Examining the Portrayals of Power in Teleseryes Along Gender and Class Cleavages

Abstract

Television shows or teleseryes remain a significant source of entertainment for Filipinos. Ready to access, convenient, and easily understood, these are always available to those subscribed to a particular local network. This study examined the portrayal of power and power dynamics in Philippine teleseryes by analyzing two locally produced shows: First Yaya (2021) and TODA One I Love (2019), looking into the representations of gender and class in significant episodes. It used Barthes’s semiotics theory to analyze the denotative and connotative meanings of power-containing scenes, which were identified through the forms of power - power-over, power-to and power-with. We found that power-over dominates the scenes containing gender and class, followed by power-to, while power-with is the least present in both teleseryes. Class relations are characterized by constant clashes between the antagonistic and manipulative rich and the vulnerable poor. We also found that gender portrayal reinforces power imbalance between male characters and female characters, though it has more diversity in the portrayal of women, who either experience a certain form of domination from men or engage in an antagonistic relationship with other women. We found catering to the male gaze as both shows sexualize and objectify female characters, profiting from the misuse of the term ‘feminism.’ Furthermore, its use of protagonists coming from the lower social class provides an escapism for audiences coming from the same class thereby ensuring ratings for the programs. Through all these, the study hopes to expand knowledge on the presence of power, gender, and class in teleseryes, introducing a wider understanding on how political issues are presented in the entertainment arena of Philippine television.