Si Dong kag si ‘Day: a study on the representation of Visayans in Filipino mainstream films produced by Star Cinema and Regal Entertainment, Inc. from 2005-2017

Abstract

This thesis examines how Visayans are represented in Filipino films produced by Regal Entertainment, Inc. and Star Cinema. These films are Mano Po 4: Ako Legal Wife (2005), My Monster Mom (2008), Till My Heartaches End (2010), Here Comes the Bride (2010), Must Be Love (2013), Etiquette for Mistresses (2015), Everyday I Love You (2015), My Rebound Girl (2016), and Our Mighty Yaya (2017). The films were examined using textual analysis. The results of the study show that the depiction of Visayans in Filipino films is mostly varied. The Visayan characters are shown as belonging to three different socio-economic classes. Some were depicted working in service-oriented jobs, some were self-employed, and others were either unemployed or studying. Aside from the varying socio-economic strata of the characters, their personality traits are also somehow different from one another. There are characters depicting doting mothers and are also often depicted as women who do not back down from fights. There are characters who have strong personalities and are tactless. Some characters are shown weak in the beginning, but were able to stand and fight for what they truly want at the end of the films. Lastly, there are characters who show much love towards their family. Another notable finding of the study is that the two production companies, Regal Entertainment, Inc. and Star Cinema, differ in portraying the Visayan characters. Most of the films produced by Star Cinema depicted the Visayan characters in a more progressive way compared to how the Regal Entertainment, Inc depicted the Visayans. The two production companies differ in portraying the Visayan characters especially in terms of their occupation and language use. The results also show that the Visayan ethnicity of the character is not really essential to the plot of the film. The Visayan characters and the provinces that were featured only serve as tokens to the films.