, red sandals, and hoop
earrings.
She is direct and clear in her language when communicating with other characters.
She displays some verbal aggression, but mostly with people close to her. As for her
personality and behavior, she is described by her son as a paranoid person. She worries
greatly for the safety of her family, and she also has a tendency to be physically
52
aggressive to an extent, but again, mostly with people she has close relationships with.
Her aggression is shown to manifest out of concern or playfully. In scene 4, though she is
stern and sharp with Paco, she becomes giddy and animated once she sees her sons
dancing. Her anxiety makes her frantic in front of her brother in scene 8, but she makes
sure not to let the children see. She also keeps her composure while Arci and his friends
panic about her stab wound in scene 9, calling 911 herself.
Her interpersonal relationships with Arci, Paco, and her kids are most prominent.
She and Paco are co-dependent, as she relies on him to protect her and the children, and
he on her for his wellbeing. Even as she’s dying, her children’s safety remains her top
priority, as she makes Arci promise to take care of them. Arci makes sure to honor his
promise to her, indicating a deep friendship.
5. The maid
Her physical appearance depicts the maid working for Marife as a petite stout
woman who has long hair dyed a dark blonde and a tan complexion. She mostly wears a
floral pink and white maid uniform, which falls below her knees and comes with a
matching hat. Liza makes a comment about her attractiveness by calling her a dog. The
maid is shown as well-groomed, with crystal earrings, makeup, and long French-tipped
nails. Aside from her occupation as a maid, the only other indicator of her socioeconomic
status is her engagement in skincare (i.e. wearing a facial mask), as observed in scene 19.
Characterization in terms of language portrays her as having a slightly scratchy
voice and the usage of modern slang (i.e. swardspeak). She keeps quiet in many of her
scenes. Her personality and behavior is depicted as rude and condescending as in scene
53
11, but also easily distracted as when Arci and the others flatter her by holding an
impromptu photoshoot for her. She also lightly flirts with Paco in scene 14 as she
unhesitatingly grants his requests to cook all the food he wants and gives him a massage
throughout breakfast. In most of her scenes, such as scenes 14 and 15, she attends to Arci
and his guests at their behest.
Figure 13. The maid in her uniform being strung along by Arci and his friends.
The last two female characters, with the least screen time among the selected
seven, are Megan and Ernie’s principal and their schoolmate’s mother.
6. School principal
The principal is a stern-looking woman whose physical appearance is marked by
an average height and a pear-shaped figure with a light complexion and a black bob just
under her ears (refer to figure 14). Her thin arched brows are drawn on, her eyes big, her
lips thin and downturned, and she’s wearing a light fuchsia collared shirt, a gold chain
watch, square-ish eyeglasses, and small silver hoop earrings. What mainly indicates her
socioeconomic status is her job. That she calls over Arci in scene 17 to discuss the
children’s recent performances in school indicates a level of dedication to this job,

54
especially given her rank in the school. This rank also marks her portrayal as a high-
ranking professional.
As to her language, she talks to Arci in a soft, but steady and clear voice. She
broaches the topic in a straightforward and a no-fuss approach, appearing unfazed by
Arci’s attempt at humor. Her personality and behavior are indicated as she remains
serious and calm throughout her consultation with him about the children, whose
situation she appears to sympathize with. No close interpersonal relationships are
presented in the film for her characterization.
Figure 14. Megan and Ernie’s school principal wearing a collared magenta shirt, black
dress pants, and eyeglasses.
7. Schoolmate’s mother
The schoolmate’s mother, physical appearance-wise, is a small and wiry middle-
aged woman with medium-length brown locks and a light complexion. Her hair is held
back from her face by a blue bandana and she wears little to no makeup, a bright orange
T-shirt, beige leggings, and a red tote bag. A tattoo of a flower on her neck and the
wrinkles on her face are also prominent. Her socioeconomic status indicates her as a
mother and wife involved in her child’s school affairs. In terms of language, she speaks
55
sharply in a raised, singsong voice. She laughs at Arci, Megan, and Ernie in a shrill,
sarcastic voice that they should win against her family in the school events.
Her personality and behavior are distinct in how she quickly and aggressively
goes to her son’s defense, immediately accusing Arci of fighting with a child. This
personality and behavior are also marked with a sternness she shows to her son when she
questions him, out of possible impending embarrassment if he had started the fight.
Despite this, she is shown to tolerate his behavior of mocking Megan when she sees the
latter and concedes to her son’s name-calling. She further bickers pettily with Arci,
asking if he wants to flirt with her husband. Her interpersonal relationship with her son
depicts her as a mother determined to protect and defend her child no matter what, and
her son relies on her for this as well.
Figure 15. Megan and Ernie’s schoolmate and his mother, whose hair is held back by a
bandana and has a neck tattoo.
C. Gandarrapiddo: Characterization
The last film, Gandarrapiddo, is the story of a squad of superheroes led by
Gandarra (Vice Ganda), who is Emy in his normal life. After an important battle, Emy is
traumatized with amnesia, and the others help him remember so as to reveal their powers
as Emy’s brother Chino (Daniel Padilla) becomes of age. Meanwhile Cassey (Pia
56
Wurtzbach), Emy’s long-lost sister, emerges as a supervillain vowing to avenge her lover
who was killed by Gandarra.
The film was determined to have three female characters qualified for this study’s
analysis, namely: Cassey, also called Cassandra and Kweenie, who is the film’s main
antagonist; Peppa (Karla Estrada), whose superhero alias is Barna; and Velle (Loisa
Andalio), Chino’s friend.
1. Cassey/Cassandra/Kweenie
The first is the character of Cassey, who also goes by Cassandra as she gets older
and her superhero alias Kweenie. Cassey’s physical appearance is the subject of a few
changes in the film, and starts with her younger self, who is an awkward, frail-looking
young woman. Cassey has frizzy hair, thick eyebrows, skinny legs, and a medium skin
tone (see figure 16). On her face are an unmistakably large mole and big square
eyeglasses. Her fashion sense is depicted as outrageously quirky, as she dons on pieces
like a colorful striped sweater and flashy sandals with circular puffs. Attractiveness-wise,
she regards herself to be ugly, which Emy agrees with when he says they are both ugly.
Her language is marked by a soft voice and short simple words. Her personality
and behavior show her as meek, stubborn, and naïve. Her interpersonal relationships are
characterized by her being highly emotionally dependent on her brother. When Emy
leaves her in scene 10, she turns to another person to depend on, and holds a deep grudge
against her brother for his abandonment.

57
Figure 16. Cassey wears an unconventional wardrobe and has frizzy black hair and a
huge mole on her cheek. She’s anxiously watching Renz and her brother in a battle.
Her grudge against Emy only grows as she transforms herself into Cassandra
Stockings. Cassey as Cassandra (refer to figure 17) has a physical appearance with
elbow-length straight dark brown hair that frames a prominent face with high cheekbones,
a defined nose, jawline, well-contoured cheeks, and shapely brows. She is slim, busty,
and of above average height. Her wardrobe is a set of fashionable getups that never fail to
highlight her figure, such as a sleeveless, low-collar black dress. Throughout the film (e.g.
scenes 4 and 11) her attractiveness is alluded to as she is described by many characters as
beautiful, including herself.
She is a world-famous model, indicative of her socioeconomic status. She appears
to have a preference for upscale property, shown in scene 11 when she scoffs upon seeing
Emy’s house. Later on, however, she comes to live with Emy in the same house. She uses
English and Tagalog in her language, which is also characterized by a clear and level
voice and a slight verbal aggression.
Her personality and behavior are shown to have changed along with her
appearance. In scene 4, it is observed that she tends to brag about her beauty and use it to
58
justify a sense of superiority to people she deems unattractive. She holds other people’s
“ugliness” against them, and easily dismisses them.
Figure 17. Cassey transformed into famous model Cassandra Stockings.
In scene 11, Cassandra shows her cunning when she uses Chino to get closer to
Emy (i.e. pretending to be hurt) and threatens him to follow her orders. Her physical and
verbal aggression also manifest in her confrontation with Emy about their past, where
they exchange heated and harsh words. Cassandra insults Emy and they slap each other
repeatedly. When the two siblings reconcile later, however, her arrogance and malice
appear to have disappeared from her personality and behavior.
Figure 18. Cassandra, who reveals herself to Emy, confronts him about leaving her and
chokes him in frustration after repeatedly slapping him.
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As Kweenie, she is clad in the most extravagant of her getups. Her signature
costume is mainly a gold strapless bra-like piece with intricate carvings, and a gold form-
fitting bottom piece equally elaborate (refer to figure 19). Her deep red lips pop amidst all
the gold. Her lair indicates more of her socioeconomic status, as she sits on an elaborate
golden throne with guards standing watch.
Figure 19. Kweenie talking to Salamean. Her signature gold costume is an elaborate two-
piece ensemble that emphasizes her figure.
Kweenie’s language is somewhat more authoritative, both in her voice and words,
as well as her body language. She speaks to her magic mirror and henchmen in a loud,
imposing tone. Her behavior and personality are also more pronounced in aggressiveness.
She shows a short and violent temper, smugness, and impatience toward them. Kweenie
blames Gandarra for her turning evil, which shows her inability or reluctance for self-
accountability. She becomes able to hold herself accountable for her mistakes later on,
such as when she fights alongside Gandarra. In action, she is swift and ruthless. As for
her interpersonal relationships, Gandarra and Salamean are connected to her most closely.
She treats Salamean as a tool for her victory, while Salamean is actually using her to
revive a past villain. Her motivation for evil is deeply motivated by her ill will against
Gandarra.
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2. Peppa/Barna
The second of the female characters in Gandarrapiddo is Peppa, whose superhero
name is Barna. Her physical appearance depicts her as a matronly woman with fair skin
and average height. She has tattoos on her arm and her wardrobe consists of long flowy
purple dresses in different prints and patterns (see figure 20). As Barna, she dons a full-
body tight suit in her signature purple, a gold helmet with antennae, purple shoes, and
butterfly wings.
Figure 20. Peppa smiling at Emy upon recognizing her as Barna. He had just called her
‘Balyena.’
As to her socioeconomic status, her occupation is not specified, but she is
characterized as one of the superheroes. She often visits her friends, and an indicator of
her lifestyle is her love of food and eating. For her language, verbal aggressiveness is a
highlighted aspect, manifesting several times in a raised voice and strong words, usually
directed at her friends. This goes hand in hand with her personality and behavior, denoted
by her physical aggression, dramatics, and decisiveness. Her aggressiveness is induced
particularly when others refer to her size or make jokes about it. This violence is seen
when she hits one friend on the head, pulls the hair of another, and spits on a third in
scene 17, and in other similar instances. On the other hand, she also shows the opposite
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attitude when she is kind and sensitive to Chino, to whom she offers reassurance, and
gentle to little Juvy.
Her interpersonal relationships with her superhero friends portray her as the
foremost person in their squad to initiate and facilitate decision-making, like in scene 3.
Although the others tease her and she responds with playful violence, they listen to her
nonetheless and she appears to be confident in her role within their group.
3. Velle
Finally, the third female character, Velle, has a physical appearance that portrays
her as a petite young woman with fair skin, small face, thin lips, and dark brown hair. Her
fashion is simple and casual, with a floral white shirt and blue jeans. An indicator of her
socioeconomic status is her ability to be easily within Chino’s vicinity, which suggests
her residence in the same dilapidated neighborhood as him. An ID around her neck
implies that she is preoccupied with studies or a job, or both.
In terms of language, Velle has few lines, but when she talks it is usually in a
meek voice, with some enthusiasm injected once or twice. In scene 7, she speaks out
regarding matters of love. Her personality and behavior make her appear to be demure,
attentive, and gentle. She also gives Chino her attention in ways that imply her regard for
Chino may run deeper and romantically. This observation can be derived from her
behavior—the soft looks she gives him, positioning herself in close contact to him, and
going out of her way to help him. That she actually sees him romantically is never
confirmed in the film, however. Her interpersonal relationship with Chino depicts her as
a supportive friend who is always ready to help him.

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Figure 21. Velle giving a small smile as she looks at Chino intently while he rants.
Overall, many of the female characters were found to be attractive or having
above average looks, and many also often displayed emotional orientedness and some
form of aggressiveness in their personality and behavior. Most of these characteristics
manage to maintain traits and capabilities derived from existing stereotypes (Murphy,
2015). The majority of the women were also found to be either successful, affluent,
and/or famous, or poor. The middle ground of financially struggling outside basic needs,
or being in the middle class was found to also be part of some women’s portrayal. Many
held close familial relationships through which they identified. According to top-earning
mainstream Filipino films The Hows of Us, The Super Parental Guardians, and
Gandarrapiddo, the above characteristics are in some ways how many women look like,
how they act, and how they live.
II. Prominence, Treatment, and Tone
The discussion about the women characters’ prominence, treatment, and tone is
part of the descriptive intent of this study. After identifying the salient attributes, this
section further elaborates how these traits are portrayed in the selected films.
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A. Prominence
Prominence refers to the emphasis of the film which is consist of five separate
sub-concepts namely genre, focus, topic, type of character, and identification type,
whether the characters are generic or named.
Out of the three samples, there are two action-comedy films (Gandarrapiddo: The
Revenger Squad and The Super Parental Guardians) and one romantic drama (The Hows
of Us). All of these focus on family ties, but the third film is primarily a love story.
Gandarrapiddo: The Revenger Squad’s topic is about people who find one
another on opposite sides of a conflict yet in the end, they lived as one family by bond.
The Super Parental Guardians tells the story of children being adopted by their uncle and
gay godfather after their mother is murdered, thus having them be titled as the kids’
guardians. Lastly, The Hows of Us features a long-time couple who have to answer and
fix the "hows" of their relationship caused by conflicting career paths, financial instability,
and expected responsibility to their respective families.
For the type of character, each film has one woman lead and the remaining eleven
women characters play minor roles. Meanwhile, identification is prominent since more
than half of these women are named and there are only five women characters who are
considered generic due to unspecified names. These characters are listed in table 6.
It is worth noting that out of the five generic female characters, the researchers
discovered that three of them were indeed unnamed in the film’s narrative, but were
assigned names in the roll of credits, implying that they must have been given names in
the film’s screenplays. The three generic, but credits-named characters are namely: the
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housemaid, named Cindylyn; George’s mother, named Baby Silva; and Tita Lola, named
Helen Silva.
B. Treatment
Treatment refers to the extent to which the film portrays the issue and the women
characters, which is classified into positive, if there are generally more favorable
statements, portrayal, and/or implications for the issue; negative, if there is generally
more criticism for the issue or character; neutral, if there is merely a portrayal of events
that give neither positive nor negative implications about the issue or character; simple
and one-side treatment, if only one aspect of the issue/or character is presented; and
elaborate and multifaceted if at least one other view, opinion or perspective regarding the
issue/character is also presented.
Analysis of the treatment variable shows that in the top three highest-grossing
Philippine films, three women characters are portrayed positively: Barna/Peppa from
Gandarrapiddo, depicted as stronger than three men combined and actively protests
against the insults for her body size instead of silently accepting them; George’s Tita Lola
from The Hows of Us as a youthful grandmother who doesn’t seek validation from men;
and Sarah from The Super Parental Guardians who has an assertive personality.
Most of the women were discovered to have negative portrayals and majority of
them are supporting characters from The Super Parental Guardians: Emmy who agrees
to do illicit jobs for her boyfriend; Liza who is called “ugly” for being a short woman
with a wide nose and frizzy hair; the rude and flirtatious housemaid who is easily fooled
by fake compliments; the unnamed schoolmate’s mother, a homophobic who tolerates her
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bully son; and Marife, a manipulative and ruthless boss who wishes to kill innocent
people including children even if the motive is vaguely explained in the film.
Other characters who are negatively portrayed are Pia Wurtzbach as
Cassandra/Cassey/Kweenie, Karla Estrada as Peppa/Barna, and Kathryn Bernardo as
George. Although Wurtzbach is positively portrayed as a kind antagonist-turned-
protagonist in Gandarrapiddo, and Bernardo as a blind-lover-turned-strong-woman in
The Hows of Us, both of them are emotionally weak and subjected to the objectifying
gaze of men. Karla Estrada as Barna has a positive portrayal in terms of physical strength
and a feisty personality but she is also portrayed negatively as being the butt of a joke
because of her plus-sized figure.
Four women characters fall under neutral category since their lines and screen
time were insufficient to describe the treatment as negative or positive, namely: Velle,
Awee, George’s mother, and the school principal.
Furthermore, most of these characters have simple and one-dimensional roles like
Velle who is portrayed as a mere friend; Marife as a wife; Emmy as a girlfriend; the maid
as a helper; and the school principal as a counselor. They are underdeveloped personae
and their narratives lack backstory.
George and Cassey/Cassandra/Kweenie have elaborate and multifaceted treatment
because they have apparent character development. Kweenie shifted from a revengeful
villain to a sympathetic person and George used her failed romance as an inspiration to
become a better version of herself. They are presented as empowered career women,
sister, daughter, and friend while acting as female counterparts to male characters.
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C. Tone
Tone describes the manner in which the film presents the elements within it.
Straightforward tone if there is upfront portrayal of the events; interpretative tone if it
provides in-depth analysis with backgrounders, and even predictions, that are data-based;
an emotional or dramatic tone aims to evoke melodramatic feelings in the viewer; erotic
tone has strong sexual undertones; light or whimsical tone if the issue is provided a
comical or relaxed portrayal; and satirical and sarcastic tone if it tends to evoke a critical
impression on the viewer, including films that are slyly humorous.
The findings indicate that minor characters are mainly straightforward and light in
nature since their appearances are often in passing, adding humor and filling short
sequences in much bigger events in the story.
For the three main characters, majority have interpretative and emotional tones
like George who conceals and retreats into herself when she’s clearly not fine, avoiding a
dialogue she fears might end up making her feel worse. Tendencies toward denial,
withdrawal, and self-isolation are common in her reaction to deeply felt emotional pain.
There are aspects surrounding their character, interactions, and scenes that need a
lot more defining like Marife’s antagonistic motives which were not made clear. The
manner in which she deals with consequential things such as murder, is downplayed like
spinning the wheel to choose who to kill next, and Kweenie’s evil motives are triggered
only by revenge and constant search for validation.
Marife, together with Peppa and Sarah, is also categorized as having a satirical or
sarcastic portrayal because of the elements that are incorporated in scenes in order to add
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comedic value, such as the parody-like presentation of the zombies in the train (similar to
the Korean film Train to Busan) and when a 911 call was delayed to order pizza instead.
Table 6 below summarizes the three films’ portrayal of the fourteen female
characters in terms of the variables prominence, treatment, and tone, as discussed above.
Table 6. Summary of each female character’s portrayal as analyzed through prominence,

treatment, and tone.
PROMINENCE
TONE
Film Genre Focus Topic Character Type of Identification TREATMENT
character
Gandarrapido: action, social family Cassandra/ main named - negative to -straightforward

The Revenger comedy, Cassey/ character positive - emotional
Squad superhero Kweenie - elaborate and
multifaceted
Peppa/ minor named - positive and -straightforward

Barna character negative - satirical/
- simple and one- sarcastic
dimensional
Velle minor named - neutral - interpretative

character - simple and one-
dimensional
The Super action, social family Marife main named - negative - interpretative
Parental comedy character - simple and one- - satirical/
Guardians dimensional sarcastic
Emmy minor named - negative -straightforward

character - simple and one-
dimensional
Liza minor named - negative -straightforward

character - simple and one- - light
dimensional
Sarah minor named - positive - interpretative

character - simple and one- - satirical/
dimensional sarcastic
Marife’s minor generic/ - negative -straightforward

maid character unnamed - simple and one- - light
dimensional
Edna minor named - neutral -straightforward

(principal) character - simple and one- - light
dimensional
The minor generic/ - negative -straightforward

student’s character unnamed - simple and one- - light
mother dimensional
The Hows romantic social romance George main named - negative to - interpretative
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of Us drama family character positive - emotional

- elaborate and
multifaceted
George’s minor generic/ - neutral -straightforward

mother character unnamed - simple and - emotional
one-dimensional
George’s minor generic/ - positive -straightforward

Tita Lola character unnamed - simple and one- - light
dimensional
Awee minor named - neutral -straightforward

character - simple - light
and one-
dimensional
III. Categories
This section appropriately categorizes the characters by assessing under which
classification they fall under, based on the two levels of analysis discussed initially.
There are eight (8) categories that have been established in the existing model while
fourteen (14) characters have shown deviation from the known stereotypes, which has
resulted in the construction of six (6) new categories for those classified as aberrant.
A. The Hows of Us
In The Hows of Us, George is portrayed as the career woman with Wasted
Potential. It is clear that she is overly exhausted with her multiple jobs, she also has no
more time to review for her National Medical Assessment Test—which she ultimately
ends up abandoning for Primo, even if it means abandoning her dream career. These
scenarios are both demonstrated in Figures 22 and 23.

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Figure 22. George glancing over her shoulder as Mikko asks if she even has time to study
while working.
Figure 23. George on her way to her exam but she immediately tells the jeepney to stop
so she can go back to Primo, abandoning her exam to take care of him.
The second female character in the film is Awee, who is categorized as a Career
Woman. She is well-versed in the field of real estate, and often only seen with George in
a professional setting. This is demonstrated in Figure 24. She does not have any known
love interest and even when she is interacting with friends outside of work, her clothes
are prim, proper, and, professional, as seen in Figure 25.
Figure 24. Awee in the office with George.

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Figure 25. Awee visiting George, wearing a loose pink, long-sleeved, blouse and denim
jeans. Her outfit is casual, proper, and, decently covers her.
However, a new category was also created for Awee, since she deviates from the
stereotypical Career Woman, whose only focus is her career. Instead, though Awee
embodies all the necessary aspects of a career woman, through her intelligence,
independence, and passion for her job, at the same time she shows an affinity for
romance. This side of Awee constantly talks about the possibility of meeting Primo in a
giddy fashion. Furthermore, she comments on Primo’s looks in a positive manner. This is
also shown in Figure 26 and 27. She falls under the category of the Cheerleader, since
she is a character that shows support and interest in George’s romantic endeavors. She is
shown to be charmed by the idea of good-looking men and seeing her friends in happy
relationships.
Figure 26. Awee enthusiastically asking George to introduce her to Primo.

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Figure 27. Awee hitting George in a giddy manner while complimenting Primo on his
good looks.
The third character in the film is George’s mother. Her character is categorized as
the Madonna. She is the caring and attentive mother of George and Yohan. She stays at
home as George lives with her Tita Lola and while studying. She takes care of Yohan,
while worrying about George as well; she tells George not to worry about having Yohan
checked by the doctor, so as not to put the pressure on her child to look for money for the
medical needs of her younger brother. Refer to figures 28 and 29 below.
Figures 28 and 29. George’s mother tending to Yohan while in a video chat with George.
She tells her daughter not to worry about the money needed for Yohan’s medical check-
up but George disagrees.
The final character in the film is George’s Tita Lola, who does deviates from the
categories in the existing model which is why she was categorized as Aberrant. A
separate category was also constructed for her character, which is appropriately named
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after her character—the Tita Lola—since the character name shows the distinct
difference between the titles of “Tita,” an honorific commonly used to refer to an aunt or
middle-aged women, whereas “Lola” is a title that refers to much older women, often
grandparents. Very much alike her nickname, Tita Lola does not act the way people her
age are expected to act. She doesn’t hesitate to kick her partner out of her house when
they have a spat, as seen in Figure 30. She doesn’t look to her partner or her
grandchildren for support, instead, the opposite applies to her when she makes sure to put
a roof on George’s head and even goes as far as to ensure her granddaughter has a house
to live in after her passing. She is not as stern as elders are expected to be, as she is very
laid back when dealing with her family and their predicaments.
Figure 30. Tita Lola hitting her partner with a piece of clothing and screaming at him to
leave.
B. The Super Parental Guardians
The second film, The Super Parental Guardians (2016), has the character of
Emmy, who is categorized as Aberrant and classified under a new category that is the
“All for Love” Woman since her devotion to her real lover, Jake, is what motivates her to
deceive Paco and pretend that she loved him just so she could spy on him for Jake.
Unlike the Damsel in Distress, the “All for Love” Woman category does not rely on her
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love interest, nor does she wait for him to rescue her from danger—instead, she is willing
to take initiative and do anything, even illegal and extreme acts, for her partner. The
confrontation of Emmy and Paco is shown in Figure 31.
Figure 31. Emmy pointing her weapon at Paco and admitting that she only dated him so
she could spy on him for Jake, her real lover.
The second character in this film is Marife, Arci’s boss and the mastermind of the
serial murders that have been happening around Sarah’s neighborhood. She is categorized
as Aberrant, which has led to the construction of a new category: the Madam, since her
profile is that of a financially stable and successful woman with a stern and cruel
disposition. This is demonstrated in Figure 32 where she talks about her trip to Europe
and funding Arci’s travel abroad.
Figure 32. Marife threatening not to help Arnie with his migration to Korea after he
complains about his workload.
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She, like most women who fall into her category, projects the image of a strong,
independent, and competent woman who is considered evil. The Madam, essentially, is a
powerful woman vilified—much like Marife who is shown to have the financial
capability, intelligence and cunning to pull off multiple murders.
Figure 33. Marife kidnapping the children and keeping them hostage in a train, where she
orders her henchmen to kill them.
The third character is Liza, who is also categorized as Aberrant and reclassified as
the Butt of the Joke. There is a stereotypical physical aspect that ties together Liza with
the other characters that fall into this category, that emphasizes features that are not
considered conventionally attractive. As shown in Figure 34, Liza’s height is below
average, her hair is thick and has a lot of volume, her eyes small and her nose flat.
Figure 34. Close-up of Liza as she introduces herself to Marife.

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The other characters, to be mentioned in the succeeding paragraphs, also have
such features that distinctly show off a conventional unattractive side to them. Liza is
also treated like a sidekick or a tag-along because her interactions consist mainly of her
following her friends around and following their lead. Aside from that, she also endures
physical assault, such as Arci slapping her, and she does so without question.
Figure 35. Arci slapping Liza.
The fourth character in this film is another Madonna; Sarah, the caring mother of
Ernie and Megan, has devoted her life to her children and their safety. She is repeatedly
heard discussing matters of their safety to Paco, often trying to persuade him to leave
their neighborhood for their safety. Aside from that, she does not care for Paco judging
Megan and his way of expressing himself (dancing or using women’s accessories), she
continues to cheer on her children and show them her support (see Figure 36).
Figure 36. Paco looking at Megan in distaste as he dances, while his sister Sarah dances
along while gushing to Paco about how cute her children are.
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Even her last breath is spent asking her friend to take care of her children, as
shown in Figure 37, which is why the title of Madonna suits her because of her worrying
and caring nature.
Figure 37. As Sarah slowly passes away in Arci’s arms, she begs him to take care of her
children.
The fifth character, Marife’s maid, is similar to Liza and is categorized as the Butt
of the Joke. She is also considered unattractive, as Liza screams in surprise and calls the
maid a dog upon first seeing her (refer to Figure 38).
Figure 38. Liza yelling in surprise as Marife’s maid comes into the scene.
She is also strung along by Paco, who is well aware that the maid is enamored by
him and willing to serve him hand and foot for as long as he acts sweetly towards her;
this is seen in Figure 39. The maid’s role holds has no consequential contribution
whatsoever. She only exists to take orders and be made fun of by Arci and his friends.
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Figure 39. Marife’s maid continuing to serve Paco juice and massage him.
Often, she is tricked into doing things, aside from serving Paco, like when she
climbed up a ladder to get her picture taken by Arci—even though it was likely that he
was only trying to distract her from reprimanding him about redesigning Marife’s house,
which is shown in Figure 40.
Figure 40. Marife’s maid being tricked into climbing the tall ladder for a picture.
The sixth character is Ernie and Megan’s principal, who was found to be Aberrant.
Although her character could possibly fall under Career Woman since she qualifies as a
woman who could be independent and focused solely on her career, the principal’ scenes
are not long enough in order for us to have a proper assessment of the kind of character
she is and how her characterization represented women. She falls under Aberrant instead
since there is not enough data to substantiate any claim as to the other categories.
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The final character in this movie is the student’s mother, who is also categorized
as Aberrant and has her own classification of the Mama Bungangera who gets into fights
that involve their children because of how overprotective they get. The student’s mother
embodies this certain classification that shows similarities to the Madonna, in that both
categories have strong familial ties and show devotion to their children, yet the Mama
Bungangera involves herself in trivial events that rise, for so long as they involve her
family. The tender, caring and soft-spoken demeanor of the Madonna is very different
from the Mama Bungangera as demonstrated by the student’s mother when she rushes to
her son’s side and starts raising her voice towards Arci, showing aggressiveness not only
in her speech but actions as well (Figure 41).
Figure 41. Arci and the student’s mom getting into an argument.
C. Gandarrapiddo
Lastly, the 2017 film Gandarrapiddo: The Revenger Squad, has one character
with multiple personalities and identities. She goes by the names Cassey, Cassandra and
Kweenie. Her character has two categories based on the different identities that she
portrays. Cassey and Cassandra are both categorized Damsels in Distress since their
characters both show reliance on male figures such as Madman and Chino, in times of
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affliction. Both are also acknowledged to have some level of attractiveness, since Cassey
is a character who enters beauty contests while Cassandra is a character who works as a
model and is referred to by a lot of people in the movie as “beautiful.” At the same time,
the identities of Cassandra and Kweenie were found to fall under the categorization of
Career Women since their headstrong characters show determination to reach their goals.
Scenes that support these statements are shown below. Figure 42 shows Cassandra
rushing to finish her interview because she wants to get started on doing her job, while
Figure 43 shows Kweenie beating up her henchmen as she is enraged by the idea of
Rapiddo foiling her evil plans.
Figure 42. Cassandra cutting off the interview to leave and start working.
Figure 43. Cassandra throwing a fit of rage, beating up her henchmen, because she is so
mad about Rapiddo being a trending superhero.
Both Cassandra and Kweenie are also portrayed as Madams, strong and
successful female characters who are depicted as villainous and evil. As seen in Figure 42,
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she asks to cut off the interview to go on and start working. However, Cassandra does not
immediately leave. Instead, she engages in a petty argument with Emy. She is portrayed
as condescending, as she tells Emy that she doesn’t want to interact with him because he
is ugly and she is beautiful, and they are in entirely different spectrums of society. She
demonstrates mean behavior, prioritizing this over her aforementioned job.
The second character of this film is Peppa, who also has the alias Barna. Peppa
was categorized as Aberrant and reclassified as a character who is the Butt of the Joke.
She is constantly being made fun of for her physical appearance, particularly her weight.
However, unlike previous characters in the previous films like Liza and Marife’s maid,
Peppa does not take the mocking lightly and she often retaliates violently to those who
mocks her. This is seen in Figure 44.
Figure 44. Peppa trying to hit Emy with a wooden stick, for calling her a whale.
The final character in this film is Velle, who is categorized as a Maria Clara. She
is soft-spoken and adheres to the “beautiful, virginal and shy” aspects of a Maria Clara
character (Roces, 2010). Velle’s character appears to have feelings for Chino, as seen in
her body language and the way she looks at him in Figure 45. However, she conceals her
feelings by treating him as a friend and calling him “Bro,” as seen in Figure 46.
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Figures 45 and 46. Velle looking at Chino intently and referring to him as her “bro.”
Table 3, first shown in chapter 4, lists and describes the categories established in
the model derived from related studies.
Table 3. Categorization of female characters as most popularly depicted in media

based on the findings of Gallagher (1980), Murphy (2015), Roso (2008), Roces
(2010) and Zheng (2011).
Category Description
The Madonna Caring and attentive, the Madonna is a full-time wife and/or mother. She takes care of the house
while faithfully waiting for her husband and/or kids to come home. Virtuous and often the voice
of reason during conflicts, her marriage and domestic life define her character.
The Maria Clara The Maria Clara is a beautiful, virginal, upper-class woman, who is a shy and obedient daughter
expected to behave like a saint. She is devoted to good charitable works, which may manifest in
the extreme in martyr-like acts.
The Career The Career Woman is intelligent, good-looking, and independent, and her job is the love of her
Woman life. She works hard and though she may have other commitments from time to time, she mostly
prioritizes the fulfilment of her dreams or passion. Likely to be headstrong and oriented to urban
life.
The Career The second Career Woman is depicted as what the career woman would be if she focused on
Woman 2: The romance just as much as her work, if not more. As a result, she is often seen as an emotional
Wasted Potential character whose development could have been lent more dimensionality if it didn’t rely heavily
on her relationships to her father, brother, friend, or lover.
The Leader Competent, smart, and often talented in multiple aspects, the Leader shows superior skill in
guiding entire groups, from battle squads to corporations, to success. She is seen as making
rational and independent decisions and is often respected and admired, if not feared.
The Damsel in The Damsel in Distress is a pretty but seemingly helpless lady whose fate in the story depends on
Distress a male hand reaching out—be it in the form of marriage, prostitution, or something similar. Her
life can be tumultuous, maybe even tragic, and most likely less than ideal.
The Scarlet Often depicted as gorgeous and seductive, the Scarlet Woman easily charms the men around her
Woman and basks in their attention. Her character’s purpose revolves around having casual sexual
relationships with these men, many of whom see her as nothing but a sex object.
Aberrant This female character fits none of the above categories.

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Table 7 below shows the initial categories that the characters fall under, only
classifying them according to the categories shown and introduced in Table 3 and
giving no specific categories to characters that have deviated and have been tagged
as Aberrant.
Table 7. The characters’ portrayal by categories introduced in Table 3.
Film Female character Representation
George Wasted potential
Awee Career woman

The Hows of Us (2018)
George’s mom Madonna
Tita Lola Aberrant
Emmy Aberrant
Marife Aberrant
The Super Parental Guardians (2016)
Liza Aberrant
Sarah Madonna
Marife’s maid Aberrant
Ernie and Megan’s principal Aberrant
A student’s mother Aberrant
Gandarrapiddo: The Revenger Squad (2017) Cassandra/Cassey/Kweenie Career woman, damsel in distress
Peppa/Barna Aberrant
Velle Maria Clara
Table 8 summarizes the discussion by listing down and describing new
categories constructed in order to classify the characters with deviations. These new
categories were devised upon recognition of a pattern with other similarly portrayed
women in media, especially Philippine TV and film.

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Table 8. New categories constructed to classify characters that have deviated from
the existing model and belonging to a pattern of similar portrayals from preceding
texts.
Representation Description Female Film

character
The Cheerleader Outgoing, city-oriented, and has above average looks, the Awee The Hows of Us
Cheerleader holds great interest in romance and boys. May (2018)
make remarks about men’s physical appearance, and not
averse to being openly boisterous.
The Tita Lola Older relative, most likely a grandparent, who is considered Tita Lola The Hows of Us
laid back, cool and is depicted as feisty and independent. (2018)
Likely to exhibit a form of aggression, verbal and/or physical.
Uplifts other characters close to them. Other recognizably
similar characters in media: Frances from BFF: Best Friends
Forever (2009), or Mrs. George from Mean Girls (2004).
The “All for The All for Love Woman has no particular age, but often Emmy The Super
Love” Woman relatively young, from teenage to middle-age years. Identity Parental
and purpose likely revolve in a few ways or primarily around Guardians (2016)
her romantic relationship with a man. Willing to do anything
to please or benefit her beloved, even at her own expense.
May range from small sacrifices to extreme acts like murder.
Other recognizably similar characters in media: Zoe from The
Gifted (2014)
The Madam Holds a position of power and authority, but uses it to bring Marife The Super
down other people and execute schemes for her personal Parental
interest that inevitably harm other people. Motives may range Guardians (2016)
from superficial ones such as entertainment to deeply rooted
ones such as revenge. Likely to justify her acts, she may also Cassandra/ Gandarrapiddo:
have a tragic backstory, and/or may also not be aware or hold Cassey/ The Revenger
widely upheld concepts of morality or right and wrong. Other Kweenie Squad (2017)
recognizably similar characters in media: Amor Powers from
the show Pangako sa ‘Yo (2002 and 2015).
The Butt of the A few to all aspects of her appearance are considered Liza The Super
Joke unconventionally attractive, or mocked by others. May be Parental
bullied or ridiculed because of said characteristics. Other Guardians (2016)
recognizably similar characters in media: Betty from I Love
Betty La Fea, Bakekang, Imang from Kampanerang Kuba. Marife’s The Super
maid Parental
Guardians (2016)
Peppa/Barna Gandarrapiddo:
The Revenger
Squad (2017)
The Mama Usually depicted as a mother who is greatly involved in her A student’s The Super
Bungangera children’s affairs. Tends to be boisterous and presumptuous in mother Parental
her dealings with others. She is shown to be protective or Guardians (2016)
overprotective of her child and family, and may display
apparent sternness toward them in the event of possible
embarrassment. She may also engage in petty squabbles with
others, even with strangers. Other recognizably similar
characters in media: Daniela from Kadenang Ginto (2018).
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The fourteen (14) characters in the films presented mostly fall under the category
Aberrant which means that there are more characterizations that deviate from those
stereotypes that have already been established. The construction of new categories has
showed how there are several developments when it comes to the representation of
women, such as the category for the Tita Lola, the All for Love Woman, the Madam or the
Mama Bungangera. These four categories have one thing in common—they are women
characterized as showing strength, independence, and/or aggression. Unlike earlier
representation, which glorifies the suffering of women characters, the categories that
have emerged from the data show that the women in film are no longer willing to suffer
through pain and keep silent as they are wronged. However, it is also interesting to note
that the strength and aggression shown by these characters is often vilified, such as the
case for those that fall under the category of the Madam. Even the All for Love Woman is
a character type that is willing to go through extremities just to reach her goals.
Discussion
George’s portrayal in The Hows of Us supports Murphy’s (2015) assessment of
the modern female image in media which characterizes an involvement in domestic life.
However, Murphy contends that this may be the case more often instead of a focus on a
career life, while George can be observed in the film as quite actively investing in both
her domestic and career life. She diverges from Zheng’s (2011) discovery of the woman
who is most often employed in arts, education, and retail-related jobs and least in science-
related ones, albeit only by her pursuit, and not yet employment in, a medical career. Her
portrayal is far from the dichotomous good-or-bad image that Gallagher (1980) observed,
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and George is also not like the pretty but incompetent woman from the same findings as
she displays much agency in the story.
However, the same depiction of the woman incapable of solving her problems as
found by Gallagher (1980) is also described as self-sacrificing, too emotional, passive,
and required to pursue marriage as their one important goal. George sacrifices her own
comforts and needs for Primo; she is rational, but reveals suppressed turbulent emotions;
she displays a passiveness that manifests during her low points, and though no one
requires marriage of her and she has various other life goals she prioritizes, she suggests
that being happily married is an admirable or ideal achievement.
Her mother, on the other hand, may or may not have been married, as it is not
made clear in the film. But when George asks her if she would get back together with
George’s father if he returns, she vehemently rejects the idea. This shows that George and
her brother were raised by a young, single mother, a characterization distant from the
dominant mother image that Roso (2008) found of a mother who is also a married
housewife, something that George’s mother is not and never might have been. She in no
way displays any desire to be married or have the conventional family in her life as well.
She thus falls more in line with Zheng’s (2011) young, good-looking, independent
mother.
Among the female characters in The Super Parental Guardians, the
characterization of Marife and Sarah also recognizably supports Zheng’s (2011) findings
of the young, good-looking, independent wife and/or mother. But where Sarah fends for
herself as a single mother of two, similar to George’s mother, while living in a decrepit
house, Marife satisfies Zheng’s additional characteristic of the independent wife as a rich
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and powerful figure of authority. Furthermore, Marife is observed to have a husband only
once, during a brief moment, as the film primarily highlights her activities as someone
powerful. Though Zheng attributes the touch of independence for this portrayal to the job
that the woman holds, both Sarah’s and Marife’s actual occupations are nowhere
specified in the film. On the other hand, the school principal backs up the common
characterization of women having an education-related job as determined by Zheng
(2011).
Many of the fictional women discussed were lent more agency than the
conventionally dominant woman who is painted in different shades of submissiveness,
self-sacrifice, and dependence, among many others that are part of the same hyper-
traditional color. Among them, George and Cassey from The Hows of Us and
Gandarrapiddo take actions that impact their fellow characters and the subsequent story
and lead to changes in their character as well.
However, many of the female characters, including Cassey and Peppa, remain
subjected to the objectifying gaze and are rendered to still be defined in some way by
their relationship to a man, as Gallagher (1980) and Murphy (2015) contend. As
discussed, Cassey relies heavily on her brother and then on another man for her
emotional stability, and her ill deeds are motivated by the abandonment of the former and
the loss of the latter; most of her wardrobe in the film, including her super costumes,
emphasize her busty figure and expose much of her skin. Velle is depicted to partake in
the action for Chino’s sake; Emmy, though only appearing once, is seen as a woman who
seduces one man for the benefit of her lover, another man; the maid at Marife’s house has
a brief encounter with Paco who strings her along so that she is willing to please him;
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Sarah depends on her brother for their family’s safety, and is provided with his
reassurance and protection. During a brief moment, the schoolmate’s mother is territorial
of her husband, and reacts offensively at the idea that a stranger could be attracted to him.
Peppa is constantly being teased by her male friends, who crassly take her body size as
the subject of their jokes, subtly masking body-shaming as a comedic element. All of
these explain the dominance of negative, simple, and one-dimensional treatment with
underdeveloped personae in the selected films.
On the other hand, only one woman among these characters had no man directly
involved with them—the school principal.
The first level of data analysis in this study corroborates the findings of literature
that were referred to early on in this study (Gallagher, 1980; Murphy, 2015; Roso, 2008;
Zheng, 2011), which is that familial roles are highly favored in the portrayal of women.
Unfortunately, while emphasizing domestic involvement, the selected films fail to
highlight the socio-economic contributions of the women. Majority of their jobs are not
specified in the films like that of George and her mother, Tita Lola, and Sarah among
others. This is a manifestation that women are poorly represented in terms of economic
empowerment.
Analysis based on the variables of prominence, treatment, and tone further
emphasizes the domestic sphere, where the genres of the selected films are action-filled
comedy and romantic drama with familiar and one-dimensional female characters acting
out a predictable and emotional story pattern within a family setting.

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George, Cassey, and Marife are the only characters who have major roles.
Although they are positively represented as independent, powerful and agentive
individuals, George and Cassey still succumb to patriarchal constructions such as
submissiveness and emotional dependence on their male partners, while Marife uses her
influence to perform murder for fun. This duality implies that Gandarrapiddo, The Super
Parental Guardians, and The Hows of Us fall short on serving holistic renderings of
women. Since films have the power to move far beyond pure entertainment (Wood,
1994), it is not enough to just have female characters present in a film, but it is important
to give them the agency necessary to subvert patriarchal constructions. Feminist Film
Theory forwards that such restriction for women must be eradicated in order to allow
more scope for feminist social change in cinema.
The categories brought forward in the findings of the final level of analysis, many
outside of the derived model, show that there has been a shift in women representation in
films. Many of these classifications of female portrayal are depictions of women that are
nonetheless recognizable in media despite being identified as new categories outside the
related studies’ findings, such as Mama Bungangera, which is a prominent image distinct
in the Ang Tanging Ina franchise and the local drama Ang Kadenang Ginto.
The previous studies of Murphy (2015), Baloloy (2014), Roso (2008), and
Gallagher (1980) are one in acknowledging the narrative that paints women as
subservient persons who are emotionally weak, helpless, and martyrs who only fill in the
roles of mothers, daughters, and wives to men, which also demonstrates how both
genders are portrayed in a hyper-traditional manner, with men being the more dominant
and interesting person in the power dynamic. At present, as shown in the data produced,
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women are now being given roles that show a level of assertiveness in order to reach their
goals—as is evident from characters that fall under All For Love Woman and Madam—
which contradict earlier findings that restrict women to being portrayed as submissive
and meek. Furthermore, these two categories, although similar in their aggressive
determination to achieve their goals, differ greatly in terms of priorities. The All For Love
Woman shows a ruthlessness, all for the sake of her loved one. This is demonstrated in
the scene where Emmy remorselessly reveals her cruel betrayal of Paco, whom she dated
for another man she claims is her real lover and her motivation for the act of betrayal.
Meanwhile, the Madam shows the same amount of cold-heartedness as she demands for
the murder of several people, even innocent children, with no clear motive, in reference
to the character of Marife.
Despite the independence portrayed by the characters of Emmy and Cassey, they
are still “caught between competing demands to be strong and independent while
retaining their femininity” (Murphy, 2015), as Emmy’s character is heavily invested in
her relationship with Jake (which is what contributes to her decision of betraying Paco)
while the catalyst for Cassey’s change of character is also revealed to involve her
relationships with men (her brother abandoning her and the loss of her lover). This shows
the failure of the portrayal of an independent female character because Emmy and Cassey
are characters that still fall into their own stereotypes (Siano, 1975).
However, Marife exhibits another deviation from the previous findings. She and
Cassey are both categorized as the Madam but the motives behind her actions do not
involve a male figure, unlike Cassey. It was established earlier that the categories of All
For Love Woman and Madam differ in their priorities. While All For Love Woman Emmy
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has reasons for her actions that could be romantically-motivated, the Madam character of
Marife is portrayed differently. Although also categorized as Madam, Cassey falls into
the same stereotype in Murphy’s (2015) example of the character played by Liv Tyler in
the film Armaggedon, who had a career but was engrossed in her romance. In the same
fashion, Cassey is depicted as a successful model and fashion designer, who is also
engrossed in avenging her dead lover and getting back at the brother who abandoned her.
Marife, however, falls into none of these stereotypes. In fact, although she is still
portrayed as the wife of a successful police officer, there is little to no information about
him except for his occupation.
This exhibits another deviation where women who are successful and
independently portrayed are being lent the agency not only to act on their own accord but
to do so without being labeled as “not newsworthy” as in Gallagher’s (1980) explanation
of how they are often referred to as merely the wife, daughter, mother of whichever men
were highlighted. This implies some shift in the representation of women, but it still
implies very little because the industry’s habit of failing to characterize women in “fully
human forms” (Siano, 1975) is still a sentiment being echoed until today. Although
Marife might not have fallen into the stereotype of her characterization being reliant on
men, she was given little to no characterization at all. She has no backstory in the film or
clear motive for her killings, thus the failure to humanize her character.
The characters of Tita Lola and Mama Bungangera also required their own
categories because they deviate from the stereotype of the meek and suffering woman—
much like the first three characters discussed, Emmy, Cassey, and Marife. These women,
however, still fall under the dominant view of women that presents them within the
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domestic sphere (Gallagher, 1980). Both women are largely restricted by the familial
roles that they play, Tita Lola as the guardian of George whose main interactions
involves taking care of George, looking out for her and Yohan, even caring as much as to
entrust her house to George and her then boyfriend, Primo, when she dies; and, the Mama
Bungangera whose only role is as an overprotective mother and territorial wife. Despite
their restrictive familial roles, a new category had to be made to accommodate their
characters’ deviations. Although Tita Lola was a parental figure for George, Tita Lola did
not fit into the dichotomies identified by Gallagher’s (1980) motif which defined women
as good or bad, mother or whore, virgin or call-girl, even traditional or modern. Mama
Bungangera, as well, deviated from the image that is mentioned in Roso’s (2008)
discovery, which depicts women as weak, helpless and passive. As demonstrated in her
actions, the Mama Bungangera is very much capable of standing her own ground and
defending herself and her child, and Tita Lola shows the same aggressiveness when
kicking out her lover from her house.
Meanwhile, the characters under Cheerleader and the Butt of the Joke do not fall
under the stereotype of their characters revolving around a familial role. The Butt of the
Joke is additionally a noteworthy deviation because it shows a trend of stereotypical
tropes being used on minor characters commonly depicted as not conventionally
attractive. Peppa, a Butt of the Joke, demonstrates a propensity for leadership that does
not explicitly align with the Leader’s “superior skill in guiding entire groups, from battle
squads to corporations, to success.” Unlike the Leader, Peppa is not feared but is instead
the subject of jokes. A similar aspect to note would be the vilification or ridicule of these
women and their success, whether they are minor or major characters. The Madam shows
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a successful woman who is portrayed with evil intentions while the Butt of the Joke
shows another end of the spectrum, which are women who might not be considered as
‘successful’ as the former classification, and yet their personae also receive just as much
distortion which deems their characters as worthy of being constantly ridiculed.
The still-existing images of a woman in the domestic sphere with familial roles
continue to manifest in the forms of characters like Sarah and George’s mother, the
Madonnas. Consequently, women are still represented in ways that depict them as
subservient to men such as in the case of Cassey, who is also classified as a Damsel in
Distress, and Velle who falls under the category of the Maria Clara. There were,
however, some categories that were not represented in the films analyzed such as The
Leader and The Scarlet Woman.
The significant shift in the portrayal of women, however, is evident because
despite the still-existing stereotypes within these fourteen (14) characters, eight (8) of
them—more than half—have been tagged as Aberrant and have been found to show
deviations or new portrayals of women being added into their personae. Aside from this
fact, the findings have also proven that then-existing categories are no longer as
prominently used when representing women in film; such is true for the categories of The
Leader and The Scarlet Woman. The sample often portrayed women as mothers, sisters,
daughters, granddaughters, and wives. But aside from their roles as belonging to a family,
the same women also mostly had other roles such as that of a friend, a lover, a colleague,
and a villain.
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CHAPTER 6
SUMMARY AND CONCLUSION
Summary
The study found that the Philippines’ top three highest-grossing films The Hows
of Us, from 2018, The Super Parental Guardians, from 2017, and Gandarrapiddo: The
Revenger Squad, from 2016 depicted female characters to be fashionably attractive or
having above average looks when it comes to their physical appearance. Otherwise, they
are depicted as unconventionally attractive and dressed in eccentric or quirky wardrobe
combinations.
In terms of socioeconomic status, a few of these women were portrayed to be
affluent and powerful persons of authority, others as middle-class citizens with stable
office jobs or striving to establish their dream career. Some were presented to be living in
poverty, within a decrepit, sometimes crime-infested community, and surviving on
meager meals. Many of them were supporting or being supported by family members,
often financially.
The three films’ portrayal of the women through their language commonly
showed them speaking in clear and loud voices while being assertive and direct in their
meaning. A few were shown to be meek and using soft voices in the way they speak.
Many often used both English and Tagalog, while the maid used slang.
Quite a few of the female characters showed some form of aggression in their
personality and behavior, mostly when provoked, such as Peppa and Cassey, or for a
more arbitrary or vague reason, such as Marife. Many of the women exhibited a
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propensity for being emotional, which supports Murphy’s (2015) finding, with some of
them acting on emotional grounds, such as Cassey and the schoolmate’s mother. At least
one is portrayed to be someone’s rescuer, while another is presented as asking for
protection from another character, agreeing with the traits that Kinunnen (2016)
distinguished. Some women also demonstrated leadership in their behavior among other
people.
Independence is a trait made distinct in different ways in the female characters’
portrayal. Most of the women portrayed were found to be presented independently in
career positions, economic status, and in otherwise traditionally dependent positions like
the mother who relies on the husband to earn for the family. Some of the women in the
films were revealed to defy this married housewife stereotype, upholding the image of the
youthful, independent mother (or grandmother) that Zheng’s (2011) study distinguished.
Others, however, were presented as dependent on others to some extent. Furthermore,
levels of both dependence and independence were found to manifest in some characters.
Majority of the female characters were found to have interpersonal relationships
with other character/s through a familial bond, which they identify with actively, like
George with her Tita Lola and brother, Sarah with Paco and her children, Cassey with
Emy, and the schoolmate with his mother. Romance and friendship also characterized
many of these relationships, such as those between Paco, Emmy, and Jake, Cassey and
Renz, George and Primo, George and Awee, Liza and her friends, and Velle and Chino.
Female representation as observed within the context of the films reveals women
to be positioned in situations where she takes full advantage of her agency, but still
reverts to the traditional manner of thinking, seemingly by choice, or in situations that

95
lend little to no attribution to her for the progress of the story. For prominence, most of
the female characters are named in their respective films but only three of them have
major roles. Action-filled comedy and romantic drama are the main genres where
negative, simple, and one-dimensional portrayals are quite a trend when it comes to
treatment. Moreover, straightforward, light, and sarcastic portrayals are the dominant
tones.
The categorized portrayals of the characters were found to vary greatly but were
predominantly tagged as aberrant, revealing the deviation of most characters from
existing stereotypes. It shows that many established portrayals of women in film have
changed over time. Out of the eight (8) categories derived from related studies, six (6)
categories were used to classify the characters in the analyzed films while the remaining
two (2) categories—the Leader and the Scarlet Woman—failed to match with any of the
determined portrayals in the films. This denotes that while some stereotypes of women
endure today, there are also stereotypical representations of women that no longer thrive
in film.
Meanwhile, out of the fourteen (14) characters analyzed, six (6) were categorized
according to the non-aberrant derived categories, while eight (8) characters deviated from
the same model. These characters were revealed to be portrayed in six (6) new
categorical representations crafted by the researchers. While majority of the old
stereotypes were retained, the researchers discovered a greater amount of divergent
characters that do not embody the previous categories.
Many of the women were depicted as a mother, daughter, sister, grandmother,
wife, and granddaughter but they were also, and often at the same time as their familial
96
roles, a lover, a friend, a colleague at work, a fashion icon, an aspiring doctor, a
housemaid, an educator, and a supervillain.
Conclusion
The Hows of Us, The Super Parental Guardians, and Gandarrapiddo: The
Revenger Squad, as the Philippines’ top three highest-grossing films recorded, showcase
a diverse set of portrayals that offer a representation of women divergent from enduring
stereotypical portrayals. The scenes analyzed in the research sample revealed trends that
were deciphered through a multi-level assessment of the fourteen (14) characters’
physical appearance, attractiveness, socioeconomic status, language, personality and
behavior, and interpersonal relationships, as well as each characterization’s prominence,
treatment, and tone. Multimodal discourse analysis was utilized to observe these trends
with the principles of the Theory of Intratextuality in mind and the Feminist Film Theory
guiding the analysis.
Good-looking women or women with above average looks was how most of the
female characters, major or minor, were presented in terms of physical appearance and
attractiveness. They spoke assertively and aggressively, and were loud and clear more
than meek and soft in their verbal and non-verbal language. All of them belonged to
different socioeconomic classes, from the working poor, middle-class, to the affluent,
with most belonging to either the poor or rich.
Aggressiveness extended to their personalities and behavior, as well as actions
based on emotions, which presented them in a negative manner. Independence and

97
dependence also manifested as dominant traits, with some depictions lending more
independence than others, contributing to a positive treatment of female portrayal.
The characterization of the female characters’ interpersonal relationships showed
familial relationships as the most prominent representation, in line with the films’ focus
and themes on familial bonds. Romantic involvements with other characters also
provided varying levels of motivation for these women.
Similarly, the overall analysis based on the variables of prominence, treatment,
and tone concludes that we are still far from the ideal feminist social change as far as the
selected films are concerned. The apparent dominance of negative and one-sided
portrayal does not reflect the complex persona of women in real life. We see that only
three out of the fourteen characters have major roles and in one way or another, all of
these women are portrayed in a bad light with no backgrounder most of the time.
Emotional and sarcastic tones are highly emphasized, where body-shaming is packaged
as a comedic value.
Meanwhile, the categories that the characters fall under show the dominance of
deviating factors. While more than half of the categories under the existing model were
still utilized for the fourteen (14) characters, more than half of these characters were also
not accommodated by the initial model. This shows that while old stereotypes are
retained, and there are a minority of them that have been discarded, there is a dominance
of deviating characterization. This denotes that despite the existing stereotypes that have
been retained, the new categories introduced outnumber the older ones.
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The findings of this study suggest a departure in today's representation of women
from the dichotomy that Gallagher (1980) identified in which women were presented as
“good or bad, mother or whore, virgin or call-girl, even traditional or modern.” As
observed, female characters exhibit the ability to shift from a negative portrayal to a
positive portrayal, and vice versa, through the means of character arcs that are shown in
the films. Thus, the question of whether women’s portrayals are strong (matibay) or
feeble (mahina or marupok) is a point for debate, and not an either-or situation. The
findings in this research recognize characterizations of women in film that are not
mutually exclusive, by showing that representation of them can simultaneously
encompass aspects often contrary to one another, such as strength and weakness, and
such is evident in major characters as discovered in this study.
The century-old Philippine cinema is shown to be slowly improving when it
comes to women’s representation. The highest-grossing Filipino films The Hows of Us,
The Super Parental Guardians, and Gandarrapiddo: The Revenger Squad represent
women in ways that largely deter from old and enduring depictions of women in media.
However, many of these representations still contain stereotypical aspects that restrict the
films from portraying women in a more complete and attuned manner. This restriction
thus limits the sphere of ideas that form perceptions of real women.
The researchers therefore conclude that the study of the cinematic representation
of minority groups such as women is valuable in the diversification of ideas that
ultimately contribute to individual perceptions and raise the public level of discourse on
female representation.
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CHAPTER 7
IMPLICATIONS AND RECOMMENDATIONS
Upon identifying the representation of women in the top three highest-grossing
Philippine films as of the time of research, the following implications and
recommendations should be considered:
Theoretical Issues
Trends emerged from the data analyzed in this study which were determined by
discerning multiple intratextual relations between elements found in the three films. The
researchers’ analysis of characterization was largely achieved by scrutinizing individual
variables together (e.g. socioeconomic status and physical appearance) and not separately.
This properly demonstrated the concept of intratextuality functioning inside the texts as
an interplay of codes that contribute in generating an image of women. Throughout the
study, Feminist Film Theory was inculcated as a valuable perspective in effectively
distinguishing female portrayals and what contributes most heavily to them in a cinematic
presentation.
As this study only describes the representation of women in films as they are
depicted on screen, it would also be interesting to look beyond the cinematic text. The
Theory of Intertextuality would lead future studies in that direction appropriately by
equally focusing on the film/s and the cultural and social context outside it such as
current issues that involve women. External factors like socio-cultural traditions, political
and economic system, literature, and prevalent beliefs influence the audience and
filmmakers’ perspectives. In the same way, future researchers can study the background
100
of a film’s writer/s, director/s, and producer/s to fully understand the implications of the
results.
Bringing out the film-spectator relationship is also a beneficial endeavor in terms
of exploring the impact of female representation in Philippine cinema. Apparatus Theory
explains this relationship, forwarding that the narration point of each female character is
processed through intricate angles of the camera and editing techniques. These elements
reproduce reality and serve as a bridge that peeks into the spectator’s thinking process.
Methodological Issues
Applying MDA through non-probability sampling was an efficient method in
recognizing the modes involved as the basic elements that shaped representation by
characterization.
In looking at new categories as tropes in Philippine cinema, the researchers
suggest a larger sample size for analysis to bolster the study’s credibility and make it
more comprehensive. Films with the same genre are highly recommended for consistency
in data analysis.
An alternative may also be examining a sample of independent films, or doing a
comparative analysis of both mainstream and independent films. Such an analysis would
enable future researchers to compare portrayals of women within a diverse and more
varied sample. The researchers also observed that adding the variable of screen time or
duration of scenes per character as an indicator of prominence of portrayal would yield
more constructive results and subsequent discussion.

101
As this study employed content analysis, future studies may use interactive ways
of data gathering, such as surveys, interviews, and focus group discussions (FGDs) in
order to explore the different ways an audience receives the text. Future researchers can
also examine if the portrayals in films are those that viewers can identify with or debunk.
With this study’s focus on women’s characterization in the films, future
researchers can choose to study the element of plot as a main and standalone—not just
contextual—indicator of female portrayal to assess tropes and patterns in the placement
of women in fictional narratives. Moreover, since this study deals with fictional images,
the researchers also recommend future studies to explore real-life portrayals in media,
such as those in newspapers, reality TV shows, magazines, news broadcasts, etc.
Practical Issues
For future studies, the researchers suggest looking at how exactly film affects or
influences individual perceptions on women. Studying the subsequent impact of films on
the perceptions on women will allow researchers to gain insight on the applicable
functions of the media representation determined in this study.
This study determined the representation of women in The Hows of Us, The Super
Parental Guardians, and Gandarrapiddo: The Revenger Squad, the three highest-earning
Filipino films as of the time of research. The findings of this study will hopefully inform
individuals working in the film industry to apply them in future endeavors and
productions in cinema, and choose to preserve traditional renderings of women or take
the direction of an informed on-screen female presence.

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APPENDIX A
CODING FORM (Level 1)
Coder’s name
Coding date
Title of film
Synopsis
Scene
PLOT
CHARACTER
Female characters in the film
Physical appearance and

attractiveness
Socioeconomic status
Language
Personality and behavior
Interpersonal relationships
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APPENDIX B
CODING FORM (Level 2)
Title of film
Year released
Synopsis
PROMINENCE
Genre
Focus
Topic
Occurrence as
character
Identification
TREATMENT
TONE
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APPENDIX C
CODING GUIDE (Level 1)
Coder’s name Write the coder’s name.
Coding date Write the date the coder watched and coded the film.
Title of film Write the name of the film.
Synopsis Write the synopsis taken from the film’s official website, press release,
DVD jacket, or official releases on streaming sites.
Scene Indicate the timeframe of the scene/s taken for analysis.
PLOT
Describe the film’s story as viewed in the scene. State the narrative in the scene, especially in
relation to the female character/s present.
CHARACTER
Female characters Who are the female characters in the scene? List women who are present
in the film and not present on screen, but are mentioned or being talked about by other
characters.
Physical Describe each female character’s physical appearance, indicated by her

appearance and facial and body features (What is her complexion or skin tone? How is her
attractiveness hair done? What color is it? Describe her eyes, their color, her hair, her face
shape, her skin, her nose, her mouth, etc.) stature (Is she tall, short, of
medium height?), body size (Is she skinny, fat, curvy, plus size, obese,
thin?), clothing (What kind of clothes does she wear? What for?), makeup
(Does she wear make-up? How much? How often? When?), accessories
(Does she wear any jewelry? What kind? What for?), physical condition
(Describe any physical disabilities such as being vision-impaired, deaf,
blind, an amputee, etc.).
Indicate when other characters regard her physical appearance verbally or
nonverbally (Comments made to her, to other people about her, gazes,
gestures, facial expressions, etc.)
Socioeconomic Describe the character’s livelihood and lifestyle. What are her occupation/s,
status living conditions, lifestyle, level of education, religion, ethnic background,
among others?
Language What are her notable verbal and non-verbal expressions? What language/s
in speech does she use? How she use them? What are her physical gestures
and facial expressions? How does she talk? (In a clear, soft, or stuttering
voice? Slowly? Briskly? Sparsely?) What does she talk about? (To herself?
To other people? How often?)
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Personality and Describe the attitudes she adopts when interacting with her surroundings
behavior and other characters. What are her approaches in these interactions? (Is she
friendly, cheerful, cold, nagging, emotional, etc.?) Do these descriptions
characterize her: independent or dependent, optimistic or pessimistic,
extrovert or reserved, aggressive or quiet/soft/weak? Describe if she
demonstrates the following and how: ingenuity, incompetence, physical
aggression, being a victim of physical aggression, verbal aggression, victim
of verbal aggression, leadership, follower, bravery, helpless, achievement,
failure, asking for advice/protection, guidance given, object of reward,
shows affection, praises.
Interpersonal Who are the people they closely interact with? Describe what kind of
relationships relationships they have with the female character/s as portrayed in the
scene. (Is a relationship dependent, abusive, has mutual respect,
affectionate, etc.?)
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APPENDIX D
CODING GUIDE (Level 2)
Title of film Write the name of the film.
Year released Write the year the film was released.
Synopsis Write the synopsis taken from the film’s official website, press release, DVD
jacket, or official releases on streaming sites.
PROMINENCE
Genre Classify the film according to its genre/s as indicated by official releases of
the film. (e.g. action, adventure, comedy, crime, drama, fantasy, horror, myth,
romance, musical, parody, science fiction, thriller)
Focus Indicate the film’s overarching themes that it is focused on. (e.g. a drama that
focuses on family ties, a horror that focuses on supernatural phenomena)
Topic Indicate the film’s specific topics that are the subject of its storyline/s. (e.g. a
drama that tells the story of a family with adopted children)
Occurrence as Indicate if the female character is a protagonist, a main or lead character, a

character minor character, or background character.
Identification Indicate if a female character is named or generic.
TREATMENT
Describe the treatment of the female character in the film and how the treatment is shown. Is it in
a positive, negative, neutral, or simple portrayal? Is the character one-dimensional or complex? Is
she portrayed elaborately?
TONE
Describe the tone surrounding the female character and how the tone manifests in the film. Is the
portrayal straightforward, interpretive, emotional or dramatic, satirical? Is it sarcastic, light or
whimsical?
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APPENDIX E
COLLATED CODED FORM (Level 1, The Hows of Us)
Coder’s name Adarrah Rose J. Angulo, Allison Auman, Mary Grace Tito
Coding date March-April 2019
Title of film The Hows of Us
Synopsis Couple Primo and George are in a long-term relationship and already
building and planning their future together. Their love will be put to the test
as their relationship faces hurdles - from misunderstandings to different
career paths, among others. (Taken from the movie page on the Star Cinema
website: https://starcinema.abs-cbn.com/movies/the-hows-of-us)
Scene Scene 1 (3:09-3:26)

Scene 2 (3:30-5:31)
Scene 3 (7:13-8:05)
Scene 4 (19:25-19:54)
Scene 5 (20:15-21:10)
Scene 6 (21:12-23:05)
Scene 7 (23:53-25-43)
Scene 8 (25:44-32:20)
Scene 9 (32:22-33:20)
Scene 10 (35:15-36:50)
Scene 11 (42:34-44:38)
Scene 12 (46:54-48:05)
Scene 13 (49:04-49:56)
Scene 14 (52:05-52:40)
Scene 15 (1:05:37-1:07:00)
Scene 16 (1:09:56-1:11:30)
PLOT
Scene 1 – George lies in her bed, moping, thinking she is alone in her house. When she opens the
door leading outside her room, she is shocked to find Primo in the same house. They begin to
fight over who gets to stay. Upon seeing Primo, George takes a vase to hurl at him and drive him
out, screaming at him to counter his arguments that it was a vase he bought, but that he gave to
her as a gift. She proceeds to throw the vase at him, which becomes suspended in mid-air to give
way to the beginning of the story, which George tells us through a narration.
Scene 2 – George and Primo are debating on topic of which is better than the other: men or
women. Primo starts tossing his arguments in a seductive manner, and George deflects his
advances just as smoothly. The two parry about gender roles and expectations of men and
women in front of a crowd, with Primo defending men and George women. They spend majority
of their argument claiming how each gender makes up for the shortcomings of the other, and
blaming them for those mistakes. Eventually, Primo eases their debate first by proposing that men
and women are neither inferior to the other, and both should work hand in hand instead. They end
the debate with a hand shake, then Primo kisses George’s hand. The crowd oohs collectively
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when they begin to compromise.
Scene 3 – George is holding her iPad and conversing with her mother through a video call while
cleaning the floor. George says that they should get her brother (Yohan) checked in the hospital
but her mom dissents due to financial problems. She insists on finding a job or applying as
student assistant in order to support the expenses. In the middle of their conversation, George’s
Tita Lola and her partner barge in as they argue. Tita Lola chases her partner down the house,
asking back the gifts she gave including the shorts that he is wearing. Spontaneously, Primo
walks towards their gate. Tita Lola screams not to let her partner get away and Primo catches him
in a headlock, successfully aiding Tita Lola in reclaiming the shorts that her partner attempted to
leave with. They give each other a high five. Tita Lola looks at Primo and asks him who he is, to
which he replies to by saying he is George’s suitor.
Scene 4 – George is on the phone with a friend who is scolding her for taking on too many jobs
and sacrificing her review for the upcoming National Medical Admission Test. George tries to
defend her decisions but her friend questions why she doesn’t just ask Primo to help shoulder
their living expenses. After arranging her review materials, she takes their electricity bill and
sticks it to the fridge with a magnet. Her phone conversation is interrupted by Primo yelling
outside their house.
Scene 5 - George is reviewing while giving out flyers for her real estate job under a makeshift
tent on a street corner. She approaches people, asking them to check a nearby location with zero
down payment. She is startled by a honking car that stops in front of her, and when the window
lowers down she sees that it is her friend Mikko, dropping off more NMAT review materials.
George asks how much he owes him, to which Mikko responds that it’s his donation to her. He
looks at her in disdain and scoldingly asks if she is even reviewing. He adds a sarcastic remark
about how she won’t be able to write down the correct answers. George says that she will only be
working this job temporarily while waiting for Primo’s big break but Mikko asks her what will
happen if his big break doesn’t come. Instead of answering his question, George tells Mikko he is
being too negative. He retorts by calling her naive, shaking his head and closing his window.
Mikko drives away.
Scene 6 - George is walking home as the rain is pouring, saddled with all the things she’s
carrying under the umbrella. She drops one of her things and she crouches down to pick it up. As
she reaches the gate of their house, she runs into a guy who is hurriedly leaving. The guy notices
her as they almost collide and he makes a hasty apology. When George gets inside their house,
she sees two guys who are holding their respective band equipment. They talk to each other
saying their other member already left them and that they should get going as well. One guy tells
Primo they will be calling him for the next rehearsal and Primo interjects quickly saying he will
be the one to call them instead. The guys quickly leave. Primo starts ranting to George, asking
what is wrong with musicians nowadays and how they were all appearance and no skill. George
tries to console him by mentioning musicians they know who are hardworking but Primo goes on
ranting, saying that hard work does not make them play well. Primo says he can’t just get anyone
to play with him, that he needs people who understand what he wants. He asks George to reaffirm
if this sentiment is correct and she agrees. George tries to offer help, saying she will ask around
but Primo quickly cuts her off and says he will do it himself.
George goes into the dining room and is greeted by a mess on the table. She silently heads to the
sink and starts washing dishes. Primo approaches her and hugs her from behind, apologizing for
the outburst and explaining how it was a result of all problems piling up. George forgives him
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right away.
Scene 7 - Mikko is on the phone with George on the day of the NMAT. George is running late,
and he’s pressuring her to make it on time. George assures him she will, but she’s still at a
restobar, where Primo, the only customer left, is incapacitated. There are bottles of alcohol in
front of him. The restaurant staff is cleaning up the place, and gives George a list of everything
Primo broke that she’ll have to pay for. She half-carries Primo out of the restaurant, all the while
worrying about her exam. Primo, still drunk, falls down and apologizes to her. George tearfully
tells him it’s okay. She helps him up, supporting most of his weight until Primo stumbles and
they both fall. Again, George receives a call from Mikko, who is frantic about her missing the
exam. Primo throws up a little on her. Mikko tells her to leave Primo for a while, asking her if she
was going to sacrifice medical school for Primo. He pleads with her not to throw away her future
for Primo, and for once to put herself first. Positioning Primo against a post on the sidewalk, she
apologizes to him and asks for this one time to leave him. She hurries into a jeepney, and looks
back at Primo, who starts to get up slowly. He barely stands upright until he falls head first onto
the concrete and continues to lie down. The jeepney starts moving as George watches Primo lying
on the ground. She then desperately yells for the driver to stop, ditching the exam to take care of
her boyfriend.
Scene 8 – It is George’s birthday. She comes home to a dark house, package tied with a ribbon in
hand. Their electricity and water supply are cut off. Concealing her distress, she puts together a
variety of leftover cakes and lights up a single candle with a matchstick. Primo arrives and greets
her a happy birthday smilingly. He gives her a kiss, to which she doesn’t respond. George just
stares at the table. Primo takes something from behind him and shows it to her. She stares at it, a
record, gets up, and walks away. Primo attempts to talk to her, commenting on the cake slices and
the presents she brought home. George, washing dishes in the kitchen, is still silent. Primo asks
her what’s wrong. She ignores him, turning to refill a pail with water, which Primo takes from
her. She washes her hands, and Primo keeps prodding her to talk to him. She gathers up her
things on the table and Primo raises his voice. He grabs her hand, telling her to hit him if she
wants to, and to curse him if she’s mad at him.
George frees her hand away as Primo asks her if she’s tired. She interrupts his stream of questions
and screams at him that she is exhausted--of doing everything from studying to cleaning up his
messes, while he continues chasing his passion. She laments how he can hardly do anything for
her, but can afford anything for his “passion.” She accuses him tearfully of thinking only of his
dreams, hitting him as he shields himself with his arms. Primo asks her is that’s how she truly
felt, to which George confesses of all the things she’s tired of. She tells him believing in him was
her mistake. A tear rolls down Primo’s face as he asks George if her life will be better without
him. She nods. He asks her if she wants him to go and George pleads for him to leave. George
looks up from her hands and finds Primo gone. She goes outside, calling and looking for him.
With Primo nowhere in sight, she bends down in the middle of the street and weeps as the rain
pours down on her.
Scene 9 – George slams her books on the table and her co-worker, Awee, jumps in surprise,
asking her why she is late and in a bad mood. George explains that her day has been ruined and
Awee is quick to fire back a question. Before George can reply, Awee assumes the reason George
is stressed is because of her upcoming NMAT. She tells George to loosen up since the test is still
two months away, but George explains that the reason for her sour mood is because of a “pest” in
her house. Awwe advises her to take action and get rid of it quickly. She ponders, telling George
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there must be pests since the house has had no inhabitant for quite some time. George says it has
been two years before they last made contact and now “the pest” waltzes back into her life. Awee
realizes her pest problem does not involve cockroaches, rats or termites.
George reveals that “the pest” is her ex, Primo. Awee jumps in excitement, exclaiming that she
wants to meet him. George only gives her a silent gaze, to which she interprets as no so she
immediately takes back what she said and instead encourages George to focus on selling the
house so that she can transfer projects and she can move away.
Scene 10 - George leaves the hospital with her family, after Yohan’s check up. Together with
them is Mikko, who has become a junior intern at the hospital. Yohan wishes to go to Amsterdam
before he loses his vision but their mother wants to save their money for George’s med school.
George tells her she can take care of both as they exchange quips about Yohan’s insulin shot.
Mikko interjects, saying he hopes George’s mind doesn’t change about selling the house just
because her ex has returned. Yohan and his mom give George expectant looks, to which she
replies with by asking her mom if she’d ever want to get back with her ex-husband. Her mother
vehemently says she will not. George reassures them she will sell the house no matter what, and
that she is not thinking of getting back with Primo. Mikko bids the family goodbye as they are
fetched by a car.
Scene 11 - Primo apologizes to George in the process of trying to change her mind about selling
the house. She accepts the apology but doesn’t back down on selling the house. Primo asks why
she is insistent on it, she tells him she will be moving to Amsterdam. George asks, in return, why
he wants to keep the house and Primo tells her it is because he wants to get back together with
her. George is speechless as she turns her back on him and almost runs into the wall. Primo looks
at her in worry and asks if she is okay, George insists she is. Primo says she seems to have gotten
weak in the knees and George ridicules him but she almost falters again as she stands against her
room’s door. Primo tries to help her but George warns him for crossing a line before slamming
the door on his face. When Primo can no longer see her, George curses herself and takes a deep
breath.
Scene 12 - George uses white tape to draw a literal line between her and Primo inside their house.
George gets the dining area while Primo gets the living area. Primo concedes, but then asks how
they will “divide” the things they bought together while George gets on a chair to hang up some
decor Primo had dislodged. When he turns back around to her, he becomes fixated on George’s
figure as she fixes the decor back in place. George takes advantage of this by asking leading
questions like, “Can I have the top part of the fridge?” or “Can I have the water heater?” or “We
will have to make a schedule for who gets to use the bathroom.” Primo says yes to all of her
questions, still staring at her exposed midriff. He absentmindedly agrees to all her requests, and
George exclaims victoriously.
Scene 13 - George comes out of the front door to find Primo bathing in the front yard using a
water hose. She slowly walks down the steps, her eyes transfixed on Primo’s half-naked figure.
When she comes close enough to him, her eyes still gazed over, Primo walks over to her, saying
she came at the perfect time. Assuming that George is allured with his body, Primo requests that
they get rid of the bathroom schedule, citing the cold to be too much for him to bathe outside, all
the while looking at her enticingly. George continues to stare some more, and plays it well. Then
her eyes widen as she spits out “No.”
Scene 14 - In the middle of Primo asking if he can bring his friends over, Awee and Mikko barge
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in the house just as George asks Primo, “Do you see me bringing friends over?” Awee
immediately notices the lines made and George tells her to shift over to “her side” of the house.
Mikko and Awee are greeted by Primo. Awee remarks that Primo is quite handsome for a so-
called “pest.” After hearing this remark, Primo asks, “Peste na?” A pun, and then he corrects
himself sarcastically by asking, “Pwede na?” Referring to his previous inquiry about allowing his
friends to visit.
Scene 15 - George rubs her face in frustration as she cries in the middle of the rain while arguing
with Primo. She angrily accuses him of taking advantage of her just because he knows how to get
her back. She swears, saying that she might be a smart person but when she is around him her
logics gets muddled. George asks what consequences she will have to deal with if she gets back
with him again. She mentions the friends who have left her behind, like Mikko who was on the
way to becoming a doctor, and her friend Jessica who she says is “happily married.” She points to
herself, who she says is still trying to recover from what she lost when Primo left her.
Scene 16 - George is at Mikko’s house, where they drink together after George’s fight with
Primo. She tells him he must be proud of her for walking away from Primo and not being
“stupid” anymore, to which Mikko tells her that she’s not happy either. George tells him he’s
confusing, as when she uses her heart, he calls her stupid, but when she uses her head, she’s
unhappy to him. Mikko laughs, telling her she can’t be happy when he’s not. This way, he says,
he won’t be jealous of her. George, surprised, tells him she’s the envious one, since he’s fulfilling
his dream of becoming a doctor. Mikko grins, saying his diploma can’t comfort him at night. He
then tells George that he has always been jealous of her because seeing her hurt for her love made
him feel like he was missing out on something that mattered more. Mikko voices out a thought
about the grass always being greener on the other side, it all just matters which perspective you
have. George looks at him silently, and then she leans her head on his shoulder as they sit
together without speaking.
CHARACTER
Female characters Scene 1 - George

in the film Scene 2 - George
Scene 3 - George’s mom, George, George’s Tita Lola
Scene 4 - George
Scene 5 - George
Scene 6 - George
Scene 7 - George
Scene 8 - George
Scene 9 - George and Awee
Scene 10 - George and her mother
Scene 11 - George
Scene 12 - George
Scene 13 - George
Scene 14 - George and Awee
Scene 15 - George
Scene 16 - George
Physical Scene 1 - George is a slim, fair-skinned woman of average height. Her hair
appearance and is dark brown, medium length and she has bangs. She is wearing a loose
attractiveness white shirt and black shorts. She has no make-up on and her hair is tied up
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by a big clip. A light blue towel is slung over her shoulder and she is
walking the house barefoot.
Scene 2 - George is wearing an orange collared shirt, her straight hair let
down neatly. She seems to be wearing little to no makeup at all. No jewelry
as well.
Scene 3 - George’s mom is a slender woman with fair skin and average
height. She is wearing a loose, gray shirt and gray leggings. Her medium
length hair is down and there is no makeup on her face. She has no
accessories on, either. George is wearing an updo, but with strands of her
hair falling in her face. She’s wearing a pink patterned shirt and shorts. Tita
Lola is George’s grandmother, but still quite youthful-looking. She’s
wearing a sleeveless pink top and tight blue shorts. Her hair is also in a half
updo, held by a purple hair clip.
Scene 4 - George is wearing a black sleeveless top and dark jeans. She has a
cardigan over her right forearm and books are held using both arms. There
is a bag slung over her right shoulder. She has no make-up on or any visible
accessories. Her hair is wet and undone as she gets her things in order for
the day.
Scene 5 - George is wearing a long-sleeved collared army green blouse,

tucked into black dress pants worn with a black belt. She’s wearing low-
heeled black shoes. Her hair is tied into a ponytail, bangs falling on her
forehead. No jewelry or makeup.
Scene 6 - George’s outfit is a lavender blouse with flaring sleeves and black
pants. A bulging shoulder bag hangs by her side. She wears a half updo.
Scene 7 - George is wearing a shirt with long, dark blue sleeves and a collar
of the same shade while the body of her shirt is white. She has black pants
on and sneakers. Her hair is in a ponytail and a handbag is slung on her right
shoulder.
Scene 8 - A fitted maroon shirt with sleeves ending above her elbows,
denim jeans. Her hair is down and she has no make-up. A watch.
Scene 9 - George comes to work in a loose long-sleeved cream top and dark
pants. Her long straight hair is fully let down. She’s wearing a bit of
makeup, with red lipstick, peachy eyeshadow, and a watch. Awee looks
about George’s age, has fairer skin in comparison and is slightly taller. Her
build is also bigger than George, also fit. She’s wearing a full face make up,
sleeveless khaki top under a floral long-sleeved light blue kimono. She’s
clad in red pants, her hair put up in a neat curled ponytail. On her ears are
small gems, her arm carries a tote bag.
Scene 10 - George is wearing the same outfit as scene 9, but with her hair
tied up in a ponytail, and two black bags, one on her arm, one across her
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shoulder. Small silver hoops that fall down to the start of her jawline are
now visibly hanging from her ears. Her mother is clad in a breezy v-collared
white top with sleeves falling to the elbows and blue jeans. Slung across her
shoulder is a black bag. Her hair is browner than George’s, tucked behind
her ears and falling on her back. She wears minimal makeup.
Scene 11 - George is wearing the same outfit as in scenes 9 and 10.
Scene 12 - George is wearing a loose sleeveless bright pink cropped top and
white shorts. Her hair is pulled up in a messy high bun, with strands of hair
framing the front of her face.
Scene 13 - George is clad in a deep blue tank top and a patterned white
pencil skirt that falls to her knees. She’s wearing low heels, a few bracelets,
earrings, and a black sling bag. Light makeup. Hair completely let down.
Scene 14 - George is wearing a sleeveless purple tank top and shorts. Her
hair is tied up in a messy bun. She has no make-up but she has a bracelet on
her right wrist. Awee is in a stripped, flowy, pink, long-sleeved top. Her
pants are a light blue denim wash. Her sling bag is hung over her right
shoulder. Awee’s hair is kept together in a neat ponytail. She has bracelets
on her right wrist, pearl earrings and a light shade of lipstick on.
Scene 15 - George is wearing a red blouse and black pants. Her hair is tied
together in a ponytail. Her bands are slicked back and wet from the rain.
There is no make-up on her face.
Scene 16 – George’s eyes are swollen from crying. She has bare face. Her
hair is a mess; it is left down, it is disheveled and unkempt-looking. She is
wearing a loose blue shirt that has a mix of white and light blue colors on its
print. Her bottom clothes cannot be seen since she is covered by a blanket.
Socioeconomic Scene 1 – George lives with her boyfriend in a house she inherited from her
status Tita Lola. They have a TV, furniture, and functional rooms.
Scene 2 - George is a college student debating during her SocSci 105 Finals.
Scene 3 – George lives with her Tita Lola away from her mother and
brother. She has an iPad to communicate with them. Studies in university
while helping out at home with chores. Aims to to support her mother and
brother by taking on jobs alongside her studies.
Scene 4 - Juggles her NMAT review with multiple jobs to support her and
Primo. Even this job isn’t enough, as she needs to meet her quota to take on
all of the expenses herself while she waits for Primo to achieve what he
wants. Lives the working student life while also fending for herself.
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Scene 5 - George has to maximize her time for studying even while
working. Her friend knows her financial struggles and refuses to accept
payment from her.
Scene 6 - Their house is a mess. Dishes are strewn all over the dining table.
George arrives at night from work and from studying and still has to do
some chores when she comes home.
Scene 7 - George aims to become a doctor. She takes the public commute
like the majority of Filipinos. She also uses a smartphone to communicate.
Scene 8 - Water and electricity cut-offs indicate failure to keep up with their
living expenses. She puts together pieces of cake leftover and lights up a
single candle for her birthday.
Scene 9 - George has a stable job in an office. She and Awwe walk outside
as they make plans to sell more houses for their company.
Scene 10 - George visibly puts and can now put more effort into her
appearance as she now has a formal and stable job. She is able to finance
her brother’s medical needs consistently. She also promises him their trip to
Amsterdam, which she assures she can achieve on top of also supporting
herself through medical school. Her mother’s job is not indicated.
Scene 11 - George states that she will sell the house to go to Amsterdam,
fulfilling her promise to her brother.
Scene 12 - She is inclined to having everything she needs, and that she is
used to, for a smooth day-to-day life, and grabs at the chance to secure a
convenient lifestyle.
Scene 13 - She leaves in the morning for her office job.
Scene 14 - George is eating cereal and milk for breakfast. Awee visits her
friend at her home.
Scene 15 - George mentions other friends who regards to have a similar

background as her and have achieved lives similar to what she herself could
and maybe should achieve.
Scene 16 - She’s drinking wine with Mikko.
Language Scene 1 - George screams at Primo, shocked and angry, in a mixture of

Tagalog and English. “This is MY house!” “Ang kapal ng mukha mo. Sabit
ka lang naman dito e!”
Scene 2 - She defends women mostly in English. She looks at her opponent,
Primo, directly while making her points, frowning and allowing a confident
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smile on her face. She gives him an open and friendly smile at the end of
their debate and looks surprised when he kisses her hand on stage. “I am
both offended and amused that you have the nerve, the temerity, to say that
we women are ineffective leaders because we are ‘complicated.’” She uses
air quotes with her fingers for the word complicated. “Men have forced
women to be complicated. Because we have to think for you men too. While
cooking, cleaning, washing your clothes for you, just so you and your
simple brains can function. You cannot survive without us.”
“But you expect us to do anyway.” “I agree. We should be working
together. Kaso hindi naman ‘yan ang tanong at ang point ng debate na ‘to.”
“Ayoko lang magpatalo sayo.”
Scene 3 - George’s mother doesn’t say anything to stop her from working
for her brother’s expenses. George is assertive and insistent. “Nay, hindi.
Ipapacheck-up p natin si Yohan. Hahanap po ako ng raket. Kahit student
assistant papatulan ko Nay.” “Oo, e, bahala ka.”
Tita Lola yells all around, aggressively throwing her partner outside the
house: “Hindi na! Hindi mo na ako mauuto!” “Ah, edi akin to! Ako rin ang
bumili nyan, kaya akin din yan! Hoy, hoy! Akin na yan!” “Go Tita Lola!”
She’s unapologetic. She laughs while giving Primo a high five for helping
her.
Scene 4 - George speaks in a weary tone in responding to her friend’s
criticisms. She doesn’t respond to Mikko’s suggestions of having Primo
help her.
Scene 5 – With her friendly inviting voice, George is determined in

attracting customers. When surprised by the honking car, she lets out a brief
shriek. A serious and unyielding tone when reasoning with Mikko, but
easily shifting to a light one when saying how negative he is.
Scene 6 - She talks to Primo in a calm and placating tone, a tired look on her
face that tries to be positive.
Scene 7 - The collected George is almost gone, but she is still calm. She
pleads to Primo to help her. “Primo, please.” Her voice shakes, both with
worry for Primo and her own studies. Her voice becomes more unstable but
still soft as she assures Primo that everything is fine. “Okay lang. Okay
lang.” She says nothing to her friend Nikko when he reprimands her, and
merely cries in despair. “Primo, I’m sorry. Kailangan ko lang to. Ngayon
lang. Ngayon lang, ha?” She cries as she leaves Primo on the sidewalk,
kissing him apologetically on the cheek.
Scene 8 – George conceals her emotions through silence. But she explodes
in a loud and aggressive manner when Primo asks a lot of questions. She
takes to using a few swear words, destroying Primo’s gift, and attacking him
frustratedly, hitting his upper body for a while. “Pagod na pagod na pagod
na pagod na ako! Pagod na akong maglinis sa mga kalat mo. pagod na
akong mag-aral. Pagod na akong magtrabaho. Pagod na akong isipin kung
pano mo nakakayang panoorin lang akong magkandarapa makakuha lang
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nang ibayad sa putang inang kuryente’t tubig, habang ikaw, ayan, patuloy
lang sa lintik na passion na yan. Puro passion! Hindi tayo mapapakain ng
passion na yan! Wala kang pambili kahit cupcake man lang para sa akin.
Pero ito? Ito meron. Dito sa putang inang to, lagi nalang meron!” “Puro
nalang sarili mo! Puro nalang pangarap mo! Ikaw, ikaw! Puro nalang ikaw!”
“Pagod na ako. Pagod na akong sabihin kay Mama na okay lang ako. Pagod
na akong umasa na sana paggising ko bumalik na yong Primo na minahal
ko. Pagod na akong maghintay na tuparin mo ang mga pangako mo sa akin.
Pagod na akong ipagtanggol ka sa kanila.”
Scene 9 - George refers to Primo as a “pest.” She slams her work things
upon arriving, communicating her mood. Awee converses with her in a clear
and upbeat voice. She lets out an excited scream when she learns about
Primo, and uses English in her speech alongside Tagalog.
George: “May peste sa bahay ko.”
Awee: “Ew! Puksain na yan! Kapag pinatagal mo yan, masasanay. Lalong
lalo na, masisira yung bahay. Sayang naman.”
George: “Two years na walang paramdam, tapos bigla nalang babalik para
pestehin ang buhay ko.”
Awee: “Hindi naman ata to ipis ano? O kaya daga. Hindi rin naman anay.
May pangalan ba tong peste na to?”
George: “Primo.”
Awee: “Aaah!! I thought so! I want to meet him!”
Scene 10 - George talks in Tagalog and English to her family, especially to

her brother. She promises him that they will move to Amsterdam if he
makes sure to take his insulin shots regularly. Her mother also uses English
for a few lines with a stern voice, calling her by her full name when she
finds out that Primo has come back.
George’s mom: “Hoy, Georgina ha.”
George: “Ano, Ma?”
George: “Ma, ikaw ba. Pag bumalik si Papa, babalikan mo?”

George’s mom: “Of course… not.”
George: “O, see? Edi pareha lang tayo.” “Wag kayong mag-alala. Ma, kaya
ko to. I can handle him this time.”
Scene 11 - Much of her responses to Primo are in English, and she makes
many of her points in the language. She also curses in it. “Shit.” She rolls
her eyes. Even when she almost runs into a bookshelf, she doesn’t admit her
genuine feelings. She lets slip one of her thoughts when she exclaims,
“Matagal na,” indicating she had been thinking of when she and Primo
parted ways. “Okay. Apology accepted. Pero ibebenta ko pa rin tong
bahay.”
“Of course I’m okay. Matagal na.” “Just because you said you want me
back? No! You have crossed the line this time.” “Funny.”
Scene 12 - George warns Primo off her side. “Op! Walang lalagpas! Walang
tatawid! At walang pakialamanan!” She firmly enforces her rules in a firm
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voice and crosses her arms as she explains the mechanics.
Scene 13 - A strong, unyielding voice replies, “No!” to Primo’s request.
Scene 14 - George keeps her sentences short and her tone is clipped as she is
talking to Primo. She rejects his advances to make peace, like when she is
offered eggs for breakfast she immediately exclaims, “No thanks!” Awee is
as loud as ever, using the modern urban “Taglish” tongue, like George.
George says nothing for the entire scene, except to tell her friends that they
have to keep to her side of the house. A jaded look on her face when Awee
remarks about the handsome “pest.” One of her feet is placed on her seat,
her bent leg cushioning one of her elbows.
Scene 15 - George expresses her frustration to Primo. She curses at Primo in

between her sobs. “Tangina, Primo!” Her expression is helpless and angry
when talking about Primo’s effect on her, and envious when she talks about
the lives of the friends she went to college with. She has hiccups but she
continues to speak, “Ilang taon na naman ba ng buhay ko ang sasayangin
ko?” She asks him if he remembers Mikko and Jessica, who have reached
their goals, and she compares them to herself, “Ako? Heto, sinusubukan
paring bumangon para bawiin ang lahat ng nawala sa akin nung iniwan mo
ako.”
Scene 16 – George smiles while crying. She frowns when Mikko tells her of
his jealousy, and her face becomes serious when she hears why. She silently
rests on his shoulder to comfort him.
Personality and Scene 1 - George can be seen as aggressive both physically and verbally
behavior because she attacks Primo with words and also attempts to hit him with a
flower vase.
Scene 2 - She is confident and assertive in proving her points but open-
minded. She’s friendly to Primo in their first encounter.
Scene 3 - George’s mother is a gentle woman. She worries about her

daughter who pledges to work multiple part time jobs just to support her
little brother’s medical needs.
George is a hardworking and efficient multi-tasker, family-oriented. She

cheers for her grandmother, indicating respect and closeness.
Tita Lola is shown as an indignant, hot-tempered woman who doesn’t mind

driving people at fault physically away, resorting to violence, albeit mild,
and verbal aggressiveness.
Scene 4 - George tolerates her friend’s nagging and takes his criticism with
passive reactions. George shoulders all of the expenses selflessly as she
waits for Primo to reach his goals and achieve his dreams.
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Scene 5 – George is a patient and optimistic lover when she tells Mikko that
they only have to wait for Primo’s big break. She does not even consider the
idea of his failure.
She is a determined flyer distributor who doesn’t give up even if the people
are ignoring her offer. She maintains a cool stance and friendly demeanor
towards Mikko even after he attacks her about her situation again.
Scene 6 - She responds calmly to Primo during his outburst, even while
being tired herself from a long day. She forgives easily.
Scene 7 – George is a selfless lover. She prioritizes Primo over her own
dreams, demonstrated in how she chose to ditch her NMAT for him.
Scene 8 - George continues to show patience by making things work at

home such as gathering leftover cake or getting water to wash the dishes.
However, her resilience also has a limit when she finally bursts and tells
Primo she is tired of their relationship. She becomes aggressive, cursing at
him, punching him, mangling the record he bought for her, and stepping on
it. She then reverts into a sadder, more sorrowful state toward the end of
their fight, weeping openly.
Scene 9 - George talks about Primo with disdain and a bit of reluctance.
Awee is easygoing and engaging around her. When she hears about a pest in
George’s house, she exclaims in a disgusted way and suggests quick and
practical action. She shows great interest and excitement over her friend’s
romantic life.
Scene 10 - George works hard for her family. She is gentle and thoughtful
to her brother, and is open to her mother. She is cautious in talking about
Primo and expresses indignation when people are skeptical about it.
George’s mom also shows concern for George when Primo is mentioned,
she additionally states that her ex-husband is unwelcome in their family.
Scene 11 - She is intent in keeping her interactions with Primo civil in spite
of their painful history. Tried to “play it off” when Primo suddenly showed
her romantic interest in her. Her behavior once inside her room showed that
she was setting up a facade of keeping her feelings in check, although she
was verbally rejecting Primo.
Scene 12 - George is sly and manipulative. She uses her looks to distract
Primo in order for him to agree to her terms and to surrender some of the
house appliances to her.
Scene 13 - She looks similarly beguiled by Primo’s physical display,

smiling at him when he talks to her about the bathroom schedule. The
absent look on her face is then immediately replaced by a steely one,
showing that she isn’t as easily won over.
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Scene 14 - George is sarcastic and short-tempered when dealing with Primo.

She ignores him most of the time. Awee has a more refreshing attitude
towards Primo, likely due to her absence in Primo and George’s past. She’s
highly enthusiastic and outgoing when meeting him, and notes his good
looks to George within his earshot, while also calling him the pest she and
George refer to. George looks disinterested, and doesn’t display any shock
at Awee’s lack of discretion.
Scene 15 - She frustratingly opens up to Primo, completely abandoning her

previous civil attempts at distancing herself. George admits to being a smart
person who is foolish in the face of love. She seems to show some self-pity,
and evaluates her own helplessness when it comes to her emotions, calling it
“stupidity.”
She also shows her resilience after all this time, telling Primo how she has
been trying to get up and regain what she lost when he left, even when she
feels down as she compares herself to those who have reached their goals
before her.
Scene 16 - She tries to sound upbeat at first, and complains when Mikko
says she’s not happy. She then listens kindly to him when opens up in turn.
Interpersonal Scene 1 - George is surprised to see her ex-boyfriend in the house and vice
relationships versa. They are not in good terms after breaking up two years ago.
Scene 2 - George and Primo meet in an academic debate. The beginning of

their acquaintance gives light to the mutual assertiveness of their
relationship, as well as mutual agreements to agree to disagree.
Scene 3 – George’s family has a strong bond. She works hard for her
brothers’ medical needs. Her mother considers her medical school, and she
is also very close to her Tita Lola. They cheer for each other. The Tita Lola,
on the other hand, is unfortunate in her romantic relationship.
Scene 4 - George supports Primo in his dream music career. She doesn’t
mind working alone to shoulder their expenses.
Scene 5 - George and Mikko are good friends and they are very comfortable
with each other. He doesn’t hold back in his criticism of her, even calling
her a housemaid in allusion to her doing everything to accommodate Primo
in her life. His blatant disapproval of Primo is received by George passively.
Scene 6 - George offers Primo support when he spirals because of his

problems with the band, but her opinion seems irrelevant to Primo.
Scene 7 - George’s dedication and loyalty to Primo required her to sacrifice

her own dreams. Primo is shown to be the most dependent on George in this
scene--financially, emotionally, physically, and mentally. George brushes
away his apologies, saying “it’s okay,” when it’s clearly not. The burden of
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their relationship on George manifests the most here as well. She is

suffering but enduring it all, never complaining.
Scene 8 - After years of patience, George opens up to Primo. She explained

how fed up she is in their relationship. She’s tired dealing with his mess.
Primo is also hurting but he chooses to let go.
Scene 9 - Awee seems to be a good friend of George for some time before
this scene, as she could pick up on George’s mood and guess the possible
cause, and also knows about George’s old home being empty for the past
two years. She also shows genuine interest in her friend’s personal life,
which George comfortably allows her a peek into.
Scene 10 - George shows concern and closeness to her brother, as well as

with Mikko who she engages in banter with as they talk about Primo.
George’s mom also gives her advice and shows care by non-verbally asking
her daughter to be wary of her ex because of things that have happened in
the past.
Scene 11 - George and Primo are shown to still have a sexual tension
between them, a mutual attraction that was set aside two years before their
reunion. Their fresh interactions develop with a more thoughtful and
persistent Primo and a wary and more headstrong George. However, her
knees get weak when Primo says that he wants her back, indicating that he
still has an effect on her emotional state.
Scene 12 - George uses her looks to distract Primo, who is seen ogling her
body. This display suggests a large physical attraction. George is aware of
this power, and uses it on Primo without hesitation.
Scene 13 - George is shown to be distracted by Primo’s shirtless state which

shows that she is still attracted to him.
Scene 14 - George is good friends with Mikko and Awee, who is also her
officemate. George is comfortable with both Primo and her friends to have
them in a very casual situation. She doesn’t mind letting Primo know about
what her circle thinks of him.
Scene 15 - George acknowledges that she is hopelessly in love with Primo

and she blames him for achieving less than she deserves.
She fears the consequences she might have to face if she gets back with him.
Primo blames himself too.
Scene 16 - George leans on Mikko for comfort, which he provides by

opening up to her as well. Although they both regard it to be envy, their
treatment of each other implies that they admire the other for what they
themselves haven’t achieved or experienced. In a way, they seem to be an
image that contributes to their hopes about their each of their own lives.
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APPENDIX F
COLLATED CODING FORM (Level 1, The Super Parental Guardians)
Coder’s name Adarrah Rose J. Angulo, Allison Auman, Mary Grace Tito
Title of film The Super Parental Guardians
Synopsis “The Super Parental Guardians” is a hilarious family movie with a heart that
revolves around unlikely “parents” Arci (Vice Ganda) and Paco (Coco
Martin). Arci gains custody of his best friend’s children Megan (Awra
Briguela) and Ernie (Onyok Pineda) just before she dies. The children’s
uncle, Paco, has no choice but to join this newfound family. Arci and Paco
will now embark on the craziest and and greatest adventure of their lives as
they play the roles of Momshie and Popshie to both Megan and Ernie.
(Taken from https://starcinema.abs-cbn.com/movies/the-super-parental-
guardians-(1))
Scene Scene 1 (04:14-05:30)

Scene 2 (07:16-08:23)
Scene 3 (09:14-10:00)
Scene 4 (10:47-12:49)
Scene 5 (12:56-13:43)
Scene 6 (13:57-15:28)
Scene 7 (15:43-18:06)
Scene 8 (18:07-20:11)
Scene 9 (20:46-23:17)
Scene 10 (23:35-26:35)
Scene 11 (26:56-29:07)
Scene 12 (31:09-31:15)
Scene 13 (38:41-39:26)
Scene 14 (41:07-43:47)
Scene 15 (47:56-49:35)
Scene 16 (49:47-52:13)
Scene 17 (56:31-58:22)
Scene 18 (1:00:14-1:1:00)
Scene 19 (1:31:02-1:31:57)
Scene 20 (1:33:22-1:33:53)
Scene 21 (1:39:00-1:40:02)
PLOT
Scene 1 - Emmy comes in the scene and fires bombs on the fighting men, yelling at them to stop
fighting. She pulls Paco off of Jake. The two men fight over her and Emmy reveals that she only
dated Paco to spy on his gang. Paco lunges at her but he is stopped by his friends. Jake’s arm is
around Emmy and as the police come to arrest the hooligans, they run away hand in hand.
Scene 2 - Marife Delos Santos greets Arci by reprimanding him for being late and for his outfit.
She tells him to do his job right. Arci introduces his friends -- Nadine, Kath and Liza -- to his
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boss and her assistant. Mdm. Marife continues to berate Arci and tells him to do his job properly
before she goes over to the police guests for the ribbon-cutting event.
Scene 3 - Marife gives Arci a long list of instructions for overseeing the construction of her
house. At first, Arci complains but he tells her to list as many things as she wants after Marife
threatens to pull out her support for Arci’s plan to go abroad. Someone asks her for a picture, and
she readily agrees.
Scene 4 - Paco is at home being nursed by his sister, Sarah. She scolds him for getting into gang
fights and suggests doing jobs as a stuntman instead. She starts to reprimand Paco’s friends who
are eating dinner at their house, and drive them out. She warns Paco against putting their family
at risk, including her two kids, Paco’s nephews. The two boys, Melvin/Megan and Ernie, are in
the living room dancing, practicing for the show in their school’s Family Day. Sarah dances along
in her seat, and gushes to Paco about how cute they are.
Scene 5 - Sarah tells her children to hurry up for school while she is washing her face with a
whitening soap. Meanwhile, Paco is listening to the news on TV about a body being found. Sarah
pats her face lightly, complimenting herself. Paco calls her over, and they stand together in their
front doorway, watching police looking over a crime scene across their house. Upon seeing this,
Sarah urges Paco for them to leave because it’s dangerous.
Scene 6 - Arci and his friends are having dinner. They start talking about Arci’s dreams of going
to Korea. Liza says that there would be no difference between Arci’s job in the Philippines and in
Korea.
Scene 7 - Sarah comes across Arci just as he is coming out from a building. She recognizes an old
friend, and upon hearing her name, Arci hugs her in delight. They ask about each other, and Arci
tells her he just received his approved VISA for Korea. They continue their reunion in a
restaurant, where Sarah reminds him of his godparentage to her sons. As they catch up, she also
tells him she’ll be leaving the care of her children to him if anything ever happens to her.
Scene 8 - Sarah is walking home when she comes across a murder going on. She whimpers and
flees, dropping the bag of balot she was bringing. One of the culprits chase her. Paco gets a call
from a distressed Sarah. He hurries home. He bursts inside their house, finding a hooded person
sitting in front of his nephews, who are startled by the noise from Paco. He rushes over, grabbing
the figure, and poises himself for an attack before the person turns around, revealing Sarah, who
raises a fist in return. Paco asks what happened, and Sarah sends the boys to their room. She tells
Paco about the murder she witnessed and the ensuing chase. She worries that they might come to
kill them too, but Paco assures her that nothing will happen to their family as long as he protects
them.
Scene 9 - Sarah, coming over from an attack, stumbles over to Arci’s place. Arci asks Sarah why
she is at his house but Sarah, weak from the stab wound in her back, falls against Arci, who
thinks she just misses him, and hugs her back. She tells him not to press too much on her and he
asks what it is just as he notices the blood on his hand from touching her back. Arci, Kath, and
Nadine finally see the knife lodged in Sarah’s back and they panic. Sarah tells Arci to calm down
and call for help. In his panic, Arci dials a pizza place instead and orders because of a 50%
discount, asking Sarah for the flavor she wants. She responds with anything that has ham in it.
Arci asks if she can wait, and she grabs the phone from his grasp. Dialling 911, she tells the
phone she’s been stabbed, asks how long they’ll get there to help her, and says never mind. She
hangs up and falls over, and Arci catches her. Still panicking, Kath and Nadine run screaming for
help. Arci sinks to the ground with Sarah, asking her urgently to tell him who has stabbed her.
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Instead of answering the question, Sarah asks Arci to take care of her children and to protect
them, which he agrees to.
Scene 10 - Arci, Liza, Nadine, and Kath are all dressed up in a black ensemble for Sarah’s wake.
They pose around the area before visiting Sarah, taking selfies. Weeping, they approach a coffin,
but retreat when they see it as somebody else’s. They find the right one, and Arci grieves over it.
Arci introduces himself to the two kids. Paco sees him and tells him he didn’t know of Sarah’s
friends. Arci tells him he’s there to take the children away as per Sarah’s request, and Paco, along
with his gang, threaten him. Arci turns to Liza, Nadine, and Kath, slapping each of them for
asking to take the children. They leave.
Scene 11 - Liza, Kath, and Nadine are helping out Arci at Marife’s house, organizing and
designing the place. They talk about Arci moving into the house for a while and visiting them
from time to time. Several construction men interrupt them coming down the stairs. The four of
them immediately pay the men their attention, checking each of them out. A maid comes into the
room, asking what’s going on. Liza screams. The maid asks what they’re doing in the house. Arci
distracts her through a mini photoshoot. The others follow along.
Scene 12 - Liza does the laundry while Arci is on the phone with Marife.
Scene 13 - Arci and Paco are talking about who the father of the kids’ might be. Paco says Sarah
never told her anything, and Arci supposes that Sarah must have had a diary or something to
record something about it. Paco leaves and comes back with a thick hardbound book--Sarah’s
diary. He throws it to Arci, who throws it back to him, and Paco doesn’t catch it. The diary drops
to the floor, leaving the back cover open, and revealing Sarah’s scribble on the last page--a list of
all the men she slept with.
Scene 14 - Arci wakes up to find Paco and the two kids having breakfast. Marife’s maid is
massaging Paco and telling the children to eat to their heart’s content. Arci asks the maid why she
cooked all the imported goods. The maid answers that she did it because Paco requested it. The
maid continues to tend to Paco and his requests, serving him iced tea and massaging his back
throughout the breakfast.
Scene 15 - Arci and Megan show off the dishes they prepared for the construction men’s lunch.
The maid brings them each dish at their behest. She watches their presentation contest on the side.
Scene 16 - Arci, Nadine, Kath and Liza try to locate Bruno Belza, one of Sarah’s past lovers, and
when they do they find that he has been stabbed by someone. Arci asks him if he is the father of
Sarah’s children and Bruno, but he tells them he’s not the father as Sarah wasn’t his type. A man
in a white mask appears on the road and shoots at the wounded man with a gun. Arci and his
friends scream in alarm and run. They stumble into Paco’s shooting location, leading the men
chasing them there as well. They get distracted by the production set and ask about the lead actor.
They insist to see the famous actor, while Paco fights the men after them in the back.
Scene 17 - Arci meets with Megan and Ernie’s principal, who tells him about Ernie’s vandalism
activities and Megan’s failing grades, and discusses the reason behind this. Arci tells Edna that
the kids have been going through a rough time because of the death of their mother.
Scene 18 - Arci chides a child who was picking a fight with Megan, and the child’s mother walks
over and asks what Arci’s doing. The mother accuses Arci of fighting a child and Arci argues that
it’s because her kid bullied Megan. She questions her son after learning that he started with the
name calling, but then concedes to it when she sees Megan. Her husband gets involved as well,
and they argue until someone tells them the activities are about to start. As they leave, the mother
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tells Arci to do their best to win against them.

Scene 19 - Marife arrives at the house she’s entrusted to Arci and comes across Ernie and Megan
who are about to run away. She asks them where they’re going and why they’re leaving and tries
to convince them to come with her for a ride to the barangay hall where they’ll be safe. They
shake their heads and start to leave but Marife’s men grab them, and they all leave in a van. The
maid witnesses the scene peeking behind a wall from inside the house.
Scene 20 - Marife is keeping the two boys hostage in an empty train. Around them are her
uniformed men and the masked culprits. Megan asks why she’s doing this, and she tells him it’s
because they know something against her. She tells her men to bring them to where their next
victims are, so they can kill the boys with them.
Scene 21 - Liza is fighting Marife’s guards along with Arci, Nadine, and Kath. They corner one
last man standing, who is wearing a mask. Arci tells him to take it off, which he does. They are
all immediately disarmed. Liza squeals as the man takes off his shirt. He lifts up his weapon and
gets ready to attack Arci, who tells him to leave before the police get there and to turn over a new
leaf, handing him some cash. As the man leaves, Arci and his friends gush over how attractive he
is, with Liza holding a thumbs up and nodding vigorously.
CHARACTER
Female characters Scene 1 - Emmy

in the film Scene 2 - Marife and Liza
Scene 3 - Marife
Scene 4 - Sarah
Scene 5 - Sarah
Scene 6 - Liza
Scene 7 - Sarah
Scene 8 - Sarah
Scene 9 - Sarah
Scene 10 - Liza
Scene 11 - Liza and Marife’s maid
Scene 12 - Liza
Scene 13 - Sarah
Scene 14 - The maid
Scene 15 - The maid
Scene 16 - Liza
Scene 17 - Megan and Ernie’s principal
Scene 18 - A student’s mother
Scene 19 - Marife and the maid
Scene 20 - Marife
Scene 21 - Liza
Physical Scene 1 - Emmy is a young woman with fair skin, average height and a slim
appearance and body. She has medium length brown hair with streaks of orange, pink and
attractiveness red. She is wearing a red-orange sleeveless top over her teal bralette, the top
inserted into tight red shorts. A printed red fanny pack across her hip. Black
flip-flops. She has pearl earrings on. Most of the make-up on her face is
light aside from her bold red lipstick. Shapely brows.
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Scene 2 – Marife is a woman with short black hair, slicked back, medium
skin tone, brown eyes, and average height. Her body is slim and fit. Makeup
consists of lightly filled-in brows, light periwinkle eyeshadow, light pink
blush and light lipstick. Big pearl earrings and a gold necklace with a pearl
pendant. Gold bracelets and a ring. Her dress is a green bodycon Filipiniana
with yellow-green sequins and a train. The front of the green dress stops
above the knees and continues as a lace skirt reaching the feet. Gold high
heels.
Liza is a short woman with small eyes, a slightly wide nose, and long bushy
black hair that she wears with straight bangs. She’s short, and has medium
to light skin tone. She has a small face, and is neither skinny nor fat. She’s
wearing a light pink strapless maxi dress with a sequined top and big red
dangling earrings encrusted with a clear gem. Her makeup is glimmery light
pink eyeshadow and a pink lip.
Scene 3 – Same as in scene 3.
Scene 4 - Sarah is of average height, has dark hair, a fair complexion, and a
slightly matronly figure. Thin and arched eyebrows, and a long Roman
nose. Her hair is neatly tied up in a bun with a black headpiece. She is
wearing a green polo shirt, open black sandals, and black slacks. She has no
make-up on and no jewelry either.
Scene 5 - Sarah is wearing a gray-ish shirt, with sleeves that come up to her
elbows, and open red sandals. Her pants have a pattern of zigzags in white
and purple. She has a hair tie on her right wrist and a face towel hung over
her right shoulder. Her hair is in a loose bun and a light blue headband is
tied over her head as well. Her face is free of makeup. Looking at the
mirror, she calls herself pretty.
Scene 6 - Liza is wearing a sleeveless Aztec-patterned faded blue dress with
a pink undershirt. Her hair is tied in a side-swept ponytail. No makeup or
jewelry.
Scene 7 – Sarah’s outfit is a pink tank top with a black undershirt and a
striped yellow cardigan on top, along with pedal jeans, pink sandals, a black
shoulder bag, a ring, and silver hoop earrings. Her medium-length straight
hair is let down.
Her eyebrows are drawn on, she has some light eyeshadow on and a neutral
shade of lipstick on. Minimal makeup.
Scene 8 - Same as in scene 7, and later a light blue hoodie, dark denim
jeans, flip-flops, and her hair in a messy bun.
Scene 9 - Sarah is wearing A long-sleeved red floral shirt, black pedal
pushers, red sandals, black shoulder bag. Silver hoop earrings. Tousled hair
in a bun. A cardboard sign is hanging down her front saying “ADIK AKO!!!
SA BALUT!!!” A knife in her bloody back. Pale face, white lips, dark
circles under her eyes.
Scene 10 - Liza is wearing a long sleeveless black dress with a high
zippered slit down her right side starting from her waist. Under the dress are
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black shorts and black net stockings. Elbow-length black gloves. Earrings.
Gothic make-up with black lipstick. Hair let down.
Scene 11 - Liza is wearing a white halter top with a printed purple skirt, its
print has geometric shapes and lighter shades of purple as well as the color
orange which pops out. Her sandals are white and she has a black sling bag
slung across her front. Her hair is in a low ponytail and she has no make-up
on.
The maid is a petite stout woman with brown hair and a tan complexion.
Her hair is neatly up in a ponytail, held together by a floral pink scrunchie.
Her outfit is a long pink dress in the same floral pattern and with a rounded
white collar. Around her waist is a white apron, where a blue fan is tucked
in. Crystal earrings. Pink and white flats. Bright pink lipstick. Thin fully
drawn-on brown eyebrows. Black eyeliner. A silver bracelet. Long nails in
French tips. A silver ring. She has pearl earrings on her.
The maid refers to Liza as “chaka,” or ugly. Liza calls the maid a dog.
Scene 12 - Liza is wearing a sleeveless patterned purple and light brown
romper with flip-flops. Her hair is down.
Scene 13 - No indication.
Scene 14 - Marife’s housekeeper is wearing the same outfit as stated in
Scene 11, her maid’s uniform. The only difference is that she is wearing a
matching pink, floral pink cap and her hair is down.
Scene 15 - She’s wearing the same outfit she has in scene 11, but here with
an additional complementary hat with the same pattern and colors as the rest
of her uniform. Her hair, dyed a dirty blonde, is let down.
Scene 16 - Liza is wearing a green flowy dress that ends above her knees,
open-toed ivory wedges with straps that crisscross around her ankles, and a
black sling bag down her front. Her hair is untied and a bit wavy, with
minimal make-up on her face.
Scene 17 - The boys’ principal is a woman of average height and a pear-
shaped figure with a light complexion and a black bob just under her ears.
Her brows are thin and draw on, her eyes big, her lips thin and downturned,
and she’s wearing a light fuchsia collared shirt and black pants. she has a
light shade of eyeshadow on her lids and natural looking color of lipstick.
Also a gold chain watch, dark square-ish plastic eyeglasses. Small silver
hoop earrings. Neutral lip and minimal makeup.
Scene 18 - The mother is a small, wiry middle-aged woman with brown
medium-length loose locks and a light complexion. Her hair is held back
from her face by a patterned wide blue bandana. Little to no makeup. She’s
wearing a bright orange T-shirt, beige leggings, and a red tote bag with cat
and Chinese characters. A tattoo of a flower on her neck and the wrinkles on
her face are prominent, mostly those around her eyes.
Scene 19 - Marife’s hair is in a puffed half-updo. She’s wearing a bright
yellow halter jumpsuit. A big bracelet with gems per wrist, rings, long
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dangling crystal earrings. Deep wine lipstick. Full-face makeup.

The maid is wearing a dark blue shirt, white shorts, black sandals, and her
hair, tied in a bun, is swept back by a yellow band. On her face is a facial
mask. She has a facial mask on.
Scene 20 - Same as in scene 19, but with her gold flats visible.
Scene 21 - Liza is wearing a loose sleeveless patterned brown dress, black
Converse sneakers, a necklace, and a black sling bag. Her hair is let down.
She’s also wearing light-colored panties. Little to no makeup.
Socioeconomic Scene 1 - Emmy is a spy who betrayed Paco for Jake. She was romantically
status involved with both men. She is seen going out of one of the houses in the
shifty neighborhood which could be presumed to be the place where she
lives.
Scene 2 - Marife acts as the host of the party, has an assistant who follows
her around and arranges her train for her, the wife of the Police Director
General, and is Arci’s employer. Liza joins the party because of her
connection to Arci.
Scene 3 – Marife refers to the construction of her new 3–storey house in
Quezon. Meanwhile, she will be taking a vacation in Europe because it’s hot
in the country. She’s backing up Arci’s plans to move abroad.
Scene 4 - Sarah lives in a decrepit one-story house in the slums with her
brother and two children. It has sparse wooden and plastic furniture and
appliances that include a small electric fan. The plates on the dining table
are plastic and mismatched, as well as the glasses. The guests eating are
using their hands instead of utensils.
Scene 5 - Sarah engages in skincare in the morning. Her house displays
discolored pots and pans. The walls of her house are written and drawn on
in crayon and they have a TV. The stained walls have some parts with the
paint peeling off. The rest of their neighborhood is just as decrepit and poor,
as well as a crime hotspot.
Scene 6 - Liza is eating sardines with soup with her four friends, whom she
also lives with. Arci complains to Kath for giving away their food to the
neighbors since they don’t have that much. Their drinks are orange juice and
they are all using their bare hands to eat. The area they are eating in is
randomly designed.
Scene 7 - Sarah has a smartphone. Eats balot in a restaurant. She eats with
her bare hands. She sounds very impressed when Arci reveals that his work
involves being a social media manager, “Ang bongga talaga ng nakuha kong
ninang ng mga anak ko!” She also reprimands him in annoyance when he
continues to speak in English.
Scene 8 - Sarah takes home balut in a plastic bag, goes home late, and has to
walk in a dark alley. She witnesses a violent crime firsthand. In her house,
she has a plant that has little to no leaves. Her couch is made of wood and
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has no pillows. Their furniture does not match. Her son mentions her
tendency to binge on balut and as a coffee drinker.
Scene 10 - Liza has a smartphone and a selfie stick. She dresses up for
occasions including funeral wakes.
Scene 11 - Liza tags along with Arci at his job. The maid works for Marife
as housekeeper for her uninhabited house.
Scene 12 - Liza is doing the laundry just in front of their house. She is using
a wash basin and handwashes.
Scene 13 - Sarah kept a daily log of her activities. Sarah kept a humongous
diary and records her encounters, including romantic ones, with people.
Scene 14 - Marife’s housekeeper is assigned to house chores as well as
assisting Arci as the caretaker and his guests, such as taking orders from
Paco.
Scene 15 - She attends to the requests of Arci and his guests.
Scene 16 - Liza has tagged along with Arci as he searches for Bruno Belza.
She is the only one out of their group who doesn’t have her smartphone out.
She’s familiar with popular figures in the film industry. When she walks
into a shooting scene, she asks to take a selfie with him.
Scene 17 - The school principal has a golden watch on her left wrist.
Scene 18 – The mom attends her son’s Family Day in school with her
husband.
Scene 19 - Marife has several men to do her bidding and a van. She gets out
of her van and is surrounded by her hired bodyguards and her personal
assistant. They listen to her every command. The maid engages in skincare,
and changes out of her maid uniform at night.
Scene 20 - Marife commands a whole group of guys, including hired
murderers, and has an entire train at her disposal. She is the mastermind
behind the murders that have been happening. She has more victims she will
soon be killing.
Scene 21 - Liza is able to hold her ground in fighting Marife’s henchmen
and capable of self-defense.
Language Scene 1 - Emmy talks in a clear and loud voice. She yells at the men who
are fighting around her and seems to be chewing gum in her mouth while
speaking, grunting and growling. “Hoy! Ayaw nyong tumigil ah.” “Yung
susunod, susumpakin ko mga mukha nyo ha.” “Tamang sinasabi niya Paco.
Boypren ko si Jake.” “Shinota kita para mag-espiya sa inyo.”
Scene 2 – Marife has a clear voice and speaks in Tagalog and sometimes in
English. She gives Arci exasperated looks. To Arci: “Ano naman ang nakain
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mo? Bakit ganyan ang suot mo?” She berates Arci and asks him to do better
at his job in a condescending and infuriated tone. She uses a pleasant and
light tone when directing her words to her husband, with whom she uses an
endearment, and his guests. “Hon, start na tayo ha.”
Liza gives a big smile when she introduces herself, and has a clear and high-
pitched voice.
Scene 3 - She gives her instructions in a heavy tone, widening her eyes a
little. She remarks about the Europe trip and the heat in a testy voice:
“Ako’y pupunta muna nang Europe, at ang init dito.” She rolls her eyes
when he asks her to hand the list to him since he can’t reach. She gives a
fake-casual passing comment about not helping Arci with his plans in an
even more impatient tone: “Ah, ganun? Hmm, sige, kung… hindi ka nalang
kaya namin tulungan sa pag-Korea mo?” An enthusiastic tone when asked
about a picture: “Ay, yes? Sure, sure! Halika, magpapicture tayo.”
Scene 4 - Sarah speaks in a strong loud voice to Paco and his friends.
“Sinabi ko na nga kasi sa iyo na tigilan mo na yang ka-ka-gang na yan!” She
becomes verbally aggressive too, but speaks in a giddy animated tone when
referring and talking to her children.
Scene 5 - Her voice is loud and brisk, but also endearing when reminding
her sons to hurry up. It’s low and light when she talks to her reflection:
“Ganda mo.” When called by Paco, her casual demeanor changes and she
talks to him in a nervous tone. She calls her brother “Tol,” and talks to him
in a high voice about moving, her words urgent. “Tol, sabi ko sayo delikado
na tayo rito eh! Umalis na tayo dito, tol!”
Scene 6 - She frowns and gives Arci a dubious look when he mentions a
“CEU” as the university he went to. She gives her question to him about his
job casually.
Scene 7 - She jumps up and down when Arci recognizes her, her voice loud
and strong, rising a few octaves higher than her normal pitch as she and Arci
scream in surprise. She exclaims in a loud aggressive voice, widens her
eyes, and raises her brows: “Hoy. Isa pang Ingles mo, babasagin ko to sa
mukha mo ha.”
Scene 8 – She lets out a series of whimpers upon seeing the murder. Her
voice is frantic on the phone, as she speaks in a fast plead, her pitch
increasing. An indignated expression when Paco mistakes her for the
criminal. She asks her sons to go to bed in a calm, steady, and low voice. To
Paco, she speaks hurriedly, her voice quivering and rising in anxiety. “Dun
na nga muna kayo sa loob. Pumasok na kayo sa loob. Sige na. Matulog na
kayo. Dali. Sige na anak.” “Tol kasi Tol, may pinatay kasi dun sa may
creek. Pinapatay nila yung—Tol eye to eye kami, Tol. Tol. Nakita nila ako
Tol. Hinabol pa nga ako ng isa eh!”
Scene 9 - Sarah speaks in a clear, but weak voice. She talks slower than she
usually does. Her eyes narrow, and her brows furrow. Her voice has some
hint of annoyance in it when she talks to Arci about looking all over for his
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house.
Scene 10 - Liza puts on a weeping face with her friends. She yelps when
Arci hits her. She doesn’t say a line.
Scene 11 – Liza helps out in redesigning the house but she doesn’t speak
throughout the process. She smiles and has an excited expression on her
face when she sees the men. She smiles when she watches them pass, and
claps her hands to Arci’s comparisons. She screams upon seeing the maid
and calls her a dog. A loud, high-pitched scream. The maid talks scornfully
to the four, and uses slang. “Caretaker ka lang dito, hindi interior designer.
Ang chaka! Ang chaka nyong apat. Hmph!” She yells at Arci and moves her
hands as she gestures around the room and towards Arci and his friends.
Scene 12 - No lines or reaction shots.
Scene 13 - Sarah uses slang to refer to her privates, calling her vagina
“pechay.”
Scene 14 – When Arci asks why the imported canned goods were brought
out, the housekeeper replies in a sickly sweet voice that Paco requested it
which is why she cooked it. Her voice is softer and without an edge when
she is talking to Paco. After a while, Marife’s housekeeper no longer speaks
and focuses on massaging Paco. She smiles as she watches Arci and the kids
arguing, an amused expression on her face.
Scene 15 - She smiles along as Arci and Megan face off, nodding to Arci
here and there, following orders made non-verbally. She stifles a small
laugh when Megan presents one of his dishes.
Scene 16 - Liza screams in horror as she sees that Bruno Belza was stabbed.
After they run towards the crew of people who are shooting a movie, she
appeals in a soothing and light-toned for a selfie with the lead actor.
Scene 17 - She has a clear deep voice and uses English and Tagalog while
calmly talking to Arci. Her voice is soft but steady when explaining the
reason for the suspension.
Scene 18 – She has a loud high-pitched voice, a bit singsong. She raises it
imposingly at Arci. “Excuse me! Anong ginagawa mo? Ba’t ka nakikipag-
away sa anak ko? Ha? Ano, nakikisali ka sa away bata?” And then she asks
her son what he did to Megan in a chastising, but softer voice, then shifting
to a critical tone upon seeing Megan: “Anak, ba’t mo naman siya tinatawag
na bakla? O eh, iba iba kulay ng hairpin o, eh di bakla!” “May gusto ka sa
asawa ko, ganon?” Her tone is mocking and sarcastic as she tells Arci and
his godsons to do their best: “Galingan niyo ha, kasi, matatalo kayo.” She
laughs at Arci and the two kids as she leaves.
Scene 19 - Marife uses a casual and easygoing tone with the children. She
puts her hands on her waist when she says hi to them and calmingly gestures
with her palms out. She urges the men to hurry up, pushing their backs.
Scene 20 - Marife is verbally aggressive with the boys, yelling at them and
dropping her easygoing approach. When Megan begs her not to kill them,
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she screams in his face, “Wala na kayong magagawa, dinamay na kayo ng

ninong niyo!” She tells the kids that they have to die because they know
about her secret. “Dalhin ang dalawang to sa Boosan! Para maisabay na
natin sa mga susunod nating papatayin.”
Scene 21 – Liza gives a long high-pitched squeal when the masked man
reveals himself. She gives a thumbs up in agreement to Arci and says “Oo!”
in the same excited voice.
Personality and Scene 1 – She shows physical and verbal aggressiveness, yelling threats to
behavior the men. She is crass in dealing with the situation and revealing the truth to
Paco. She is cold and shows no hint remorse when she tells Paco she only
dated him to spy on him. Also doesn’t show any aversion to Jake’s display
of physical intimacy. She is deceitful to Paco and loyal to Jake.
Scene 2 – Marife acts annoyed with Arci. She walks up imposingly to him
across the room. She is also critical of Arci’s performance and demands a
better one from him. She reprimands Arci in front of his friends and she
makes faces when she realizes he has brought additional guests to her event
as Arci introduces her to them. She looks at his friends in a condescending
manner, but her tone is a friendly one when she directs her attention to the
other guests. Liza shows a bright and cheerful disposition and eagerly
corrects the mistake with her name.
Scene 3 - Marife is irritable when talking about the humidity in the country.
She also expresses annoyance and rolls her eyes at Arci when he complains
about his workload. She threatens to take away his dreams of going to
Korea if he doesn’t obey her, displaying her to be snobby and manipulative.
Scene 4 – Sarah is nagging, serious, bossy, and anxious. She advises Paco
about his gang activity, and his involvement with people like Emmy and
Jake. She is critical of his actions. Meanwhile, when the attention is on her
two kids, she is enthusiastic and spirited, and gushes about them.
Scene 5 - She is attentive of her children and also takes care of herself. She
takes a bit of time to stare at the mirror and praise herself. She anxiously
wants to move out, and to Paco she expresses her worries.
Scene 6 - Liza is attentive as she listens to Arci speak and asks him
questions.
Scene 7 – She affectionately reciprocates Arci’s playful slaps, hitting him
with her bag. Gets irritated with Arci and threatens to hit him. Teases Arci.
She seems impressed with Arci’s career. She remembers their vow even if
they have drifted apart as friends. She shows aggression when Arci
continues to talk, then she shifts to a joking manner.
Scene 8 – Sarah turns fearful at the sight of a crime. She is frantic and
worried for her and her family’s safety. She is calm and soothing to her
sons, but shows her concern openly to Paco. She rambles her story to him
helplessly. She flinches when Paco raises his voice and she becomes shaky
as she recounts what happened.
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Scene 9 - Sarah appears calm when arriving at Arci’s place, even asking
about his house and responding to the pizza query and becoming irritated.
Instead of panicking, she tells him to calm down and she handles the crisis
herself by calling 911. As she is dying, her thoughts are of her children. She
is physically weakened after having been attacked, and she endures the pain
just to secure her children’s care.
Scene 10 - Liza takes selfies and puts on a crying face like her friends. She
walks away, indignant, when Arci accuses her as well. Sulky at times Liza,
and follows her friends around without questioning their actions.
Scene 11 - Liza shows great interest in the shirtless men, acting lively when
they come, enthusiastically checking them out with her friends. She is
surprised at the appearance of the maid, and follows along the others when
they start a mini photoshoot, fanning the maid. The maid is hostile and
condescending, and rudely insults the four by calling them ugly. She
becomes immediately distracted by their prompting for a photo shoot,
indulgently following Arci’s instructions, and showing her gullibility.
Scene 12 - Liza diligently attends to chores by washing clothes.
Scene 13 - Sarah keeps her memories in writing. She doesn’t reveal outright
who her children’s father is. Her diary is very thick.
Scene 14 - The maid obediently grants Paco’s requests, alert to his every
order, and massages him as he’s eating. She acts coyly with him, smiling
and flirting.
Scene 15 - She quietly brings the prepared dishes to Arci and Megan as they
gesture around for them to her, attentive to every clap of the hand or signal.
She watches them, entertained, and smiles along at their antics. She moves
to the side when Paco arrives and joins them.
Scene 16 – She leans closely at Nadine’s phone to take a peek at their guy,
and is the one who points out that he’s the man only several meters in front
of them, showing attentiveness to details; She screams in alarm and panic at
the attack and becomes distracted by the presence of a famous person in the
vicinity. She then becomes persistent to take a selfie with the actor amidst
the threats that they are facing.
Scene 17 – The teacher is firm in giving extra attention to Megan and Ernie
and is understanding when talking about their loss. She has a no-nonsense
approach as well, and is serious and concerned in their discussion. She is
calm, straightforward, and remains patient and unfazed by Arci’s jokes.
Scene 18 - The mother seems very protective of her child, is verbally
aggressive, and is sardonic and acts petty at the end of the scene. She is
offended on her son’s behalf and comes to his defense.
Scene 19 - Marife is manipulative and grumbly. The maid immediately
rushes behind the wall when she realizes what could be happening.
Scene 20 - Marife has the boys tied up. Menacing and ruthless, she yells at
the kids and shows merciless when she demands they be killed. Shows she
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only cares about her personal interests.

Scene 21 – Liza brings down the men she faces head on, kicking them and
mounting over their back to hit them. She gets excited when she sees the
masked man’s face and appraised good looks.
Interpersonal Scene 1 - Emmy is shown to have cheated on Paco, merely using him to
relationships help her true lover, Jake.
Scene 2 – There is an imbalance of power between Marife and Arci as she
stands closer to her P.A. and gives Arci orders while the event is happening.
She is also seen interacting with her husband and their guests in a calmer
and soft manner compared to how she deals with those she is related to on a
mostly professional level. Liza is supportive of Arci’s endeavors and even
tags along during one of his events.
Scene 3 - Marife is being depended on by Arci, and thus demands much
from him as someone being owed.
Scene 4 - Sarah attempts to provide a voice of reason and guidance to Paco,
and takes care of him. They are close siblings. She is also very supportive of
what makes her sons happy even if Paco thinks these things are not very
conventional.
Scene 5 - Sarah acts like a responsible mother. She urges Paco to seriously
consider them moving to another neighborhood, showing the value she puts
in a mutual decision between them. She is concerned for all of their safety.
Scene 6 – Liza pays attention to Arci opening up and poses a borderline
critical question that makes him defensive.
Scene 7 - She opens up quickly to Arci despite not having met in years, and
they’re comfortable enough with each other to be playfully aggressive, even
after years of being apart. Sarah reminds Arci of their old promise, which
shows how close they were as friends in the past to have made such solemn
vows to each other.
Scene 8 - Sarah want to protect her children as much as she can, and she
depends on Paco for this as well. Sarah talks to Paco about what happened,
entrusting him with her fears. The two are co-dependent.
Scene 9 - Sarah goes to Arci as she is about to die, and entrusts her children
to him. Arci promises he’ll take care of them.
Scene 10 - Liza accompanies Arci along with the other three as he goes to
Sarah’s funeral and does the same as them.
Scene 11 - Liza goes out of her way to help out Arci, along with Kath and
Nadine. She again follows Arci’s lead when they distract the maid.
Scene 13 - Sarah was sexually intimate with three men.
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Scene 16 - Liza’s friendship with the other three is marked with activities
they do together and similar interests, such as the actor they encounter. She
is a very supportive friend as she tries to help Arci look for the three men
who might be the father of Sarah’s children.
Scene 18 – The mother is protective and tolerant of her son.
Scene 19 – Marife’s personal assistant shows her loyalty.
Scene 20 - Marife’s henchmen grant her demands.
Scene 21 - Liza fights side by side with her friends, and gets giddy with
them over their similar tastes in men.
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APPENDIX G
COLLATED CODING FORM (Level 1, Gandarrapiddo)
Coder’s name Adarrah Angulo, Allison Auman, Mary Grace Tito
Title of film Gandarrapiddo: The Revenger Squad
Synopsis Rags maker Emerson “Emy” Mariposque (Vice Ganda) lives with his one
and only brother, mischievous Chino Mariposque (Daniel Padilla). Despite
his faulty memory, he tries his very best to protect Chino from all kinds of
danger. One day, Emy discovers that one thing that will make Chino closest
to danger and the latter has been keeping from him: Chino is the rising
superhero “Rapido”. With raging fear and anger of what might happen with
his brother, he discovers the truth that his friends have been keeping from
him: Emy is also a superhero, the greatest one there is -“Gandara”. With
Chino taking advantage of being “Rapido” to save those in need, Emy uses
his being “Gandara” to protect Chino from further danger. However, an
eccentric villainess comes in the picture – Kweenie (Pia Alonzo
Wurtzbach), who is hiding as a former beauty queen and a rising model –
Cassandra Stockings.
Scene Scene 1 (2:31- 4:35)

Scene 2 (5:56-6:18)
Scene 3 (10:05-10:52)
Scene 4 (14:20- 17: 35)
Scene 5 (20:50- 21:57)
Scene 6 (26:46- 28:39)
Scene 7 (36:00-36:44)
Scene 8 (48:22- 49:29)
Scene 9 (53:50- 54:58)
Scene 10 (57:50- 59:56)
Scene 11 (1:00:02-1:06:45)
Scene 12 (1:07:45- 1:08:17)
Scene 13 (1:19:53- 1:21:20)
Scene 14 (1:26:00- 1:28:12)
Scene 15 (1:28:21- 1:28:58)
Scene 16 (1:29:20- 1:30:05)
Scene 17 (1:41:28- 1:43:15)
Scene 18 (1:44:50- 1:46:15)
PLOT
Scene 1 - The Revenger Squad are losing in the fight against Renz and his guard, and Cassey
looks on as Renz and Gandarra face each other head on. Gandarra delivers his blows on Renz and
Cassey watches. Renz tells Gandarra he’ll take Cassey instead of the latter’s Spear, to which
Gandarra declares he’ll never let it happen. Cassey interrupts them and yells that Renz has
already taken her. Gandarra pleads with Cassey not to go over to Renz, and Cassey rejects him,
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saying Gandarra was the bad one for leaving her and that Renz loves her. Gandarra tells her she’s
wrong, and he fights Renz again. He gives Renz a final blow from his Spear, and Renz falls.
Cassey screams out his name, hurrying over to him. Renz transfers something to her as they lock
eyes. Gandarra sees what’s happening but pieces of rubble fall on him before he can make a
move, thrusting his Spear out of his grip. Cassey tells the dying Renz she wants to come with
him, and the trapped Gandarra weakly declares he’ll save her.
Scene 2 - The unconscious Gandarra is still trapped under the rubble. The four other superheroes
scurry over to help him. The three men all try to lift the block of concrete, but to no avail. Barna
joins them and lifts it easily, throwing it aside.
Scene 3 - Barna, in her normal life with the other heroes, is in a hurry as she enters their front
door. She brings a calendar and points at a particular day to the other three, all the while
mumbling muffled words. One of the men tell her to spit her food out first, and she then pulls out
a long chain of sausage from her mouth. After an exclamation of disgust from Bul-Dog, she then
goes on to explain that they need to tell Meme about their real identities soon, with Chino’s
birthday coming up.
Scene 4 - Cassandra Stockings is introduced as an international model and fashion designer at the
motorcross event Chino is attending. She is greeted by a crowd of fans. Chino stands to the side
and gives Cassandra a flag. Emy, who came looking for Chino to apprehend him, catches Chino
gawking at Cassandra, thus mistaking her as a girl Chino is interested in, and thus attempts to
confront her. Emy yells at her to answer his questions about her “relationship” with his brother, to
which Cassandra replies that beautiful people like her don’t talk to “ugly” people like Emy. The
crowd oohs, egging on the fight. Emy spits back a response, and the two engage in a punchline
debate of sorts about being pretty and ugly, Emy backed by his friends and Cassandra by her fan
club. Cassandra exclaims in disgust over Bokbok’s pimply face, and Emy defends him. Chino
breaks up the fight, defending Cassandra and telling Emy that they don’t even know each other.
He then introduces himself to Cassandra, who tells him she’s “taken,” followed by an apology.
Shooting a final pointed look at Emy, Cassandra walks past them, smiling and waving at the
crowd. Emy approaches Chino, who is still staring at the departing Cassandra. Emy shakes him
out of his trance.
Scene 5 - In her lair, a new supervillain, actually Cassandra, consults her magic mirror Salamean.
The mirror tells her it’s nearly time for Gandarra to rise once more, but that Kweenie needs to do
something to make sure it happens. They come up with a plan to weaponize fake news on
terrorism and spread fear.
Scene 6 - Peppa is talking to Bul-Dog, Luz Luz, and Bokbok about the plan to make Emy
remember the past. Peppa decides they have to do it, and Bul-Dog asks her how, grabbing her
face. Clutching his face in response, Peppa announces that they’ll have to do it the same way
Emy lost his memory, that is, by hitting his head. Emy appears, asking them about their
conversation. The four immediately drop the tension and smile at him. Emy drops his guard, and
they then take turns hitting him. After, he’s lying down and coming to, and recognizes them,
calling them each by their superhero alias. When he gets to Peppa, however, he makes two
attempts before guessing Barna, angering Peppa along the way with his wrong answers.
Scene 7 - Chino rants to his friends about how Emy has been too overprotective of him, treating
him like a baby and sometimes restricting him from doing what he really wants. Velle and
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Chino’s other friends listen intently as he speaks, Velle also tells Chino that sometimes you
become protective when you really love a person.
Scene 8 - Kweenie is furious about Rapiddo’s appearance. In her wrath, she knocks down her
henchmen one by one. She demands to know who Rapiddo is, and Salamean tells her he is
probably Madman’s son, whom he failed to recruit over to their side before Madman died.
Kweenie decides that they don’t need him, and that they need to kill him before he teams up with
Gandarra. However, Salamin proposes that they focus on spreading fear. Kweenie takes deep
breath, gets up from her throne, and then she says, “I’m on it.”
Scene 9 - The Revenger Squad is back and fighting the henchmen Kweenie sent to feed the fear
of terror groups she spread. Kweenie aims a bazooka gun at a child stranded inside a bus, but
Rapiddo stops her. Gandarra rescues the child, and aims his Spear at Kweenie. But he lets her go
instead, telling her to change her life. The rest of the Revenger Squad fight Kweenie’s men.
Scene 10 - Kweenie ponders as to why Gandarra spared her. She wonders if he has remembered
who she is. Salamean reminds her that Gandarra abandoned her, having chosen to prioritize being
a superhero instead of being her brother. A flashback shows Cassey being excited over Emy
having powers, but also worried if he’ll have time for her during her beauty pageants. Emy
promises her he’ll still be there for her. During one such pageant, Cassey expresses her
insecurities about not winning against the other, much “prettier” girls. Emy assures her she is
beautiful herself too. In the background, the calls of a woman in labor is heard. Cassey starts to
cry, still worried. Emy continues to comfort her, but is distracted by the calls. Cassey begs him to
stay with her, but Emy leaves, telling her he’ll be back for her. Renz finds her crying, and
comforts her. Salamean tells Kweenie to take what Emy took from her. He tells Kweenie to
destroy Gandarra’s family the way he destroyed hers, and Salamin suggests turning Rapiddo
against Gandarra.
Scene 11 - Cassandra begins her plan to lure Chino, but a group of men grab her and hold her
back. Chino notices the struggle, and goes to rescue her. Emy hurries over to them. Chino knocks
all the men down and Cassandra calls him her hero. She finds that she hurt her leg and Chino
helps her, bringing her over to their house. When they arrive, Cassandra questions the state of
their “home,” which Emy defends. Chino is left with Cassandra as Emy goes to prepare an ice
pack. She asks Chino to massage her feet. In the kitchen, Bokbok, Bul-Dog, Luz Luz, and Emy
argue whether Cassandra looks like Cassey or not. Emy decides that she does. Cassandra asks to
look at Chino’s baby pictures, which he gets for her. Meanwhile, she is sweating in the hot room,
and Juvy brings her a towel to use. As she wipes her face, Emy watches her, and the towel
exposes the mole identical to Cassey’s. Emy is shocked. Chino arrives, and Emy sends him
upstairs after much difficulty. Emy and Cassandra confront each other, culminating in Emy
pushing pushing Cassandra, using his powers, which makes Cassandra fly all the way out of their
house. Cassandra also uses her powers to lessen the blow and land on her feet safely.
Scene 12 - After learning Emy had amnesia, Kweenie expresses her doubts about continuing with
their plan. Salamean tells her Gandarra has not changed and to not be fooled by him.
Scene 13 - Kweenie and Chino stand in front Salamean, with Chino having brought the Spear
from Gandarra. Kweenie begins to talk Chino out of his anger, saying that they wronged
Gandarra too. Chino retorts that Gandarra killed his father, to which Kweenie responds that it was
for his sake. She tells him that she realizes it all now. Before she says anything more, the mirror
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interrupts them, this time with the voice of Madman. The voice calls out to Chino, who thinks it’s
his father. The mirror tells him that he needs to avenge his father against Gandarra, to kill his
father’s murderer. Kweenie tells him not to believe him, but Chino hands the Spear over to the
mirror, which absorbs the weapon’s power.
Scene 14 - Kweenie and Gandarra arrive together at the headquarters. He blasts the goons away
with his Spear while Kweenie engages in combat. The rest of the Revenger Squad show up and
they battle the evil goons together. Gandarra and Kweenie team up together, making sure to cover
each other’s backs.
Scene 15 - Chino’s friends, including Velle, together with Juvy, have come to the battle site
bringing bags of bread with them. Juvy explains that Barna needs the food. One of them streams
the battle live online, and Velle and Juvy throw the bread over to Barna, who takes them and eats.
Scene 16 - Kweenie calls Gandarra “Ate” for the first time since their reunion. Moved, Gandarra
apologizes to her. They both tell each other they’ll make up for their mistakes. Kweenie tells him
she is ready to risk her life for him, like he is doing for Chino, and they embrace one another.
Hands clasped together, they head out.
Scene 17 - Cassandra and Emy stand on the house balcony, breathing the “fresh” air. Chino joins
them, but only to tell Emy that he’s leaving since his “true” family is here. Emy tells him he’s
talking nonsense, that Peppa, Juvy, bokbok, Luz Luz, and Bul-Dog aren’t even blood-related to
him, but they’re all still family. Peppa tells him he’s right, and Bul-Dog makes a joke about her
size, which leads to some bickering among the four. Emy tells them off for fighting in front of
Juvy, who laughs. They all eat together.
Scene 18 - A man knocks on their front door while Cassey and Emy are having breakfast. Cassey
answers it to find a man looking to get some water for his car. She gives him what he needs. They
find themselves attracted to each other, and are engrossed with one another when a girl arrives by
the door, looking for Chino. Chino greets her, calling her “Bal,” and Emy comes out to find the
flirting pairs.
CHARACTER
Female characters Scene 1 - Cassey

in the film Scene 2 - Barna
Scene 3 - Peppa
Scene 4 - Cassandra
Scene 5 - Kweenie
Scene 6 - Peppa
Scene 7 - Velle
Scene 8 - Kweenie
Scene 9 - Kweenie, Barna
Scene 10 - Cassey/Kweenie
Scene 11 - Cassandra/Cassey
Scene 12 - Kweenie
Scene 13 - Kweenie
Scene 14 - Kweenie
Scene 15 - Velle, Barna
Scene 16 - Kweenie
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Scene 17 - Cassandra/Cassey, Peppa

Scene 18 - Cassandra/Cassey
Physical Scene 1 - Cassey is a frail-looking young woman with medium-length

appearance and frizzy kinky hair, thin legs, and fair skin; has a big mole on the left side of
attractiveness her face; wearing a colorful striped sweater, above-the-knee bright orange
skirt, and striped knee-high socks; open-toed, flashy sandals with circular
puffs, orange bangles on her wrists; big brown leopard-print square-shaped
glasses, and small, light purple backpack; no make-up.
Scene 2 - Barna is plus-sized, has fair skin and average height; wearing a
full-body tight purple suit, inspired by Barney’s character, designed with a
sort of body armor hugging her torso one-piece swimsuit-style. Her costume
is accented with gold details and on her head is a helmet with antennae,
from which her ponytailed hair falls. She has a furry tail extending from her
behind and low-wedged purple shoes support her feet. Full face make-up.
Scene 3 - Barna is wearing a long loose purple house dress (a “daster”) that
has shapes printed on it such as hearts and circles, for its pattern. She is also
wearing a purple sling bag, purple earrings, and purple rollers in her fringed
hair. In one hand, she’s bringing a paper bag and a calendar, and in the other
a bitten-off piece of bread. She has tattoos on the inner part of her right
forearm. She is around the same height as the other men, her figure
matronly, and her skin medium to fair-toned. Her long fingernails are
perfectly done in a faded shade of olive. Minimal to no makeup.
Scene 4 - Cassandra has silky straight dark brown hair that falls to her
elbows and frames a prominent face with high cheekbones, a defined nose,
chin, and jawline, well-contoured cheeks, and arched shapely brows, made
up with light orange shades of eyeshadow, blush, and lipstick. Slim and
busty, she also has a wide mouth, brown skin, brown eyes, and is of above
average height, a few inches shorter than Chino. Dressed in a red ensemble
of a collared red jacket, red fingerless gloves, red boots that reach above her
knees, tight red shorts, and a shiny gold top.
Emy mentions her having a pretty face repeatedly, and the reporter who
welcomes her tells her she’s beautiful. Cassandra refers to herself as
belonging to the group of “beautiful” people she pits against Emy. Chino
stares when he sees Cassandra and even after she leaves, looking captivated
after their first meeting.
Scene 5 - Kweenie’s costume is a gold bra-like upper body piece with

intricate carvings and no straps, and a gold form-fitting bottom piece
equally elaborate and functions like a skirt with a V-shaped fringe work
around her lower body and revealing most of her thighs. Two gold arm
pieces that span from her wrist halfway to the elbows, and knee-high gold
heels that lace up her legs. Her long hair is donned in a high ponytail. No
jewelry. Red lipstick. Well-contoured face. Busty figure.
Scene 6 - Peppa is wearing a long multi-patterned house dress with a V

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collar and elephant shapes in dark purple, green, white, and yellow. A thin
tie wraps it around her figure, and ruffled sleeves fall almost up to her
elbows. She wears her hair up in several big purple rollers. Same purple
earrings as in scene 3. Purple flip-flops.
Emy calls her “Balyena,” referring to Peppa’s body size and weight.
Scene 7 - Velle is a fair-skinned petite young woman with a small face, thin
lips, dark brown hair tied up in a ponytail, a fringe on her forehead, and
wearing a collared white shirt, a blue tote bag, and a pink ID sling around
her neck. Earrings. Minimal natural-looking makeup.
Scene 8 - Kweenie is wearing a black getup, in a black tube top, a two-

layered see-through black skirt with slit, one shorter, the longer one of lace
and beads; short black cigarette heels, and a grandiose black headdress
forming a spiked halo over her head, and from which hang strings of leaf-
like shapes that hang by the sides of her head. Around her neck are layers of
black beads and pearls that hang down her front. Red lipstick. Dark smokey
eyeshadow. Hair in a neat ponytail.
Scene 9 - Kweenie is wearing her 2-piece costume (as in scene 5): gold
strapless bra with intricate details (upper) and a gold form-fitting
underpants with V-shaped fringe work (lower); two gold arm pieces, knee-
high gold shoes with lace and heels; long hair in high ponytail; red lipstick.
Additional gold mask that covers her eyes and detailed as intricately as the
rest.
Barna is wearing full face make-up; wearing a full-body tight suit inspired
by Barney’s character, gold helmet, antennae, purple shoes (as in scene 2),
however, she has additional aspects to her hero costume such as a set of
purple butterfly wings.
Scene 10 - Kweenie’s straight hair is down, and she’s wearing a jewelled

see-through bodysuit with a neckline halfway down her breasts, thin dark
sleeves trailed with clear shiny crystals, and wrapping like a jacket with
sides that reach down her thighs. Under the jacket is a black one-piece
undergarment; thick black neck piece also laden with clear diamond-like
jewels. Makeup matches her dark getup, with smokey eyes and sheer
mauve-ish silver lips.
Cassey is wearing a long-sleeved blue cardigan on a yellow top. A patterned
skirt and leggings with Aztec shapes. Flat bright-colored sandals. A big
pink bow on two loose ponytails, tied with red heart-shaped clips with
cartoon eyes. Big square-shaped glasses. Her face and clothes are dirty with
soot.
Preparing for the beauty contest, Cassey has her glasses off, her hair is
curled with pinned back sides and she’s wearing a black and blue shimmery
dress with straps on her shoulders. On her arms are black gloves with
crystals. Thick eyebrows, light contour and neutral eyeshadow.
She refers to herself as “ugly” and Emy also acknowledges that they are
both ugly.
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Scene 11 - Cassandra is wearing a sleeveless above-the-knee black dress

with a low collar and stripes. Hoop earrings. Neutral makeup. Wavy, lightly
curled hair. Black cigarette heels. A small black handbag. Her mole is
visible when she wipes the makeup on it away.
A group of men grab her upon noticing her. Juvy calls her “Miss Universe.”
Scene 12 - Kweenie is wearing a black dress accented with some white that
hugs her figure up to below her knees. A low neckline, with shoulder
sleeves. Black cigarette heels. Wavy hair, neutral eyelids with a cat eyeline,
and mauve shimmery lips.
Scene 13 – As in scene 5: busty figure; wearing a gold strapless bra with

intricate details (upper) and a gold form-fitting underpants with V-shaped
fringe work (lower); two gold arm pieces, knee-high gold shoes with lace
and heels; long hair in high ponytail; red lipstick, well-contoured face.
Scene 14 – As in scene 13: busty figure; wearing a gold strapless bra with
Scene 15 - Velle is wearing a floral white shirt, blue jeans, and flats, and
has her hair tied up neatly in a low ponytail. Small earrings. Minimal
makeup. She is carrying Juvy in her arms.
Barna (as in scene 2) is wearing a full-body tight suit inspired by Barney’s
character, gold helmet, antennae, purple shoes, butterfly wings; full face
make-up.
Scene 16 - As in scene 14: busty figure; wearing a gold strapless bra with
Scene 17 - Cassey is wearing an above-the-knee sleeveless beige bodycon

dress with black accents, her hair is let down in waves, and she has light
makeup on and a golden bracelet on her left wrist.
Peppa is wearing a loose purple dress with a lace neckline, white and purple
feather prints, and her hair is in rollers. Small purple earrings, a small purse
slung across her torso. Minimal to no makeup.
Scene 18 - Cassey is wearing a below-the-knee bodycon deep green dress

with one off-shoulder cut and a slits that end mid-thigh on each side. Her
hair is let down in loose waves. Light makeup. Flip-flops.
Socioeconomic Scene 1 - Cassey appears to have an eccentric, non-basic taste in fashion, a

status colorful and unconventional style.
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Scene 3 - Barna, or Peppa, eats a lot, and is able to afford the food she
wants to eat, as well as provide for herself some pampering.
Scene 4 - Cassandra is an internationally acclaimed figure in the fashion

industry. She is famous, so when she arrives at the motorcross event, she is
flanked by bodyguards.
Scene 5 - Kweenie is Cassandra’s alter-ego who has a similar getup to

Cassandra. Her lair has guards as well, and she is well acquainted with
magic. “Queen” of the dark side.
Scene 6 - Peppa lives apart from the Marisposques and the superheroes, but
goes to them often. Peppa is holding a smartphone initially before she puts
it down
Scene 7 - Velle is preoccupied with either studies or a job or both. She lives
close to Chino’s place, in a dilapidated community.
Scene 8 - Kweenie, on top her usual guards, also has henchmen who do her
bidding and take her outbursts without any complaint, as well as people
who do research and arrange whatever she requests for with computers.
Scene 9 - Kweenie uses a bazooka gun as a weapon.
Scene 10 - Kweenie wears a different fancy outfits in her lair. Cassey joins
beauty pageants, supported by her brother for her makeovers.
Scene 11 - Cassandra wears expensive designer-looking outfits, looking

prepped in high fashion. She mentions that Emy’s home doesn’t fit her
standards. Value of hygiene is shown as she checks the towel Juvy hands
her.
Scene 12 - Kweenie obviously has the means and style to look fashionable
all the time in embellished outfits.
Scene 14 - Kweenie is a good fighter and holds her ground well. She holds
enormous superpowers.
Scene 15 - Velle has the time to go over to a site where superheroes are
battling.
Scene 17 - Cassey lives together with Emy now. Peppa comes over for get-
togethers and eats with them, not related to Emy and Chino by blood, but
consider each other as one family.
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Scene 18 - She lives with Emy. Eats bread and drinks coffee for breakfast.
Language Scene 1 - Cassey uses a clear and strong voice, straightforward words with
unforgiving tone when retorting to her brother Gandarra. She uses a softer
one for Renz.
Scene 2 - She lifts up and throws the rubble in a swift and effortless gesture.
She also uses hand gestures and facial movements while talking; has a sense
of authority when she speaks.
Scene 3 - A firm strong voice and forceful language when she warns Bul-
Dog not to touch her sausages. Laced with drama and urgency, authoritative
and persuasive when she tells them they need to reveal the truth soon.
Scene 4 - Her expression when accused of having an affair with Chino is of

confusion, smiling embarrassedly. She lifts up her nose when
acknowledging Emy’s retorts, and frowns at Bokbok’s face, exclaiming
disgust. She speaks in both English and Tagalog with composed delivery.
Projects a confident posture by standing tall with shoulders pulled back and
still smiles when she is uncomfortable; uses ad hominem punchlines:
Reporter: Napakaganda mo!
Cassandra: Thank you! Sana ikaw din.
“Pasensya ka na, hindi kita masasagot. Kasi, isa sa mga batas naming
magaganda, hindi kami pumapatol sa mga pangit.”
“Kaming magaganda, para ma-maintain ang freshness namin, kailangan
lang namin vitamin. Kayong mga pangit, para ma-maintain ang freshness
n’yo, kailangan n’yo formalin.”
“Kaming magaganda, pag nakakulong sa bahay, ang tawag beauty rest.
Kayong mga pangit, pag nakakulong sa bahay, ang tawag house arrest.”
“Nakakadiri kayong mga pangit kayo! Tsaka sino ba yong may taghiyawat
na yan? May skin disease ba yan?”
Scene 5 - She asserts an authoritative voice over Salamean, but also heeds it
when it gives her advice. As she asks him to answer her question, one leg is
draped over one armrest, the other bent sideways. An annoyed tone when
she doesn’t understand what Salamean means. A smug look when she
finally does.
Scene 6 - Peppa’s eyes widen when she makes a serious point with Bul-
Dog, holding his face. She shows her obvious disappointment on her face
when Emy guesses wrong about her identity, and gives a smile when he’s
finally right, hands placed on her hips proudly, and legs placed apart. She
pulls the others’ clothes, amplifies her voice, and widens her eyes when
there is urgency in her speech.
Scene 7 - She fronts a soft attentive look while Chino talks, almost never
peeling her eyes away from him, only speaking outside one line when he’s
asking a question. She stands close to Chino, hands leaning on the table in
148
front of him. Demure smile. Speaks up about matters of love. “Ganoon

talaga pag mahal mo yung tao.”
Scene 8 - Kweenie is mostly yelling in this scene, her voice loud, clear, and
overcome with wrath. She shifts from English to Tagalog, and utters “sorry”
twice as she’s trying to calm down. Her eyes widen and her brows rise as
she declares her qualms.
Kweenie: “Sino yang Rapiddo na yan at bakit siya yung nagvi-viral na
superhero?”
Salamean: “You know what, naalala ko--”
K: “Ha?!”
S: “--na meron palang--”
K: “Who??”
S: “--lalaking anak--”
K: “Sino!??”
“Gandarra, my sister, is who we need. That Rapiddo is a distraction! Baka
maging kakampi pa ni Gandarra iyan. Dapat maaga pa, mapatay na yan eh.
We have to kill him!”
Scene 9 - Kweenie’s voice is quiet when she asks Gandarra if he’s going to
kill her, and when she replies “Okay” as he tells her to leave and change her
ways.
Barna doesn’t say anything, but merely gestures with her hand at Kweenie’s
men to come at her, a teasing smile on her face.
Scene 10 - Kweenie says her thoughts out loud in a calm voice. Cassey uses
a loud, clear, and high voice as she squeals over her brother’s powers. Also
childlike; jumping up and down, clapping her hands. Grabbing her brother’s
hands, a pleading voice. Weeping when her brother leaves. Hugging Renz
when he comforts her.
Scene 11 - A high-pitched voice in a charming delivery when Chino rescues

her. Dropping low when she questions their “house,” and when she
commands Chino to get his pictures. Strong language and an accusatory
tone when she confronts Emy, loud and clear. Eyes narrowing often. Flirty
gestures; smiling at Chino, placing her leg on his, asking him to massage it.
Resting her elbow on his shoulder. A soft voice that turns strong. Soft eyes
that turn steely.
“My hero.” “Arouch, arouch!” “You call this a home?” “Mukha ba akong
magnanakaw?” “Ouch, Chino, can you please help me? Can you please, uh,
massage my feet, please?”
“Buhay ka pa pala, sissy kong chaka. Ni hindi mo man lang ako hinanap.
Nag-aalaga ka ng ibang tao, sarili mong kapatid iniwan mo.” She slaps Emy
on the cheek.
Ca: Hindi mo ako pwedeng diktahan! At lalong hindi ako nagpapadikta sa
kapatid na pangit!
Emy: Wala kang respeto!
Ca: Wala talaga! Pak! (Another slap on Emy. Emy slaps her, and she slaps
Emy back again.)
149
“Wala kang kwentang kapatid! Hindi ako magiging Kweenie kung hindi mo
ako iniwan! Wala kang kwentang kapatid! Wala kang kwentang kapatid!
Iniwan mo ako!”
Scene 12 - She talks slowly as she voices out her thoughts. Frowning in
deep thought. Stares blankly. Gesturing about the sureness of their plan and
her doubts about the circumstances. With a soft voice she says Gandarra
seems to have changed.
Scene 13 - A strong clear voice, gradually rising. Convincing emphasis on

each word, shifting from slow to fast pacing. “Nagkamali siya, pero
nagkamali rin tayo sa kanya.” “Pero binuhay ka niya! Inalagaan. Minahal.
Dati di ko nakita yon, pero ngayon kitang kita ko na. Ramdam na ramdam
ko na.” “Chino, huwag. Huwag kang makinig sa kanya.” “Chino, huwag!
Niloloko ka lang niya!”
Scene 14 - The entire sequence is of Kweenie fighting the guards with

Gandarra, and she deals with them with swift moves and sharp stares.
Scene 15 - Velle looks confused about what they’re doing at first, but
recovers. Attentive and keen facial gestures in throwing the bread. She
exclaims and gestures in victory while smirking with Juvy when Barna gets
the bread they throw. “Tara na mga bro, kailangan na natin iligtas si
Chino!”
Upon receiving the bread, Barna’s face beams in satisfaction and gestures
with a lifted fist after taking a bites, showing a “recharged” mood.
Scene 16 - Kweenie calls Gandarra “Ate.” She speaks in a clear, modest but
steady and strong voice to Gandarra. “Siguro na miss lang talaga noon kita
kaya naanig ako. Pero kung handa kang ibigay ang buhay mo para sa
kapatid nating si Chino, ganon din ako sa ’yo.”
Scene 17 - Kweenie smiles and nods at Emy, Chino, and everyone else.
Peppa speaks in a soft voice and a gentle tone to Chino. But her irritation is
evident in her tone when the others tease her. “May sinasabi ka pa eh.”
“Wag kang epal.” She spits at Luz Luz when he asks her about her
behavior.
Scene 18 - Kweenie smiles when she sees the man at the door. She responds
to him in English.
Personality and Scene 1 - Cassey anxiously watches the battle partly being fought for her by
behavior Gandarra and Renz. She is defiant and holds grudges against her brother,
and caring and protective, the trusty lovers, toward Renz.
Scene 2 - She helps her fellow superheroes and is cooperative and helpful.
Scene 3 - Peppa gives priority to her food, and isn’t particularly “icky”
about it. She acts sternly when the others judge her, and displays anxiety
150
about Emy. She shakes the others, pulling at their clothes with slight force
while voicing her concern. Considers the common good; officiates major
decision-making in the squad; she can be very aggressive in stressing her
opinions. Peppa is also orderly and able to remember important dates.
Scene 4 – Cassandra, confident with her looks, is praised for her beauty,
which she uses to intimidate people and wields like a weapon against Emy.
She is condescending in her words to him, his friends, and the reporter, and
even to Chino. She greets her welcomers with a warm smile, however, and
struts proudly and confidently as she walks through the crowd. She has
regard for broken families, indicated by the foundation she is setting up
with the goal of reuniting them. She is civil to strangers who aren’t “ugly”
by her standards and hates dealing with people she finds ugly.
Scene 5 - She easily talks over her magic mirror, and is assertive and
demanding. Her anger for her brother Gandarra is visible. She is also an
enabler and promoter of misinformation, as her conversation with Salamin
implies that she helps propagate the spread of fake news.
Scene 6 - Peppa is angered right away when Emy guesses her alias as
“Balyena,” which alludes to her figure. The others have to stop her from
hitting Emy with a stick, and she calms down quite shortly later. She
becomes hearty once Emy guesses it right; doesn’t hold grudges.
Scene 7 - She listens to Chino well and calmly. Helps her friends when she
can.
Scene 8 - Kweenie goes wild in her anger at Rapiddo’s interference,

becoming physically aggressive and taking her anger out on her people. She
only keeps her temper under control when things start being explained to
her, yet it still shows when she realizes what Rapiddo could do. She shows
her ruthlessness when she says they need to get rid of Rapiddo before he
becomes a menace to them, showing her willingness to kill when the
situation doesn’t favor her.
Scene 9 - Kweenie shows merciless when she targets to kill an innocent

child. She looks anxiously calm as Gandarra aims the Spear at her, and is
hesitant when he offers her a hand up. She also displays obedience at
Gandarra’s words, and quickly leaves the scene when he tells her; can keep
a composed stance amidst stressful events.
Barna shows confidence as she faces the enemies in front of her, knocking
them down with ease and finding joy in defeating them.
Scene 10 - Kweenie shows a soft side in her hesitation while thinking about
Gandarra. As Cassey, she is childlike, enthusiastic, self-doubting, and
insecure. She overly dependent on her brother, for support, validation, and
protection. She is also accepting of the same coming from somebody else.
Emotional; overpowering emotions. She shows affection when she first
meets Renz. Kweenie gradually looks convinced of Salamean’s words, and
151
looks vengeful.
Scene 11 - Cassandra is coy around Chino, and takes advantage of Chino’s

admiration for her; condescending to Emy and judgmental, assertive; holds
grudges and shows it in her physical and verbal aggressiveness. She acts as
a damsel in distress to be rescued by Chino. But she also lets out her
commanding personality. She is honest with Emy and unafraid of
confrontation.
Scene 12 - Kweenie is doubtful, bothered about Gandarra having amnesia.

She shows willingness to reconsider what she thought was the case and
calmly ponders over it; shows concern for her brother who has amnesia.
Scene 13 - Kweenie realizes her faults, and tries to be the voice of reason
for Chino, and attempts to guide him away from the dark schemes of the
mirror. She deals with his anger calmly, and opens up to him in her attempt
to change his mind. She tries to protect him by telling him the mirror is
using him.
Scene 14 - Kweenie fights the men head on with readiness, knocking them
down with estimated punches and kicks, covering for Gandarra, and
combining her strength with his. She cooperates with Gandarra. She
chooses to open her heart to him once more.
Scene 15 - Velle hurries with the idea of helping Chino, and could risk her
life for him. She also helps in ways that she knows and provides Barna with
support. Barna takes the bread and is energized with it.
Scene 16 - Kweenie is apologetic toward Gandarra and sympathizes with

him about saving Chino, promising to fight with him from thereon.
Scene 17 – Sensitive Peppa offers advice and reassurance to Chino, and is

kind to him. But she is hostile and teasingly violent to Luz Luz, whom she
spits at, to Bul-Dog, whom she hits, and to Bokbok, whose hair she pulls.
All the while, she is holding Juvy close to her from behind.
Scene 18 - Cassey is extra hospitable to the stranger and accommodates his

request. She carries the bucket of water herself to him, and then
immediately shows her interest by introducing herself and moving closer to
him. She smiles at him.
Interpersonal Scene 1 - Cassey hints at abandonment issues between her and Gandarra,
relationships who insists on protecting her as she doesn’t seem to understand what Renz
truly is. Renz takes advantage of her fragility while Gandarra exhausts all
means to save her.
Scene 2 - Barna seems to be in solidarity with her team, and has a strong
bond with all of them.
152
Scene 3 - Barna has few physical constraints when communicating with the
other heroes, and impresses a voice of authority somewhat. She also seems
to count on them to reveal the truth with her. Although her friends tease her
for her size, they listen to Barna in decision-making.
Scene 4 - She displays backhanded respect for the strangers she meets. She
is also accused of having some sort of relationship with Chino but it is
revealed later that they have yet to be introduced to each other.
Scene 5 - She is given the advice of Salamean, a magical entity with no face
and a deep masculine voice, and she welcomes it without doubt. Some
dependence is shown, but Kweenie only uses the mirror to her advantage. In
actuality, the mirror easily fooled her instead by using her emotions against
her.
Scene 6 - Peppa is constantly teased because she is plus-sized. She fights

back, but this doesn’t seriously affect her relationship with the others. She
responds with apparent outrage when her friends jest or talk about her body
size, but at the same time, she is comfortable with them to be confident
about her own role in their group.
Scene 7 - Her being in Chino’s inner circle puts her as a close friend of his,
and she listens unsparingly to his rant. Chino shows he is comfortable in
sharing his personal problems to her; on the other hand, she demonstrates an
attraction for Chino although she refers to him as her “bro.”
Scene 8 - Kweenie’s anger subsides a bit once Salamean explains things to

her and tells her to calm down. She has little to no interaction with her
guards and henchmen, and depends on the magic mirror for guidance, but
it’s up to her to act on it; shows interdependence between them. Kweenie
also mentions that Gandarra is her sibling, although hostility can be sensed
from her way of talking about him.
Scene 9 - Kweenie acknowledges in words that her life is in Gandarra’s

hands. Gandarra defeated her in a fight but he chose to let her go, with a
reminder to change her ways. Upon leaving, she mentions a reunion in the
near future, expecting to cross paths with him again.
Scene 10 - Cassey is affectionate with Emy, but also emotionally dependent

on him. Her emotional stability tends to depend on another person, and she
shifts this to Renz when Emy leaves. Once Renz leaves her just as she
found comfort in him, Cassey becomes overprotective and vengeful
eventually. It is mentioned that Renz already has a child but that he chose
Cassey over him because he loved her.
Scene 11 - Chino is attracted to her and Cassandra sees that as an

opportunity to win against her enemy. She lets Chino “save” her, but she
also orders him around. She is defiant against Emy, and proclaims her
issues of abandonment with him. She also blames him for her turning to the
153
dark side. Emy doesn’t accept any of her accusations, and in the end even
turns her away by pushing her. They reach a point where they physically
hurt each other, slapping each other unapologetically.
Scene 12 - Kweenie may still become open to understanding and

considering the possibility of fixing her relationship with Gandarra. She
once more talks to the mirror about her thoughts.
Scene 13 - Kweenie provides a reasonable alternative to Chino, to possibly

save him from evil. He pays her some attention, but she fails.
Scene 14 - Kweenie fights in solidarity with Gandarra, uniting their forces

against the enemy.
Scene 15 - Velle regards her friends as “bros,” and shows up for Chino in
the high-risk battle to help him. She hands Barna the food she needs.
Scene 16 - Kweenie is affectionate toward Gandarra and is willing to give

up her life for him. She acknowledges his apology, and apologizes back.
They mutually acknowledge they both have a lot to work on.
Scene 17 - Kweenie is on good terms with everyone, who welcomes her.

She joins them in the meal. Peppa is physically aggressive when the others
tease her, but considerate of Chino and Juvy. Cassey and Peppa consider
themselves one big family even if they are not blood-related.
Scene 18 - Cassey begins an instantly developing interaction after a mutual
“love-at-first-sight” with a stranger, and Emy respects her space for this by
putting up with it.
154
APPENDIX H
CODED FORM (Level 2, The Hows of Us)
Title of film The Hows of Us
Year released 2018
Synopsis Couple Primo and George are in a long-term relationship and already building and
planning their future together. Their love will be put to the test as their relationship
faces hurdles - from misunderstandings to different career paths, among others.
PROMINENCE
Genre drama, romance
Focus Social relationship
Topic conflicting career paths and financial instability
Type of 1. George (Kathryn Bernardo) - main character

character 2. Susan Africa (Leonida “Tita Lola” Silva) - minor character
3. George’s mom (Jean Garcia) - minor character
4. Ria Atayde (Awee) - minor character
Identification 1. Kathryn Bernardo - named (George)

2. Susan Africa - unnamed, only “Tita Lola”
3. Jean Garcia - unnamed
4. Ria Atayde - named (Awee)
TREATMENT
1. George - negative because she missed a lot of opportunities while prioritizing her
boyfriend’s passion; positive because her character developed into a strong person who
doesn’t need a man to become successful; and complex because there’s character growth
2. Tita Lola - positive because her character has financial and emotional independence; simple
because the details about her are minimal and she had a very short exposure in the film.
3. George’s mother - negative because she is financially dependent to George, her eldest child;
simple since her name was never mentioned, and only her motherly side was shown
4. Awee - neutral because the portrayal is neither positive nor negative; simple her role as a
supporting character
TONE
1. George - straightforward because it’s established that she is selfless for love (romantic
relationship, family), and the scenes are emotional because affection is openly displayed
2. Tita Lola - straightforward and light because the narrative about her is free from obscurity
3. George’s mom - straightforward since her mother role is prevalent, and emotional
4. Awee - straightforward because her position as George’s friend is clearly presented; and
light since there are no complicated details in her narrative as a supporting character
155
APPENDIX I
CODED FORM (Level 2, The Super Parental Guardians)
Title of film The Super Parental Guardians
Year released 2016
Synopsis “The Super Parental Guardians” is a hilarious family movie with a heart that
revolves around unlikely “parents” Arci (Vice Ganda) and Paco (Coco Martin).
Arci gains custody of his best friend’s children Megan (Awra Briguela) and
Ernie (Onyok Pineda) just before she dies. The children’s uncle, Paco, has no
choice but to join this newfound family. Arci and Paco will now embark on the
craziest and and greatest adventure of their lives as they play the roles of
Momshie and Popshie to both Megan and Ernie. (Taken from
https://starcinema.abs-cbn.com/movies/the-super-parental-guardians-(1))
PROMINENCE
Genre Action, Comedy
Focus An action film that focuses on family ties and is presented in a comedic fashion.
Topic An action film that tells the story of children being adopted by their uncle and
gay godfather after their mother is murdered, thus having them be titled as the
kids’ guardians.
Occurrence as 1. Marife - main character

character 2. Emmy - minor character
3. Liza - minor character
4. Sarah - minor character
5. Marife’s maid - minor character
6. Ernie’s principal - minor character
7. A student’s mother - minor character
Identification 1. Emmy - named

2. Marife - named
3. Liza - named
4. Sarah - named
5. Marife’s maid - generic/unnamed
6. Ernie’s principal - generic/unnamed
7. A student’s mother - generic/unnamed
TREATMENT
1. Emmy - She is portrayed negatively, as a cheating girlfriend. She is a one-dimensional

character since she only appears in one scene and no growth or development is seen from
her character, which also means she is portrayed in a simple way as a character because
we are only given a glimpse of it.
2. Marife - She is given a negative portrayal because she is the villain of the movie, she is a
condescending boss to Arci and she murders people. She is simple since her motives for
156
the murders were never elaborated and she is also a one-dimensional character because
no growth or development was seen in her personality or behavior since it remained
negative all throughout the film.
3. Liza - She is a negative character because there is no distinction between her and Arci’s
other friends who only follow him around and do as he says and she was called “dog” for
her appearance. She is simple and one-dimensional because no growth or development
can be seen from her character, all throughout the film all she does is hang around her
friends and follow what they do.
4. Sarah - She is given a positive portrayal as a mother who supports what her children want
even if it is not conventional (such as Megan dancing in a “girly” way, which Paco
berates him for) and she is also a caring sister to Paco but she doesn’t hesitate to call him
out on his wrongdoings. She is a simple and one-dimensional character as she was not
given much time to feature her growth and development as a character since she was
killed off immediately.
5. Marife’s maid - She is portrayed in a negative and simple way, she is stereotyped as the
“ugly” maid (when Liza screams as they first meet, calling the maid a “dog”) and she is
always bossed around. She is portrayed to follow orders mindless and to gawk at Paco at
times, as though she can contribute nothing else as a character. Her character is also very
one-dimensional as there is no growth seen in her multiple scenes of following orders.
6. Ernie’s principal - She is portrayed in a neutral and simple way. She is only there to do
her job as a principal, whether it is to warn her students’ parents about their misbehaviors
in school or to support her students when they want to pursue certain endeavors (like
Megan dancing during family day). She is also a one-dimensional character because
there is no growth or development seen in her character, since she was only in one scene.
7. A student’s mother - Her portrayal is negative since she was portrayed as an
overprotective mother who takes part in all of her son’s fights even if he is in the wrong,
tolerating his wrongdoing. She is also seen to be homophobic when she judges Megan for
having hair clips. Easily jealous, gets defensive when Arci makes a coy remark about her
husband. She is petty, she tells Arci they will beat them in all the family day games. She
is a simple character since we only get a glimpse of her personality in a few scenes,
which also means she is one-dimensional since her growth and development is not
featured in the film.
TONE
1. Emmy - Her tone manifests in a straightforward way since her allegiances are made
clear as she chooses Jake over Paco. The tone that manifests in the film is also very
dramatic because the event that surrounds her is a betrayal of a love interest.
2. Marife - Her tone is ambiguous and satirical/sarcastic. Her antagonistic motives are not
made clear and the manner in which she deals with consequential things such as murder,
is downplayed (such as them spinning the wheel to choose who to kill next) and there are
elements that are incorporated in the scenes in order to add comedic value (such as the
parody-like presentation of the zombies in the train, similar to the Korean film “Train to
Busan.”)
3. Liza - Her tone is straightforward since her narrative of simply aiding and being there
for her friends remains consistent throughout the film. She is also surrounded by a light
tone because her actions are not consequential to the rest and she is mostly a follower of
her friends.
4. Sarah - Her tone is ambiguous since there are a lot of elements and aspects surrounding
her character, her interactions, and her scenes, that need a lot more defining, such as the
relationships she’s had in the past with the father of her children, or with Arci. She also
157
has a satirical/sarcastic tone because heavy events are downplayed for comedic value,
an example would be her death and how a 911 call was delayed to order pizza instead.
5. Marife’s maid - Her tone is straightforward since her actions and interactions mainly
revolve around her character of being a maid and nothing else. She also has a light tone
since her contributions to the film or plot are not consequential at all.
6. Ernie’s principal - Her tone is straightforward because of the consistency of her
narrative of being a principal who is doing her job, whether it be to worry about students
or support them. She also has a light tone since her contributions to the film or plot are
not consequential at all.
7. A student’s mother - Her tone is straightforward because the only goal of her character
and its interactions are to compete with or argue with the other party, in which this
narrative has remain consistent and light since the she is not very consequential.
158
APPENDIX J
CODED FORM (Level 2, Gandarrapiddo)
Title of film Gandarrapiddo: The Revenger Squad
Year released 2017
Synopsis Rags maker Emerson “Emy” Mariposque (Vice Ganda) lives with his one and
only brother, mischievous Chino Mariposque (Daniel Padilla). Despite his faulty
memory, he tries his very best to protect Chino from all kinds of danger. One
day, Emy discovers that one thing that will make Chino closest to danger and the
latter has been keeping from him: Chino is the rising superhero “Rapido”. With
raging fear and anger of what might happen with his brother, he discovers the
truth that his friends have been keeping from him: Emy is also a superhero, the
greatest one there is—“Gandara”. With Chino taking advantage of being
“Rapido” to save those in need, Emy uses his being “Gandara” to protect Chino
from further danger. However, an eccentric villainess comes in the picture –
Kweenie (Pia Alonzo Wurtzbach), who is hiding as a former beauty queen and a
rising model – Cassandra Stockings.
PROMINENCE
Genre Action, comedy, superhero
Focus The power of family
Topic People who are close to one another and treat one another as family, whether by
blood or by bond, find one another on opposite sides of a conflict.
Occurrence as 1. Cassandra/Cassey/Kweenie - main character

character 2. Peppa/Barna - minor character
3. Velle - minor character
Identification 1. Cassandra/Cassey/Kweenie - named

2. Peppa/Barna - named
3. Velle - named
TREATMENT
1. Cassandra/Cassey/Kweenie - negative, as shown to be dependent on other people,

violent, ruthless, and manipulative; positive, as she comes to realize her mistakes and
makes up for them; complex, as she evolves into different types of people; elaborate, as
her characterization portrays many details about her life.
2. Peppa/Barna - positive, as she shows solidarity with other characters, and is sensitive to
some of the others, does not calmly accept insults; negative, as she is constantly
presented as the butt of the others’ jokes, and also habitually physically violent; simple,
as other aspects about her are not shown.
3. Velle – neutral, insufficient characterization; simple, as no other aspects about her and
her life are shown.
159
TONE
1. Cassandra/Cassey/Kweenie - straightforward, as she is clearly presented as the

antagonist in most of the film, and her development from one type of person to the next is
distinct and contrasting; dramatic, as when she was younger much of her personality was
emotionally oriented, and her antagonistic motives were also emotionally driven.
2. Peppa/Barna - straightforward, as her role among the other characters is distinguishable;
light, as her appearances are marked with jokes about her; satirical, as her superhero
persona is a comedic connection to the same jokes, which are about her weight, and even
her name recognizably alludes to an image of being particularly fond of food.
3. Velle - ambiguous, as her emotional stance regarding Chino is unexplored and unclear,
which lends vagueness to her motives; light, as her appearances are often in passing,
filling short sequences in much bigger events in the story.
160
APPENDIX K
CATEGORIZATION FORM
Film Female character Representation
The Hows of Us (2018)
The Super Parental Guardians

(2016)
Gandarrapiddo: The Revenger

Squad (2017)

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MATIBAY O MARUPOK?

ADARRAH ROSE ANGULO

DEPARTMENT OF MASS COMMUNICATION

I hereby grant the University of the Philippines non-exclusive worldwide, royalty-free

Specifically, I grant the following rights to the University:

a) To upload a copy of the work in the database of the

college/school/institute/department and in any other databases available;

b) To publish the work in the college/school/institute/department journal, both in

print and electronic or digital format and online; and

in accordance with the provisions of the Intellectual Property Code of the

____________________ ___________________ ____________________

Adarrah Rose Angulo

College of Communication, Art, and Design

A CONTENT ANALYSIS ON THE REPRESENTATION OF WOMEN IN THE

THREE HIGHEST-GROSSING FILIPINO FILMS

Adarrah Rose Angulo

Mary Grace Tito

COLLEGE OF COMMUNICATION, ART, AND DESIGN

University of the Philippines Cebu

In partial fulfillment of the requirements

for the degree of

BACHELOR OF ARTS IN MASS COMMUNICATION

has been accepted for

Professor Marie Rose Arong, PhD

and approved for the

Professor Palmy Marinel P. Tudtud, OIC

thesis would not have been realized.

this we owe them many thanks.

Outside instrumental assistance, we are grateful to our respective families, who

family gatherings, in their support of this inevitably demanding project.

and for not giving up, thank you.

"You had the power all along my dear."

on the Representation of Women in the Three Highest-Grossing Filipino Films.

Unpublished Undergraduate Thesis, University of the Philippines Cebu Department of

Mass Communication, College of Communication, Art, and Design.

portrayal has been consistently characterized in an incomplete and hyper-traditional

grossing Philippine films through a derivational multi-level analysis. By observing the

Theory of Intratextuality, it identifies the characterization of fourteen (14) female

characters (determined by physical appearance and attractiveness, socioeconomic status,

language, personality and behavior, and interpersonal relationships) to discern each

and influencing real-life perceptions of women, each portrayal is categorized2 so as to

marked with subtle stereotypical traps and multifaceted progression in their

representation of women. This challenges old and clear-cut dichotomies in female

portrayal, and confers a skeptical echo in the question of matibay o marupok.

II. REVIEW OF RELATED LITERATURE 8

III. STUDY FRAMEWORK 20

D. Units of Analysis and Sampling 33

V. RESULTS AND DISCUSSION 38

2. The Super Parental Guardians 72

VI. SUMMARY AND CONCLUSION 93

VII. IMPLICATIONS AND RECOMMENDATIONS 99

Number Title Page

1 Personality codes adopted from Zheng (2011) 29

2 Behavioral patterns adopted from Kinnunen (2016) 29

3 Categorization of female characters as most popularly depicted in 31

4 The study’s concepts, indicators, and measures in line with the 32

6 Summary of each female character’s portrayal as analyzed through 67

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