Pub Date : 2021-01-01DOI: 10.52518/2021.18.1-06cndlra
J. Candelaria
This article analyzes the visual depiction of women in the Tribune, the main propaganda newspaper of Japan in the Philippines during the Pacific War. Japanese wartime propaganda painted an image of a productive and cooperative Filipina, respectable and modest like her Japanese counterpart. The analysis reveals three motivations for depicting women in said light: to show a semblance of normalcy despite the turbulent war, to entice women to serve Japan’s aims, and to disprove the Japanese women’s image as subservient wives or entertainers while asserting the connection between the two countries. Analyzing the depiction of women in Japanese propaganda contributes to the understanding of war as a gendered phenomenon. Beyond seeing women as symbols of the private obligations for which men fight or as surrogate objects of sexual desire, the image of women was perceived to be instrumental in showcasing Japan’s New Order.
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Radio broadcasting, which the Americans introduced to the Philippines in 1922, was quite successful in its project of promoting the English language and western music during the American colonial period. Apart from playing imported music on the air, radio featured Filipino musical artists deftly performing western pieces. However, the new medium also became an opportunity to re-express Filipino music and Philippine languages, especially Tagalog, to a nationwide audience. A flowering of the kundiman and Philippine folk songs was attributed to radio, while local composers who scored movies created new kundiman pieces, even if some adopted the American idiom of jazz. In notable cases, songs that posed a radical resistance to the colonial condition were heard on the air.
{"title":"Iginiit na Himig sa Himpapawid: Musikang Filipino sa Radyo sa Panahon ng Kolonyalismong Amerikano","authors":"Elizabeth Enriquez","doi":"10.52518/2020-08enrqz","DOIUrl":"https://doi.org/10.52518/2020-08enrqz","url":null,"abstract":"Radio broadcasting, which the Americans introduced to the Philippines in 1922, was quite successful in its project of promoting the English language and western music during the American colonial period. Apart from playing imported music on the air, radio featured Filipino musical artists deftly performing western pieces. However, the new medium also became an opportunity to re-express Filipino music and Philippine languages, especially Tagalog, to a nationwide audience. A flowering of the kundiman and Philippine folk songs was attributed to radio, while local composers who scored movies created new kundiman pieces, even if some adopted the American idiom of jazz. In notable cases, songs that posed a radical resistance to the colonial condition were heard on the air.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"19 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79230620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
YouTube, as a new social media platform, has become “viral” in Indonesia since 2010. Many Indonesian youths have become popular as YouTubers (users of YouTube who actively upload videos on YouTube). Data from Google Marketing indicate that Indonesia is the country with the largest population by viewing time on YouTube in the Asia Pacific in 2015. YouTube is also the most viewed social media site in Indonesia (data by Alexa.com, 2016). One of the famous Indonesian YouTube channels is Last Day Production (also known as LDP), which regularly uploads situational dramas, skits, and parodies. All of the cast members in LDP videos are young Chinese-Indonesians under 30 years old. On the eve of Indonesian National Day of 2016, LDP uploaded the video entitled Tipikal Anak Muda Indonesia (Stereotypes of Indonesian Youths). The video portrayed how Indonesian youth now envisage their nationalism. LDP created this video in collaboration with young famous Indonesian YouTubers and musicians such as Eka Gustiwana, Aulion, and Kevin Anggara. This video later trended in Indonesia around August 2016. This article uses the approach of cyberculture theory and utilizes visualizing methods. Unit analyses of this research are the viral video, text, music, and whatever else the LDP have portrayed in the video.
YouTube作为一个新兴的社交媒体平台，自2010年以来在印尼迅速走红。许多印尼年轻人成为YouTube用户(在YouTube上上传视频的活跃用户)。谷歌营销的数据显示，印尼是2015年亚太地区观看YouTube时间最多的国家。YouTube也是印度尼西亚访问量最大的社交媒体网站(数据来自Alexa.com, 2016年)。其中一个著名的印尼YouTube频道是Last Day Production(也被称为LDP)，它定期上传情景剧、小品和恶搞。自民党视频中的所有演员都是30岁以下的年轻印尼华人。2016年印尼国庆日前夕，自民党上传题为“印尼青年刻板印象”的影片。这段视频描绘了印尼年轻人现在如何看待他们的民族主义。自民党与印尼著名的youtube青年及音乐人Eka Gustiwana、Aulion及Kevin Anggara合作制作此影片。这段视频后来在2016年8月左右在印度尼西亚流行起来。本文运用网络文化理论的研究方法，运用可视化的方法。本研究的单位分析是病毒视频，文本，音乐，以及自民党在视频中描绘的任何其他内容。
{"title":"Indonesian Nationalism Discourse on YouTube Video Produced by Young Chinese-Indonesians","authors":"D. Susilo, R. Sugihartati","doi":"10.52518/2020-02rahma","DOIUrl":"https://doi.org/10.52518/2020-02rahma","url":null,"abstract":"YouTube, as a new social media platform, has become “viral” in Indonesia since 2010. Many Indonesian youths have become popular as YouTubers (users of YouTube who actively upload videos on YouTube). Data from Google Marketing indicate that Indonesia is the country with the largest population by viewing time on YouTube in the Asia Pacific in 2015. YouTube is also the most viewed social media site in Indonesia (data by Alexa.com, 2016). One of the famous Indonesian YouTube channels is Last Day Production (also known as LDP), which regularly uploads situational dramas, skits, and parodies. All of the cast members in LDP videos are young Chinese-Indonesians under 30 years old. On the eve of Indonesian National Day of 2016, LDP uploaded the video entitled Tipikal Anak Muda Indonesia (Stereotypes of Indonesian Youths). The video portrayed how Indonesian youth now envisage their nationalism. LDP created this video in collaboration with young famous Indonesian YouTubers and musicians such as Eka Gustiwana, Aulion, and Kevin Anggara. This video later trended in Indonesia around August 2016. This article uses the approach of cyberculture theory and utilizes visualizing methods. Unit analyses of this research are the viral video, text, music, and whatever else the LDP have portrayed in the video.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"46 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90349510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.52518/2021.18.2-01jalyap
Joseph Ryann J. Jalagat, Jerry Y. Yapo
Tinder, a location-based real-time dating application, has significantly influenced the shift in people’s attitudes toward sexual expression and the existing hookup culture. Using conversation and self-presentation analysis, this research aimed to explore hookups’ communicative patterns and examine how self-presentation manifests in Tinder chats. Some of the determinants of successful and failed hookups are also provided. Exchanges among some 20 interactants reveal this discursive pattern of hookups: (1) It’s a Match; (2) Opening Sequence; (3) Screening; (4) Transferring to Other Social Networks; (5) Sending Down to Fuck (DTF) Signals; (6) Compromising; and (7) Confirming and Closing. Interestingly, the performative roles of sex positions play a big part for gay participants. Many of the heterosexual participants, however, still follow the traditional scripting of hookups. Apparently, a hookup is not possible if there is no agreement as to the “where” and “when” of sexual activity. Meanwhile, the predominant image present in hookup-motivated chats is being “provocative” and a “good catch.”
Tinder是一款基于位置的实时约会应用，它极大地影响了人们对性表达的态度和现有的勾搭文化的转变。通过对话和自我表现分析，本研究旨在探索勾搭的交流模式，并检查自我表现如何在Tinder聊天中表现出来。还提供了连接成功和失败的一些决定因素。大约20个互动者之间的交流揭示了这种联系的话语模式:(1)这是一个匹配;(2)片头序列;(3)筛选;(4)转移到其他社交网络;(5)发送Down to Fuck (DTF)信号;(6)影响;(7)确认和结案。有趣的是，性姿势在同性恋参与者中扮演着重要的角色。然而，许多异性恋参与者仍然遵循传统的勾搭脚本。显然，如果在性行为的“地点”和“时间”上没有达成一致，勾搭是不可能的。与此同时，在以勾搭为动机的聊天中，主要的形象是“挑衅”和“好猎物”。
{"title":"The language of hookups: A conversation and self-presentation analysis of Tinder chats","authors":"Joseph Ryann J. Jalagat, Jerry Y. Yapo","doi":"10.52518/2021.18.2-01jalyap","DOIUrl":"https://doi.org/10.52518/2021.18.2-01jalyap","url":null,"abstract":"Tinder, a location-based real-time dating application, has significantly influenced the shift in people’s attitudes toward sexual expression and the existing hookup culture. Using conversation and self-presentation analysis, this research aimed to explore hookups’ communicative patterns and examine how self-presentation manifests in Tinder chats. Some of the determinants of successful and failed hookups are also provided. Exchanges among some 20 interactants reveal this discursive pattern of hookups: (1) It’s a Match; (2) Opening Sequence; (3) Screening; (4) Transferring to Other Social Networks; (5) Sending Down to Fuck (DTF) Signals; (6) Compromising; and (7) Confirming and Closing. Interestingly, the performative roles of sex positions play a big part for gay participants. Many of the heterosexual participants, however, still follow the traditional scripting of hookups. Apparently, a hookup is not possible if there is no agreement as to the “where” and “when” of sexual activity. Meanwhile, the predominant image present in hookup-motivated chats is being “provocative” and a “good catch.”","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"40 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79632556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Like myths in folklore, “development as discourse” constructs women. I argue that these representations of women, particularly in seven selected online articles produced by news media and development institutions about the recovery of Marawi City in the Philippines after nearly five months of conflict in 2017, obscure women’s genuine aspirations and actual participation in rehabilitation efforts. Using the lens of Third World feminism and postdevelopment thinking, I point out how these media discourses on development mythologize women. Parsing “development as discourse” is essential not only for exposing the contradictions in media representations of women but also for surfacing the possibilities of reinterpreting the myths. Critical writing and reading can demythologize and liberate conflict women and other silenced Others.
{"title":"Discourses on Conflict Women: Surfacing the Women in Marawi in News-mediated “Development as Discourse","authors":"M. T. A. Tabada","doi":"10.52518/2021-04tabada","DOIUrl":"https://doi.org/10.52518/2021-04tabada","url":null,"abstract":"Like myths in folklore, “development as discourse” constructs women. I argue that these representations of women, particularly in seven selected online articles produced by news media and development institutions about the recovery of Marawi City in the Philippines after nearly five months of conflict in 2017, obscure women’s genuine aspirations and actual participation in rehabilitation efforts. Using the lens of Third World feminism and postdevelopment thinking, I point out how these media discourses on development mythologize women. Parsing “development as discourse” is essential not only for exposing the contradictions in media representations of women but also for surfacing the possibilities of reinterpreting the myths. Critical writing and reading can demythologize and liberate conflict women and other silenced Others.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"22 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74579593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The panopticon was originally a prison design made by Bentham in the late 18th century to efficiently reform offenders. Foucault appropriated Bentham’s panopticon in the late 20th century to conceptualize and critique the society and state’s coercive practices in making individuals conform to social and state norms. Although Foucault’s appropriation of Bentham’s panopticon was done prior to the full emergence of the digital age, a number of present day scholars use the panopticon in conceptualizing and critiquing digital surveillance. This paper problematizes the applicability of both Bentham and Foucault’s panoptic theories to such contemporary phenomenon. This paper dissected both panoptic theories into five components—subjects; observers; data gathering, storage, and analysis; goals and effects of the systems; and management of the systems—and compared and contrasted these to their corresponding components from three cases of digital surveillance representing state digital surveillance, social media digital surveillance, and e-commerce digital surveillance. This paper established that Bentham and Foucault’s panoptic theories have moderate resemblance to each other; that both Bentham and Foucault’s panoptic theories are applicable to the conceptualization and critique of state digital surveillance; and that both Bentham and Foucault’s panoptic theories are not applicable to the conceptualization and critique of social media and e-commerce digital surveillances. As a metacritique this paper is significant in the sense that its findings will hopefully enlighten other scholars about the actual levels of usefulness of both panoptic theories in conceptualizing and critiquing different modes of digital surveillance.
{"title":"Metacritique on Bentham and Foucault’s Panoptic Theories as Analytic Tools for Three Modes of Digital Surveillance","authors":"F.P.A. Demeterio, June Benedict Parreno","doi":"10.52518/2021-01pardem","DOIUrl":"https://doi.org/10.52518/2021-01pardem","url":null,"abstract":"The panopticon was originally a prison design made by Bentham in the late 18th century to efficiently reform offenders. Foucault appropriated Bentham’s panopticon in the late 20th century to conceptualize and critique the society and state’s coercive practices in making individuals conform to social and state norms. Although Foucault’s appropriation of Bentham’s panopticon was done prior to the full emergence of the digital age, a number of present day scholars use the panopticon in conceptualizing and critiquing digital surveillance. This paper problematizes the applicability of both Bentham and Foucault’s panoptic theories to such contemporary phenomenon. This paper dissected both panoptic theories into five components—subjects; observers; data gathering, storage, and analysis; goals and effects of the systems; and management of the systems—and compared and contrasted these to their corresponding components from three cases of digital surveillance representing state digital surveillance, social media digital surveillance, and e-commerce digital surveillance. This paper established that Bentham and Foucault’s panoptic theories have moderate resemblance to each other; that both Bentham and Foucault’s panoptic theories are applicable to the conceptualization and critique of state digital surveillance; and that both Bentham and Foucault’s panoptic theories are not applicable to the conceptualization and critique of social media and e-commerce digital surveillances. As a metacritique this paper is significant in the sense that its findings will hopefully enlighten other scholars about the actual levels of usefulness of both panoptic theories in conceptualizing and critiquing different modes of digital surveillance.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"40 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76759171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-01DOI: 10.52518/2020.17.1-04armpac
Adjani Guerero Arumpac
Regenerative documentary is generated by a composite unity that comprises the living system of resistance in the Philippines. It takes into account the contingent, illustrated by artist groups—Respond and Break the Silence over the Killings (RESBAK), Sandata, and Gantala Press—that converged with the living system of resistance where and when human rights was curtailed by an environment of impunity, systemic poverty, social inequality, and injustice. The purpose of regenerative documentary is to identify and make known that a system of resistance exists and it is living. By harnessing the ideas of narrative, emergence, and ethicality espoused by autopoiesis and critical posthumanism, regenerative documentary situates its expediency within the context of the Philippine human rights violations under the Duterte regime as a transformative critical posthuman art.
{"title":"Regenerative Documentary: Posthuman Art in the Context of the Philippine Drug War","authors":"Adjani Guerero Arumpac","doi":"10.52518/2020.17.1-04armpac","DOIUrl":"https://doi.org/10.52518/2020.17.1-04armpac","url":null,"abstract":"Regenerative documentary is generated by a composite unity that comprises the living system of resistance in the Philippines. It takes into account the contingent, illustrated by artist groups—Respond and Break the Silence over the Killings (RESBAK), Sandata, and Gantala Press—that converged with the living system of resistance where and when human rights was curtailed by an environment of impunity, systemic poverty, social inequality, and injustice. The purpose of regenerative documentary is to identify and make known that a system of resistance exists and it is living. By harnessing the ideas of narrative, emergence, and ethicality espoused by autopoiesis and critical posthumanism, regenerative documentary situates its expediency within the context of the Philippine human rights violations under the Duterte regime as a transformative critical posthuman art.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"130 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74687633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-01DOI: 10.52518/2020.17.1-11ilagan
Bonifacio P. Ilagan, Rommel R. Rodríguez
{"title":"Gawad Plaridel Lecture 2019: Of Plaridel and Pressing Thoughts on the Media and the Arts","authors":"Bonifacio P. Ilagan, Rommel R. Rodríguez","doi":"10.52518/2020.17.1-11ilagan","DOIUrl":"https://doi.org/10.52518/2020.17.1-11ilagan","url":null,"abstract":"","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"81 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90507406","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-01DOI: 10.52518/2020.17.1-05pnglinn
Carlo Gabriel Pangilinan
The comprehensive objective of this paper is to critique and interrogate selected political documentaries created by individuals and film collectives from the time of incumbency of Gloria Macapagal-Arroyo, Benigno Aquino III, until the current “fascist” (Imbong, 2020) regime of Rodrigo Roa Duterte. In whole, the paper has three specific objectives. First, subtlety lay and give clarity to the impelling philosophy and political stance of documentaries deemed political in nature. Second, apply a class-based critique and re-examination, particularly on the level of an ideological analysis, to the following documentaries—Red Saga (Dalena, 2004), Sa Ngalan ng Tubo (Tudla Multimedia Network & EILER, 2005), Tundong Magiliw (Maranan, 2011), The Guerilla is a Poet (Dalena,K.&Dalena,S., 2013) and Yield (Tagaro & Uryu, 2017). Lastly, another goal of the paper is to be able to map out some propositions on how to fully extract the radical potential of political documentaries especially at this time of elusive justice and reason, while unrest, impunity, and fascism are intense
本文的综合目标是批判和质疑从贝尼尼奥·阿基诺三世执政时期的格洛丽亚·马卡帕加尔-阿罗约到罗德里戈·罗阿·杜特尔特当前的“法西斯”(Imbong, 2020)政权期间，个人和电影集体创作的精选政治纪录片。总的来说，本文有三个具体目标。首先，微妙地奠定并明确了被认为是政治性的纪录片的引人入胜的哲学和政治立场。其次，运用基于阶级的批判和重新审视，特别是在意识形态分析的层面上，对以下纪录片——红色传奇(Dalena, 2004)， Sa Ngalan ng Tubo (Tudla多媒体网络& EILER, 2005)， Tundong Magiliw (Maranan, 2011)，游击队是诗人(Dalena,K.&Dalena,S.)。， 2013)和Yield (Tagaro & Uryu, 2017)。最后，本文的另一个目标是能够制定出一些关于如何充分提取政治纪录片的激进潜力的主张，特别是在这个难以捉摸的正义和理性的时候，而动荡，有罪不罚和法西斯主义是激烈的
{"title":"Mula kay GMA Hanggang kay Duterte: Kritika sa Ilang Dokumentaryong Politikal at Pagmamapa sa Tunguhin ng Dokumentaryo sa Panahong Pinapaslang ang Politikal","authors":"Carlo Gabriel Pangilinan","doi":"10.52518/2020.17.1-05pnglinn","DOIUrl":"https://doi.org/10.52518/2020.17.1-05pnglinn","url":null,"abstract":"The comprehensive objective of this paper is to critique and interrogate selected political documentaries created by individuals and film collectives from the time of incumbency of Gloria Macapagal-Arroyo, Benigno Aquino III, until the current “fascist” (Imbong, 2020) regime of Rodrigo Roa Duterte. In whole, the paper has three specific objectives. First, subtlety lay and give clarity to the impelling philosophy and political stance of documentaries deemed political in nature. Second, apply a class-based critique and re-examination, particularly on the level of an ideological analysis, to the following documentaries—Red Saga (Dalena, 2004), Sa Ngalan ng Tubo (Tudla Multimedia Network & EILER, 2005), Tundong Magiliw (Maranan, 2011), The Guerilla is a Poet (Dalena,K.&Dalena,S., 2013) and Yield (Tagaro & Uryu, 2017). Lastly, another goal of the paper is to be able to map out some propositions on how to fully extract the radical potential of political documentaries especially at this time of elusive justice and reason, while unrest, impunity, and fascism are intense","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"26 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82307245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-01DOI: 10.52518/2020.17.1-09labor
Jonalou S. Labor
Mobile dating applications have become self-presentation spaces and stages among the youth. In the search for romance and sexual relationships, young Filipinos create and act out pre and co-constructed selves that enable them to find dating partners. Using the musings and experiences of 50 Filipino young adults who have been using dating apps to search for love or lust, the study found that created mobile/ online selves or faces reflect presentation strategies that include the show of sincerity, dramatic execution of the role, use of personal front, maintenance of control over the information, mystification, idealization, and misrepresentation. The study concludes that self-presentations range from the authentic to the inauthentic portrayal of the self to advance motives and intents in the use of dating apps.
{"title":"Mobile Sexuality: Presentations of Young Filipinos in Dating Apps","authors":"Jonalou S. Labor","doi":"10.52518/2020.17.1-09labor","DOIUrl":"https://doi.org/10.52518/2020.17.1-09labor","url":null,"abstract":"Mobile dating applications have become self-presentation spaces and stages among the youth. In the search for romance and sexual relationships, young Filipinos create and act out pre and co-constructed selves that enable them to find dating partners. Using the musings and experiences of 50 Filipino young adults who have been using dating apps to search for love or lust, the study found that created mobile/ online selves or faces reflect presentation strategies that include the show of sincerity, dramatic execution of the role, use of personal front, maintenance of control over the information, mystification, idealization, and misrepresentation. The study concludes that self-presentations range from the authentic to the inauthentic portrayal of the self to advance motives and intents in the use of dating apps.","PeriodicalId":40520,"journal":{"name":"Plaridel","volume":"22 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84770247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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