A NARRATIVE ANALYSIS OF SELECTED SEX-DRIVEN iWANT FILMS AND THEIR REPRESENTATIONS OF GENDER ROLES PDF

A NARRATIVE ANALYSIS OF SELECTED
SEX-DRIVEN iWANT FILMS AND THEIR

REPRESENTATIONS OF GENDER ROLES
CAMUNGOL, KIRSTEN ROSE

LOPEZ, JULLIANNE
MIRA, KYLA ANGELA
SAGA, REUVEN
TACUYAN, JOHN PAUL
VASQUEZ, JONATHAN
DEPARTMENT OF COMMUNICATION
Far Eastern University Manila
N. Reyes St., Sampaloc, Manila
OCTOBER 2019
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Chapter 1
INTRODUCTION
Background of the Study
ABS-CBN launched a new version of its iWant TV streaming service, which will be
called iWant, to allow fans to stream original films and series, K
apamilya shows and movies,
music, and concerts (ABS-CBN, 2018). With the newest video streaming platform now of reach
to several Filipinos, plenty of the most talked-about shows in social media can be watched in a
single application. Glorious, M
omol Nights, Allergy In Love, S
in Island, and T
he Escort w
ere the
example of movies that have appealed to the demographic since their initial releases as they
show mild to rather extreme situations that they put their characters. When people speak of
sexually-oriented media, can be referring to a wide variety of sources. Some classes of materials
in magazines, videos, films, and the Internet web. Web sited labels like erotic, pornographic,
x-rated or films that are R-18 (Brayant & Zillmann, 2002).
Sexual imagery is also prevalent in music videos, where the most frequent portrayals are
of sexual and suggestive dance, sexual objectification, and self-touching (Ward, Erickson,
Lippman, & Giaccardi, 2016). B
oth men and women are constantly changing and experience
many struggles during the stage of having sex with someone, but their meaning-making
realization, and rationalization of what they see and experience around them molds who and
what they can be. Gender differences in arousal were negligible for female-selected clips but
substantial for male-selected clips. Furthermore, men and women experienced higher levels of
sexual arousal to clips selected for individuals of their own gender (Janssen, Carpenter, &
Graham, 2003). Instead of being demoralized, teens gain compassion and care about others.
iWant’s selected films namely G
lorious, M
omol Nights, A
llergy In Love, S
in Island, and T
he Escort
have all sorts of different logical sequences of what Filipino encounters the day. Common to
these movies would strike every Filipino's wit, imagination, and definition; sex. An example of
a videotape, a film, and a TV show would do much to clarify many conclusions and to keep
your attention; instead, much as verbal sex content in the media does (Zillmann, Bryant, &
Huston, 1994).
FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

A NARRATIVE ANALYSIS OF SELECTED SEX-DRIVEN iWANT FILMS AND THEIR REPRESENTATIONS OF GENDER ROLES
Camungol, Lopez, Mira, Saga, Tacuyan, Vasquez
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In the films that have mentioned above, the researchers chose to watch all the movies
they knew that has erotic sex scenes that made an impact on a lot of Filipino viewers. These
movies have shown a lot of reviews all over media that some of the scenes were really driving
them the arousing feeling that these movies really aimed. Through this research, the researchers
will look further into how and why these sex-driven films create a lot of impact on their viewers
that made the viewers feel or imagined that they were the one who is doing the actual scene.
Researchers will also explore how exposure to this content contributes to the sexual attitudes
and behaviors of the viewers.
The researchers will explain more about the sex-driven films and its connection to its
viewers. In terms of attitudes, heavier media exposure is associated with holding more positive
attitudes toward uncommitted sexual exploration; stronger support of gender-related sexual
roles, adversarial sexual beliefs, and the sexual double standard; and increased estimates of
peers’ sexual behavior (Ward, Erickson, Lippman, & Giaccardi, 2016).
Synopsis
Glorious. The film was sex-positive and it wanted to emphasize that age is j ust a number
(Tabanera & Lopez, 2018). “Age is just a number”. That line is the main factor of the movie that
keeps G
lory (Angel Aquino) to have this secret relationship with Niko (Tony Labrusca) ongoing.
It further goes on with the infidelity of Glory to her husband despite the fact that her husband
has cheated on her with his secretary and is barely home with his family. Glory being the
protagonist in this story, she has lost touch of being able to feel someone till she meets Niko, a
22-year-old salesman in a hardware store. They mutually were interested in one another and
started communicating with each other via text messaging. Things escalated from there as
sexual and emotional voids are filled and certain complications arise that make it rather their
secret relationship harder to keep a “secret”.
Momol Nights. In Momol Nights which is acronym for Makeout Make Out Lang style of
dating that usually involve lust or sex and nothing else, the movie is centered on Molina’s to die
for searching for a man of her dreams, and achieving that is taking an option of One Night
Stand only to give in her desire of finding Mr. Right (Palawanderer, 2019). T
he romantic

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comedy movie that you never expected. It was a movie about a woman named P
eng ( Kim
Molina) who saw a guy that she likes and also by feeling pressured by her friends, she was
desperate to find another guy and be intimate with until she saw Marco (Kit Thompson) who is
totally her style.
They say the second time's a charm, that’s why when Peng saw Marco for the second time, she
didn’t let the moment passed and did everything to make him notice her and to get him into
bed or just what they called “momol”, that’s why when Peng saw Marco for the second time, she
didn’t let the moment passed and did everything to make him notice her and to get him into
bed or just what they called “momol” or to get him to make out with her. Just like it says in the
movie, “Sex is not dirty. It’s being human.”(Freya, 2019). In the generation today, women are
embracing their sexuality more and doing out of their comfort zone and not feel guilty about it.
Allergy in Love. The story is about a successful author, Johnson Tayona (Pocholo Baretto)
who has an extraordinary allergy and that allergy is when he feels attracted to a woman or he
feels some lust towards that woman. While his fan Ayama (Chie FIlomeno) read all of his books
and had a chance to ask him a question regarding his personal life and got her invited to
Johnson’s workshop in a resort.
Ayama did all her best to know his secret and when she knew about his allergies, she decided to
help him overcome his allergies and build a romantic experience on their trip.
Sin Island. Kanika (Coleen Garcia) and David (Xian Lim) were the ideal married couple.
They have the perfect job, perfect life, and the love that they both have for each other. Kanika is
a flight attendant, while David is a photographer/videographer mostly in modeling and
weddings. David had an accident on his job and that caused losing his job and that’s where
Kanika covered for their expenses for the past two (2) years.
During those years, K

anika’s boss has an interest in her that made her interested in him and
entertained him. David knew their affair and decided to go to Sinilaban Island or Sin Island t hat
his friend gave him. And that’s where he met T
asha (Natalie Hart). A woman who has the same
situation as him, heartbroken because of their spouse. They easily clicked, had a connection that
they never felt for a long time with their partner. They made a vow that they will never be like
their partner who cheats on them, however, while Kanika tried to stop what she feels about her

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Captain and D
avid succumbs to the island’s seductive allure and engages in a carnal affair with
Tasha.
The Escort. The story is about a girl named Y

assi (Lovi Poe) a very attractive virgin
woman who applies as a receptionist in a high-class escort service that Xyruz ( Derek Ramsay)
gave her the offer of the job and also owns the business. Gary Montella ( Christopher de Leon) a
very successful businessman who fell in love with Yassi at first sight, tried his best to court her
and give her everything, but Yassi fell in love with her boss, Xyruz. And that’s where the
complication of their life begins.
Statement of the Problem
This study sought to answer the following problem:
How do iWant original films shape a new social norm in gender roles in film from the portrayal
of sex scenes in Glorious, Momol Nights, Allergy in Love, Sin Island, and The Escort?
Objectives of the Study
To analyze each sexual scene from its cinematography to its aesthetic aspects and how
aesthetics and cinematography contribute to the story and gender roles in the film;
To determine the occurring events in the film that leads to sexual encounters and how the
millennial audience relate to them;
To explain and distinguish the breakdown of the series of scenes coming from Glorious,
Allergy in Love, Momol Nights, Sin Island and The Escort;
To be able to clearly define the contributing factors that attract an audience in watching the
films.

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Significance of the study

Students. Being more capable in assessing the reasons for sexual actions when it comes
to different levels of situational pressure, therefore, being able to widen their understanding
towards subject matters on sex.
Viewers of the film. B
eing more aware of what the film wanted to say to their
audiences. The study will help the viewers to have more knowledge not only on the aesthetic
side of the film but rather be able to find the applied characteristics that make the scene what it
is.
Future Researchers. This study would help them get further background on the flow of
opinion and transmission of messages of the respondents towards other films that is in the same
genre, in the different media platforms.
Film-makers. This study will provide future film-makers a better understanding and/or
new knowledge in film directing and editing pointing-out on the relevance of aesthetics and
technicalities in establishing gender roles specifically in sex-driven stories.
Scope and Limitations
Major findings of this study will be concerning the impact of sexual content in
mainstream entertainment media, with a focus on selected films on iWANT - Glorious, Allergy
in Love, Momol Nights, Sin Island, an The Escort -and how does the story of each film connects
to the media consumer. The study begins with a summary documenting the nature and
prevalence of sexual content in the films mentioned. It will continue with a discussion of
relevant media effects theories, and then review studies examining contributions of mainstream
media exposure to sexual attitudes and behaviors.
In creating parameters for this study, the researchers have chosen to focus on analyzing
the scenes by the technical elements of the film such as the cinematography, the camera angles
or the camera work, the framing and editing. How these things contribute to the film in feeding
the sexual curiosity of the viewers who are mainly in the age range of adolescents who are more
vulnerable to media influences.

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Chapter 2
REVIEW OF RELATED LITERATURE
This section consists of the relevant studies and set of literatures that
contributed to broadening the knowledge of the researchers towards understanding the
representation of gender roles in films as well as its input to sexual content that are presented in
media, specifically, in the selected films that are used in this study.
Sexual content in media
There have been numerous researches about violence portrayed in media, may it be in
television or films. But there are very few studies conducted about the effects of sexual content,
explicit or implied, in the media to the youth. In fact, developing research into sex is
challenging.
Sexual themes in television or film have been existing even before us, researchers, were
born. Sex films or better known as bomba f ilms in the Philippines were a hit in the ’70s to ’80s
where some even show actual genital penetration. More broadly, sex has long been a part of
popular culture (Bryant & Oliver, 2009). Before the age of social media and the existence of
whom we call “influencers”, the only source of information is the media. Since then, the youth
get a glimpse of what is the idea of sex and how it is done. Censorship was stricter in the past
and access to such media platform are more controlled than it is in this generation. Then came
the internet age, where all that was restricted have been fully liberated, used, and abused. Now,
more than ever, with the addition of the internet, media have become more relevant to the
youth’s formation. Teens spend about eight hours per day online and 3 - 4 hours watching
television (Ward & Friedman, 2006). As studies show that the television they watch is enriched
with sexual content which highly holds the teenagers’ attention (Collins et al., 2004). Sex on TV
usually appears through acts of kissing, hugging, sex, love, and aggression that are related to
the use of tobacco, drugs, and alcohol, as a precursor (Huston et al., 1998). Then, the characters
performing sexual intercourse usually are not married to each other or one of them is married

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or in a relationship. This impacts the attitudes of teens by setting an example of what is normal
(Arnett, 2002).
With the advent of exponential advancements in technology, such as the internet and
smartphones, media content is gradually becoming more and more saturated. As Ciesynski
(2013) stated in her study, “televised media is not only becoming more accessible but more
normalized (12).” The flow of information is always in flux and everything is much more
accessible, thus it is much harder now to keep track of what we see in the media than it was a
decade ago. Much less to identify how these media content influences our perception of the
world.
The notion that media content shapes our perceptions of reality has been brought
forward by Albert Bandura. Bandura (1977, as cited in Cieszynski, 2013) stated that our
perception of reality is heavily influenced by what we see, hear, and read in the media.
Ciesynski (2013) studied how teen sexuality is portrayed in modern media and how it helped
develop teen’s perceptions of sexuality. The study shows that teen sexuality, specifically
teenage pregnancy, is becoming glamorized through shows like Teen Mom and 16 and
Pregnant. As a result, teenagers who frequently see the shows have an unhealthy view on
teenage pregnancy albeit a number of respondents recognize the fact that the show is highly
reductionist in its portrayal of the nuances of teenage pregnancy. Nonetheless, this portrayal
helps develop an unhealthy perception of sexuality.
Misagal, Pasagui, and Acabado (2013) sought to describe how sex and violence as
represented in the media is attributed to the commission of crimes of juvenile delinquents under
the protection of the Regional Rehabilitation Center for the Youth (RCCY) in Davao City. Much
of the media content that these youths are exposed to involved violence (such as action and
crime shows) and sex (such as sex video clips and pornography).
Misagal et al. (2013) argued that these media contents help shape the ideals and the
perceptions of reality of these youths, but that these perceptions won’t be acted upon unless
something from the real world triggers it. These triggers bridge the youths’ perception of the
realization of those perceptions. Ultimately, these real-world experiences and circumstances
strengthen and reinforce the ideas formed by media messages. Examples of these experiences
are gang participation and the family orientation of the children.
Despite numerous studies on the negative influence of television (and the media in
general) among the youth, Ciesynski (2013) cites several studies pointing to the potential of

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television programs to portray sexuality in an educational manner. Media portrayals of

sexuality fill in the gap of the absence and inadequacy of parents and the educational
institutions to provide information about sexuality to teenagers. (Kunkel et al., 2007). Sutton,
Brown, Wilson, and Klein (2002, as cited in Kunkel et al., 2007) argues that television is an
important source of information about sexual responsibility and accountability. Furthermore,
Kunkel et al. (2007) television portrayals of sexual responsibility can help raise awareness about
critical public health concerns. This shows that the media, television to be specific, does not only
provide negative impacts on teen sexuality.
Collins et al. (2004) argue that the media also has positive impacts on the youth. In a
study assessing the impact of condom-efficacy information in an episode of Friends among 506
adolescents (12 to 17 year olds), they reported that 65% of teenagers who saw the episode
recalled the condom-efficacy messages, and ten percent of those who saw the episode talked to
an adult about the effectiveness of condoms in preventing pregnancy. They conclude that
television can take on the role of a sex educator for the youth, coupled with the guidance of
parents.
Despite the presence of positive sexual messages in the media, however, Kunkel et al.
(2007) provide proof that these messages are still scarce and infrequent. The study aimed to
describe how media messages patterns about sex (i.e. talk of sex and sexual behaviors) evolved
from 1997 to 2002. The study sampled 942 programs from the year 1997 to 1998, 938 programs
from 1999 to 2000, and 937 programs from 2001 to 2002. Results stated that from 1997 to 1998,
56% of programs contain sexual content. 54% of these involve a sexual talk, while 22% contain
explicit sexual behavior. The researchers then compared this data to data gathered from 2001 to
2002 years. From 56% from 1997 to 1998, 64% of programs now contain sexual content, 61% of
which have messages on sexual talk while 32% contain explicit sexual behavior. We can see that
sexual content in the media is becoming more and more prevalent and that TV shows are
becoming more and braver in tackling explicit sexual behaviors. Additionally, the researchers
also looked into the types of programs to contain sexual content and found that soap operas,
movies, situation comedies, and dramas are usually the types of programs to include sexual
content.
Kunkel et al. (2007) also looked into the presence of sexual responsibility messages in the
media, citing that there is more evidence that exposure to these messages can help shape the
right attitudes and behaviors among teenagers regarding sexuality. They found that while these

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types of messages are present in the media, they are scarce and infrequent as said earlier. From
the year 2001 to 2002, only 6% of the programs sampled in the study portrayed sexual
responsibility, or talk about sexual responsibility.
We can safely infer that the media portrayal of sexuality is still negative and adds to the
stigma of sex as a taboo topic among teenagers, rendering them uninformed and ill-equipped
about the complex aspects of sexuality. From an academic standpoint, a lot of studies are
preoccupied with the negative impacts of the media on the teen perception of sexuality, and
there is a clear void on the topic of the portrayal of sexual responsibility and positivity.
Technology and Sex over Culture

DVD (Digital Versatile Disc) distributor Netflix stream not only in movies but a host of
new and old network television hits (Baran, 2015). Information technology has taken over
control of almost everything around us. Ever since the internet was introduced in the
Philippines on March 29, 1994, acquiring media content has been easy and censor-free. Since
then, it is not only the television, or traditional media channels, that is sexualizing the youth, so
is the internet. People can easily search for movies or series that are on different sites and if
before you need to buy or rent a CD (Compact Disc), now you can just watch movies in just one
click. Not only movies or series are available online, but even porn. Porn is within easy reach to
everyone; just type the word “porn” on Google and a hefty number of YouTube-like porn sites
would come up and ready for consumption.
Moreover, sexually-themed TV series, films, or online media contents are widely
available even from the youngest tech-savvy kid to the sexually coital-curious adolescent. These
sexual contents are making the youths to construe that promiscuity is normal. Because of the
different series or movies showing that many teenagers are having sex at 14-17 years old,
thinking it’s the norm to engage in sex-only relationships and one-nighters. One factor to blame
for this mentality is the sexual content of film and video as well, not just on TV (Sexual Content
on TV Has a Negative Impact on Teenagers, 2016).
The Launch of iWANT in the Philippines

iWANT is an updated version of the iWANT TV Streaming Service launched by
ABS-CBN in 2018, compared to its predecessor, iWANT TV, most of its contents are free to
watch to those who download the application. The current iWant TV is best known as an

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avenue for people to catch up on the shows they missed. The new iWant will focus instead on
producing original films and series and allowing fans to stream Kapamilya shows, movies,
music, and concerts. They'll also be offering magazines, books, and OPM albums (Tapnio, 2018).
The contents of the new iWANT include plenty of familiar features offered by the iWANT TV
such as original films and series and ABS-CBN Kapamilya shows, movies and music
(ABS-CBN to launch new streaming service iWant, 2018). This video streaming platform
is the home to the movies that we use in this study which is Glorious, Momol Nights, Allergy In
Love, Sin Island a nd The Escort. The first film, Glorious, i s rated “R-18” while the second film,
Momol Nights are rated “R-16”. Following the use of the films in the study are Sin Island a nd The
hich are both rated PG (Parental Guidance) in the iWant website. Lastly, the film,
Escort w
Allergy In Love, released no rating whatsoever upon their release in iWant.

Evolution of Kissing Scenes and Film Censorship in Philippine Movies

Castro in Esquire magazine (Lips to Lips: The Evolution of Kissing Scenes in Philippine
Movies, 2019) stated how Hollywood Films such as A Woman’s Affair which showed the first
open-mouth kiss on-screen shocked audiences worldwide. It changed Filipino attitudes toward
overt displays of affection such as kissing. As films develop, Filipinos clung to
Spanish-influenced themes, which they believed reflected their own culture and values. This
pattern changed when Hollywood stars came to town and overshadowed European performers.
These larger-than-life screen figures not only became the new idols of the movie masses, but
their films also became powerful mediums of Americanization. D
epictions of sex and kissing in
movies, under the cloak of harmless amusement, provided sensual fulfillment, among others.
The effect was so pronounced it also triggered the evolution of kissing scenes in Philippine
movies.
Censorship in the Philippines truly began under the reign of the Spaniards, who
prohibited works that were deemed revolutionary. While they prohibited literary, musical, and
visual forms of art, film censorship was included in the picture upon the American colonization.
The first movie kissing scene in the country was with actors Luis Tuason and Isabel Cooper
who made history by smooching on the silver screen in T
atlong Hambog, a silent picture
produced by Jose Nepomuceno in 1926. Cooper later became a mistress of Gen. Douglas
Macarthur. In 1929, the Philippine Legislature creates Act. No. 3582, titled "An Act to Create a

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Board of Censorship for Moving Pictures and Define Its Functions". The board consisted of 15
members that sought "to examine all films, spoken or silent, imported or produced in the
Philippine Islands, and prohibit the introduction and exhibition in this country of films, which
in their judgement are immoral or contrary to law and good customs or injurious to the prestige
of the Government of the people of the Philippine Islands". (De Vega, 1981). In 1930, The first
meeting of the board was conducted in the office and out of the 1,249 films approved, 6 had
parts cut out while two films were banned namely, B
atang Tulisan and Chapayev.
During the Japanese occupation in 1942, it led to what was arguably the strictest period
of censorship the country has faced. In light of Japan's desire to convert the Philippines into a
willing member of the Greater East-Asia Co-Prosperity Sphere, printed matter, radio shows,
theater plays, and visual art were heavily monitored, leading to the hiatus of production for
Philippine cinema until 1945.
Post-war censorship mainly dealt with concerns over political ideology. After the war,
producers had more reasons to insert titillating kissing moments in their films. The 1946
romantic comedy from LVN pictures, V
ictory Joe, showed a long, romantic kiss between Norma
Blancaflor and her suitor, Rogelio dela Rosa, who had just returned from the war. (Castro, 2019)
In 1967 onwards, soft porn movies, more popularly known as b omba films, increasingly
rose to commercial by the relaxing of rules by the Board of Censorship, who started allowing
more nudity and explicit sex. By the onset of the '70s all hell broke loose as local producers took
the counterculture slogan, “make love, not war,” literally. F
ly-by-night producers cashed in on
the bomba trend, but pushed the envelope further by adding not just scandalous kisses of all
kinds, but also real, hardcore sex. These films attributed to the fact that movies tackled more
adult, realistic themes. It usually depicted cut portions from previously banned films, or the
entire prohibited films themselves.
In spite of persisted heavy criticizing from Catholic groups, the exploitation of sex and
violence onscreen continued to assert itself. During the early period, b omba films littered
cinemas throughout the archipelago, prompting Marcos to enjoin the Board to be stricter.
Philippine cinema underwent a transformation from liberalization to conservatism under
Martial Law. Action films usually append an epilogue like claims that social realities depicted
had been wiped out with the establishment of the New Society. The notorious genre of sex or

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bomba films still existed but in a milder, less overt way like female stars swimming in their
underwear or taking a bath in their c hemise, labeled as the "wet look". An example of the trend
was the 1974 hit movie A
ng Pinakamagandang Hayop sa Balat ng Lupa (The Most Beautiful Animal
on the Face of the Earth) which featured former M
iss Universe Gloria Díaz (Dorsch, 2018). It
was during Martial Law that the Board began to require the approval of the shooting script
before production itself, constituting one of the strictest moves by the Philippine government to
stifle free speech in the cinema. (Tiongson, 1983).
In the latter part of his dictatorship, on October 1985, Ferdinand Marcos issued
Presidential Decree No. 1986, which abolished the Board of Review and established the current
government agency, the Movie and Television Regulation and Classification Board (MTRCB).
Its charter remains unaltered to this day, save modifications and clarifications in its
Implementing Rules and Regulations (IRR), promulgated in 2004. (Conti, 2014). Kissing has
now been featured in Philippines movies for nearly a hundred years. Since then, every
imaginable taboo, once unspoken and forbidden, has been depicted in various ways, especially
in the Internet age, including couples of different genders and sexual orientations, husbands
with multiple q ueridas, priests having affairs, mature women indulging in carnal pleasures with
young men (i.e., the rough kissing of young Tom Labrusca and Angel Aquino in Glorious),
among others. (Castro, 2019)
Presently, in the 1990s, kissing has now been featured in the Philippines movies for
nearly a hundred years. Since then, every imaginable taboo, once unspoken and forbidden, has
been depicted in various ways, especially in the Internet age.
Adolescent sexuality and the media
In an MSF study made by Lewis (Aug 2012), he stated that the entertainment industry
uses sensual images of both genders to promote products; celebrities use sexual images to gain
more popularity; filmmakers and writers may overuse sexual scenes to maintain audiences’
interest, and so on. Children and teenagers are the most vulnerable age groups in terms of
developing misconceptions about sex under the media’s influence; affected by a constant
bombardment of sexual themes, boys and girls tend to get a wrong understanding of gender

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roles, appropriate behavior, and relationships, and of sex itself. Unfortunately, there seems to be
no way to completely protect youth from an undesired exposure to commercialized sex he
media industry has brought it to a new level, turning it into an idealism that many people try to
match. Sex in the media is mostly used for products or for the promotion of celebrities; this is a
consumerist approach that implies that sex may be either a mean of achieving goals, or a service
that can be easily purchased. Teenagers and children are especially vulnerable to media
influences, as they have a lack of personal experience to base their perception on.
Findings made by Gruber (2000) indicate that adolescent girls choose network television
programs with sexual content more often than do adolescent boy and spend more time
watching it, often in the company of parents. Older adolescent boys, however, are more
oriented to the hardcore sexual content found in explicit music lyrics and X-rated films. They
are also more drawn to new media choices like handheld devices, the Internet, and computer
games. Adolescents of both sexes who watch and listen to a lot of media are more likely to
accept stereotypes of sex roles on television as realistic than are less frequent viewers.
In a study of sexual innuendo on television, (Silverman-Watkins & Sprafkin, 1983),

12-year-old youths were less likely to understand suggestive material than 14- and 16-year-olds.
Similarly, in a qualitative study of adolescent girls aged 11 to 15, those who were at an earlier
stage of physiologic development were less interested in sex portrayed in the media whereas
more mature young women were intrigued and more actively sought out sexual content in the
media as a means of “learning the rules, rituals, and skills” of romance and relationships.
Specifically, they reported that the media provided models for achieving the “right look” to
become popular and attract boys, portrayed teen characters with problems similar to their own,
showed how they solved those problems, and gave examples of how to behave in sexual
situations.
In addition to the large body of literature examining the role of media in shaping
attitudes and beliefs about sex and sexuality, Ward, Erickson, Lippman, & Giaccardi (2016)
were increasingly interested in media’s influence on sexual behavior. The research has
examined adolescents and emerging adults, including middle school students, high school
students, and college undergraduates. In terms of behavioral outcomes, most research has
focused on the ways in which the media may influence sexual behaviors known to be associated
with mental and physical health risks such as early sexual initiation, frequency of casual sex,

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number of sexual partners, pregnancy, and occurrences of sexually transmitted infections (STIs).
The studies examined multiple media at once, including television, video games, magazines,
music, and film, but the largest body of literature on media’s relation to sexual behaviors
concerns television.

The Birth of Bomba Film
During Marcos’ dictatorship in 1970, it said to be the mark of the Second Gold
Age of Cinema until the 80s. It’s the time where the government also supported and
promoted the Philippine film industry (“When ‘bomba’ sex films were a staple of
Philippine cinemas and their female stars graced magazine covers”, 2019). This is also
the time when “Bomba” films became a hit in the country despite being a strongly
Catholic country. Bomba films are known for being too “bold” or “scandalous” for
showing soft-core or sometimes explicit scenes in the cinema.
“Uhaw” was the first-ever bomba film that was released in 1970. Actresses such
as Pepsi Paloma, who is just 18 years old at that time and one the “Softdrink Beauties”
is one of the famous bomba film actresses in the 80s. Sexualizing minors at this time
isn’t much of a big deal to promote as sexual objects (Estrella, 2018). A lot of bomba
films were made over the years, with titles such as Climax of Love, Unfaithful Wife, and
White Slavery.
According to Luigi Conti (2012), there are three main factors as to why bomba
films became a hit in the Philippine cinema. First, bomba films are economic. Because
it’s a hit a lot of people are watching it even students. It’s also a way to earn big.
Secondly, the emergence of the bomba film may be attributed to a cultural factor not
entirely exclusive to the Philippines. Lastly, the ’60s was the period of sexual revolution
and materialization of the bomba films was not a coincidence. A film genre in the
Philippine cinema such as bomba did not just appear out of nowhere The bomba did
not appear out of anywhere. Its rise and fall is a result of various factors that operate on
cultural apparatuses of their time, one of which was the cinema.

16

Sex Talk with Children and Adolescents
In talking about S
ex a mongst children and adolescents, it tends to be a sensitive topic
that grown-ups would want to avoid but when comes to the time wherein they need to discuss
it, most would sprinkle some kind of censorship with it such as the “Birds and The Bees” talk or
just beat around the bush. When media platforms such as television, radio, and several social
media platforms (e.g. Facebook, Twitter, Instagram…) were introduced into our society, it
became a much easier and accessible way for the young ones to discover and satisfy their
curiosities. With this, it is also included with having the curiosity about the idea and action of
Sex as a whole.
With the help of Digital Media, it gives easier access to finding the answers to the
questions we laid upon in our heads. Such instance with being curious in the sexual aspect of
things, G
ruber & Grube (2000) states that “Adolescents tend to be the ones most vulnerable in
searching for such content since this is when their gender roles, sexual attitudes, and sexual
behaviors start to come together”. So this indicates that this particular age group of children and
adolescents can easily get swayed and therefore, becoming influenced as they are sensitive by
the type of digital media they are presented with.
Having sexual content exposed to children at an early age sets a possibility for the child
with producing oddly different viewpoints, during their developing years, towards the subject
of sex. The result of early exposure to sexual content endangers the child in acquiring sexual
abuse syndromes in the process. Some with attitudes and behaviors that are not so appropriate
for children and not ethically accepted in society such as developing an Oedipus complex or an
emotional incest syndrome and some that are not so serious such as extreme skinship and being
flirtatious in their pubescent years (Okami et al., 1998). During this sensitive phase in their lives
enters experimental methods as to what media content gets adapted to the children and
adolescents easily.
Using Albert Bandura’s Social Learning Theory (1977), this is where the experiment on
the children by testing them to explore the content they are being exposed to, such as in this
case, it is the Sexual Content on whether they would be able to accept that kind of content or
they would dislike it and stop watching.

17
It is rather much more difficult to have the topic of Sex b

e talked about in primary and
secondary educational institutions, especially those who are in catholic schools and
single-gender education, as this is perceived by many as an impure subject that penetrates one’s
innocence. So with the effects of televised sexual media content, there are instances that using
different media platforms to view such content will lead to them having scripts on how their
behavioral response would be when they come to situations that cognate to the sexual behavior
that they observed on the media platform they choose (Farrar, 2006). Media, such as television,
radio, social media platforms, and several media-services providers (e.g. Netflix, iWANT,
Viu…) will become the new teachers or parents in the process whom now introduce the topic of
Sex to the children and young adolescents with instantaneous answers ready for their curious
questions.
Erotica and the internet
Glorious, Momol Nights, The Escort, Allergy in Love and Sin Island are all categorized
as romance films primarily, however, with an underlying context of sex, pleasure making, and
foreplay. The films’ appeal as erotic and their steamy and exciting scenes from both films made
the films, the actors, and their characters a trending topic all over social media. Staley and
Prause (2012), explained that viewing erotic and exciting films increases excitement to the
audience. However, viewing erotic films also induced negative effects, guilt, and anxiety.
Similarly, erotic films led to a more positive evaluation of one’s own sexual behaviors. Studies
have shown that women’s arousal is influenced by nature, specifically erotic films that present
sexual interaction that is woman initiated and centered produce more positive affect and sexual
arousal in women than more typical, or traditional, erotic films in which the sexual interaction
is man initiated and centered (Laan et al., 1995).
iWant romance films Glorious, Momol Nights, The Escort, Allergy in Love and Sin
Island, being driven by the story with its primary characters Glory, Peng, Ayama, Kanika, and
Yassi show its audiences of the physical and physiological desires of women and that women
do initiate and control sexual interaction in ways that are not shown in mainstream media.
Romance or the appearance of some kind of personal relationship between the actors is

18
something that was arousing to women, independent of anything directly sexual (Weinberg and
Janssen, 2007).
Online content platforms, iWant as such, revolutionized media consumption. Online

exclusive films are made available with lesser restrictions and censorship which made media
consumers appreciate iWant more. According to Cooper (2001), the rating of one’s sexual
behavior actually increases while viewing erotic films as compared to exciting films. The
content and availability of sexually explicit material have changed dramatically in the growth of
the internet. Sexually explicit content such that of the two films being studied induced by the
cinematography and technicalities used, where may only be broadcasted over the internet.
Weinberg and Janssen’s (2007) study among men and women who viewed erotic films
mentioned that many men were aroused by seeing sexual scenes especially with the close-up
camera shots and masturbation by and among the characters.
Media and Sexual Socialization
Adolescence is a time of flux when it comes to identity and ideals. It is a time of
adjustments, characterized by issues stemming from the formation of one’s identity, part of
which is the sexual identity and orientation of a person. Baya and Mberia (2014) argued that this
stage sees a lot of experimentation and modeling behaviors, and it is also in this stage where
people start to consider the appropriateness of their sexuality. Because adolescence is a time of
vulnerability, the media can influence both the cognitive and behavioral aspects of teenagers.
Hein (1980, as cited in Brown, Childers, & Waszak, 1990) offers the same arguments,
stating that because adolescents have had little to no experience in handling sexual issues, they
are ill-prepared to receive and interpret media messages about sexuality in a way that is
cognitively and behaviorally mature.
Building on this, Brown, Childers, and Waszak (1990) argues that the media becomes a
viable source of information about sexuality among adolescents because of the lack of parental
supervision as well as the increasing accessibility the media has among adolescents. There is
also less risk of being reprimanded or humiliated when consulting the media about sexuality as
opposed to asking your parents or your peers about sex.
There are two important aspects to adolescent sexuality, namely the cognitive and
behavioral aspects, and (Baya & Mberia, 2014). The cognitive aspect talks about how

19
adolescents perceive their sexuality that is how they think about sex and sexual identity. On the
other hand, the behavioral aspect is about how adolescents act upon their sexuality. Media
content influences both of these.
A number of studies look into how media content influences how adolescents perceive
their sexuality. Brown, Childers, and Waszak (1990) argues that television can have a significant
effect on adolescents’ beliefs about sex, particularly on setting up unrealistic expectations about
sexual intercourse. Kunkel et al. (1999, cited in Borinca, 2015) agrees, stating that watching
television with sexual content may create the illusion of unrealistic notions about love and sex
as it floats the idea of sex to them during a time when they are not fully able to understand the
notions of sex and sexuality, in agreement with Hein. Kunkel et al. further argues that these
unrealistic notions may prompt teenagers to engage in sexual activities when they are not ready
and are not equipped with information on how to protect themselves.
This leads us to the second aspect, which is behavioral. However, Brown, Childers, and
Waszak point out that there is next to none about studies on behavioral impacts of sexual
content in the media among adolescents. This is an opportunity for researchers to look into, to
move past perception of sexual messages and see how it translates to the sexual behaviors of
adolescents.
Bleakley, Henessy, Fishbein, and Jordan (2008) break away from the paradigm of media
influence on teen sexuality and looks at it from another perspective. They call their perspective
the non-recursive relationship between media content and teen sexuality. They argue that the
relationship between these two variables is not linear; instead it is characterized as a cyclical
relationship. Building from the fact that most researchers assumed that exposure to sexual
content causes sexual behavior, they argue that we can look at the relationship in another way:
sexual behavior may lead adolescents to expose themselves to more sexual content, thereby
reinforcing their sexual behaviors and so on. They used the uses and gratifications model to
support the argument that the desire of teenagers to gratify their sexual needs lead them to
actively pursue exposure to sexual content. Reasons for exposure may vary, from looking for
information regarding sex to seeking validation for their sexual behaviors.
Having laid out how sexual content can influence the adolescent perception of sexuality,
leading to behavioral changes, which in turn might lead them to expose themselves more to
sexual content, we can see that the sexual socialization of teenagers through sexual media
content is a complex process. However, one weak point in the paradigm is how teenage

20
perception translates into behavior, possibly because of the operationalization challenges which
the exercise poses.

The Media Persuasion on its Audience
Media has been considered a strong instrument of persuasion with its wide range of
choices such as television, print media, and radio as this was used even as propaganda back in
the second World War (Badsey, 2014). This can be observed in several of our choices with our
everyday lives with many influences done by media that take place every day in terms of way
of speech, how to dress, or a change of opinion towards a certain subject. But that rather
depends on how the sequence of the media is implemented to the audience. Putting this in the
context of iWANT films, the message of a scene that is delivered to the audience is the influence
that the viewers of the show are receiving. As different pressures build up in one scenario, this
would manipulate the following actions portrayed in the next scene as this is a cause-and-effect
process.
There has been an issue regarding the dismay over the inability of any research that relates
with media persuasion to give out clear conclusions in regards to the impact of television more
specifically on this research, with the video-streaming service platform iWANT, with the
selected five films used in the study, Glorious, Momol Nights, Allergy in Love, Sin Island a nd The
Escort, a s the evidence that is shown in certain research studies are concluded to not be strong
enough to withstand the several questions of other fields (Livingstone, 2013). Despite that, it is
already said by Albert Bandura (1975) that observational learning is evident even with a
different placement of social reality along now with many technological advancements such as
smartphones and portable computers, that are used to relay that platform of observation on
reality.
Shows that contain not just sexual content but also violent sexual content makes some
people who believe that media affects people particularly concerned. Studies point to media
portrayals of a woman’s being raped as being arousing to men if the woman is portrayed as
enjoying the situation (Harris & Scott, 2002, 325). Some fear that the viewing of explicit sexual
materials may affect the attitudes and values of viewers. For example, when teenagers are
shown on television frequently being sexually active, the young adults viewing these shows
may have weakened the traditional values of abstinence from sex. Allen, D’Alessio, and

21
Emmers -Sommer (2000) found that the sex offenders they studied did not watch more
pornography than non-offenders. They were, however, more likely to be aroused by this
content and perform some sexual act afterward. The more movies the men saw, the more
desensitized they become to the content. They found the films humorous after several days of
watching them (Harris & Scott, 2002).
In 1998 CNN and Time did a survey about where teenagers got their information about
sex from. 29% of the teenagers that responded said that they got their most important
knowledge about sex from television. These studies conclude that some men may have a
positive idea of mistreating women if they are shown a positive outcome of a rape scene (2002).

Sex, Love, and Risk-n-Responsibility
An article authored by Eyal & Kunkel in 2008 says that “…exposure to sexual content in
mainstream entertainment television has also been associated with risky sexual attitudes and
behaviors as well as negative consequences such as unwanted pregnancy (Chandra et al., 2008).
Knowledge of the general television environment in the early 2000s indicates that just over 65%
of television programs across network and cable channels contained some form of sexual
content, most of the content is sexual talk rather than behavior (Kunkel et al., 2007).
The body of evidence in support of this assertion is massive and convincing (Gunter,
2014). The present study, therefore, addressed this gap, in response to recent research, suggests
the problematic effects of sexual content viewing, for example engagement in casual sex (e.g.,
Brown et al., 2006) might be tempered if the sexual content is featured in scenes that also have
expressions of love or relational commitment (Dillman Carpentier, 2016).
The Unique Role of Media Message Processing in Predicting Adolescent Sexual Behavior
In an effort to understand the teen sexual activity, researchers have examined a myriad
of factors that influence adolescent sexual initiation. Sexual content is also prevalent in feature
films, as one study documented that approximately 85% of the coded films contained sexual
content in at least one 5-minute segment (Bleakley, Jamieson, & Romer, 2012).

22
Sexual imagery has been found to be present in approximately 59–84% of music videos
(Turner, 2011; Ward, Reed, Trinh, & Foust, 2013), with the most frequent images involving
suggestive dancing, sexual objectification, and self-touching. Similarly, music lyrics contain
many sexual references with estimates ranging from 37–40% of songs (Pardun, L'Engle, &
Brown, 2005; Primack, Gold, Schwartz, & Dalton, 2008). Video games infrequently contain
female characters, but when they do the depictions are highly sexualized (e.g., revealing
clothing; nudity) with 43% of female depictions compared with 4% of male depictions being
sexualized (Downs & Smith, 2010)
Alcohol, Sex, and Screens
This article talks about the inter-relationship of alcohol use and sex. There are several
explanations for the relationship between alcohol use and sexual activity. The idea of a
“problem behavior syndrome” (R. Jessor & Jessor, 1977) serves as the foundation for much of
the research in this area.
Theories regarding the situational co-occurrence of alcohol and sex tend to focus on
alcohol use causing sexual activities and/or risky sexual activities to occur. The first is the effect
of alcohol on information processing. According to the alcohol myopia theory (Steele & Josephs,
1990), alcohol can affect a particular behavior by blocking or reducing access to salient cues that
would typically inhibit that behavior. This means that alcohol affects one’s ability to engage in
further processing information like salient cues which lead to possible negative consequences.
Media Use and Brain Development During Adolescence

Media plays a very important role in the lives of today’s youth. Those who grew up with
tablets, smartphones, and do not remember a time before the internet is called “digital natives”
(Prensky, 2001; Ståhl & Nord, 2017). The current generation of adolescents' lives in a
media-saturated world, where media is used not only for entertainment purposes, such as
listening to music or watching movies but is also used increasingly for communicating with
peers.

23
Experiencing acceptance or rejection via digital media or social media is a very impactful
experience that may be correlated to face-to-face rejection and bullying. (Crone & Konijn, 2018)
Synthesis
Having sexual content portrayed media is controversial in various contexts it is being

placed as this breaks the boundaries of innocence and purity for many people. But may they be
in different contexts, these contexts shape the situation and aura of the scene that leads one
action to the other. When putting it in the point-of-view of the viewer and the purpose of this
study, the emotions that accumulates the reaction in seeing a sex scene between two of the
characters of the show wherein it shapes the opinions that the respondents have given.
The internet is a common ground of sourced information and entertainment among the
young, adolescent and even of the elderly. With an average of 10 hours a day of internet usage,
according to The Digital 2019 report (Adel, 2019), online media content platform, paid or
premium rated, is establishing a strong stance at delivering uncensored and limitless possible
contents for the internet-heavy tech-savvy Filipinos. Sexual content films, erotic to some extent,
is not new to Filipino filmmakers and viewers. However, its penetration to streaming sites, sets
a new era of erotic-filled contents ready for everyone, anytime, anywhere. Unlike mainstream
media, online media contents may use camera techniques and cinematography to make scenes
very telling and engaging. These technicalities in film-making make the films in this study a
highly talked-about and acclaimed work of art coming from an intensely creative aspect behind
a romantic appearance.
With the entrance of digital media, several media components such as videos, music,
and posts go around the world in a rather instantaneous rate. It is easier now for the word of
mouth to circulate amongst several peers. This action gathers opinions that would give an
elaborate explanation as to why certain actions that are portrayed in a certain show are right
and wrong based on the situation on hand the scene would be put under.

24
The video streaming platform of iWANT allows the general public to have access to
content that is not so often given so easily when it comes to the traditional cinematic theaters.
For instance, using two of the films we used in this research study as an example, Sin Island a nd
The Escort. W
hen they were released in theatres in their respective premiere dates, they were
both rated R-16 by the MTRCB (Movie and Television Review and Classification Board) but in
the iWant application also in the iWant website, it states that their rating to these two films are
PG or Parental Guidance. Though it is usual when posted to such an accessible video streaming
platform for shows and movies, such as iWant, that the films are cut or removed the scenes in
their films that can be harmful or rather would be difficult to explain when viewed by younger
audiences.

25
Chapter 3
STUDY FRAMEWORK
THEORETICAL FRAMEWORK
There will be two theories the researchers will be using for this study, those two being
the Semiotics Theory of Ferdinand De Saussure and the Gender Role Theory. These two theories
were chosen best to be used in this research because of the relevance of both into studying the
narrative and aesthetic aspects of the films and also the analysation of how gender roles are
portrayed in the said films to be used in this study.
FERDINAND DE SAUSSURE’S SEMIOTICS THEORY
The theory that the researchers will be using is Ferdinand De Saussure’s Semiotics theory.
Derived from the Greek word “semesion” which means sign and “semainon” t hat means signifier,
Semiotics is the study of signs (Yakin & Totu, 2014) that deals with the role of a sign as part of
our social life. It’s something that we talk about but stands for something else. A study of sign
that is rooted in the structuralism proposed by the father of modern linguistics, Ferdinand De
Saussure (Royani, 2014).
Fig 1. De Saussure’s model of Semiotics

26
According to De Saussure, there’s a signified and signifier. A signifier is a physical form

which the sign takes and the signified is the concept that we have in mind for the signifier. The
sign is the whole that results from the association of the signifier with the signified (Chandler,
n.d.). The signified and the signifier’s relationship are called “signification”. This signification is
shown in the model of De Saussure’s theory of semiotics by the arrows. The two horizontal lines
that mark the two important elements of the theory are called “the bar”. This can be seen
visually with De Saussure’s model of Semiotics (Figure 1).
GENDER ROLE THEORY
The researchers will also look into the critical analysis of gender roles in films. This
study takes a look into how gender typecasting in films contributes to gender roles using the
symbolic interaction approach perspective. Symbolic Interaction Approach if focused on how
gender is in a day-to-day life interaction. From this perspective, gender is something that a
person does; defying the social construct of gender. This looks into the individuality of a person
and sees them as the actor rather than what is acted upon.
Fig. 2. Gender Role Schema Model
Gender role is one of a number of other social roles, it often leads to the perception of
gender roles as natural; biologically derived, or historically confirmed and therefore valid

27
(Gender Roles, n.d.). Gender roles are socially prescribed and constructed norms assigned to
individuals in societies based on sex differences; these vary across time and place. Roles related
to gender can encompass different types of behavior, such as familial, economic, and other
societal functions. Gender roles are locally unique and historically situated (Winchester, 2013).
APPLICATION
In applying the Semiotics theory of Ferdinand De Saussure to our study, we used the
two elements that are the most important which is signified and the signifier but then putting in
a film context. In that sense, the signifier has the physical technicalities and aspects of the film
which are, for example, the actions of the actors or the placement of lighting that affects
shadows. The signified is the concept that shows in between those more physical and technical
details. These being the result of the signifier, how it affects the scene or the film as a whole
towards one’s perspective on it. Combining these two components, the signifier and the
signified in analyzing the scene, work together and help each other to better understand the
portrayal of sex scenes of the selected films.
Media producers encode their text with meaning by how they use their lighting, or how
a character talks, moves, and even on how they aesthetically appear on the screen. There can be
a lot of ways of conveying meaning on a media material. These endless ways of putting
meaning to them are then passed on to the audience who consumes the media material and
decodes them to their preference.
In this study, Ferdinand De Saussure’s Semiotics theory helped the researchers analyze
how the cinematography and technical aspects as well as the emotional tension rather that is
bestowed upon the storyline.
Gender Role Theory, on the other hand, will be used in this research to critically
determine the similarities and nuances of a heterosexual sexual and romantic relationship of the
actors in the films. Film producers, writers, and directors, when planning and producing the
film, all aspects of the actor and the characters will be at an utmost consideration. In any case,

28
character assignment will always be gender-biased depending on the locality, culture, and trait
of the origin and/or audience.
Researchers will look into how characterization was done in the films G
lorious, M
omol
Nights, Allergy In Love, Sin Island, and T
he Escort according to the gender of the actors involved.
This study will also establish the relation of gender roles and film aesthetics; how film
technicalities contribute to establishing the actor’s character and how, in totality, gender and
semiotics contribute to the character’s sexual drive and story.

29
Chapter 4
STUDY DESIGN
Research Design
A qualitative design is the one design the researchers will be using in doing this study since
this research focuses on the media content of each selected film. Qualitative research is used to
gain an understanding of underlying reasons, opinions, and motivations (DeFranzo, 2011).
Since this research aims to analyze the representation of each gender form the five selected films
from iWant, a qualitative research design best fits for the research. Data obtained through
participant observation serve as a check against participants‟ subjective reporting of what they
believe and do (Kotwal, 1998).
“Qualitative research studies can provide you with details about human behavior, emotion,
and personality characteristics that quantitative studies cannot match (Madrigal and Mclain,
2012).”
According to Yound and Hren (2015) qualitative are a systematic collection, organization,
and interpretation of textual information including images or video in an inductive approach to
generating novel insights into phenomena that are difficult to quantify. The purpose is to make
sense of concepts, categories, or themes that have recurred across a particular data (Major &
Baden, 2010). In this way, it will be best for the research in doing an in-depth and detailed
analysis of the different sexual scenes which have a different context in showing it to the
audience.
”A qualitative approach is exploratory and seeks to explain ‘how’ and ‘why’ a particular
phenomenon, or behavior, operates as it does in a particular context” (McLeod,2017).
Qualitative research understands human thoughts and actions for the researchers and must be
embedded in observing the individuals. The difference of a qualitative method to quantitative
is that qualitative requires an in-depth analysis of the content meanwhile quantitative deals
with analyzing numerical data collected by the researchers. The synthesis of qualitative research
is to combine separate elements into a unified whole (Major & Baden, 2010).

30
Units of Analysis
The researchers will break down each scene of the selected films that are present in the
iWANT video streaming platform wherein for this study those films are entitled, Glorious,
Momol Nights, Allergy in Love, Sin Island, a nd The Escort from the iWANT online streaming
platform and how it disseminates the goal of information that is relayed by not simply the
actors’ actions within the scene but also on the technical aspects such as the cinematography
(The color schemes presented in the lights used in the scene, shadowing… etc.), making it
understand the kind of atmosphere the scene is giving out.
The researchers will be focusing on the analyzation of the narrative aspects of the films
such as the plot and the storyline of the characters in those selected films. They will also be
focusing on analyzation of the aesthetic aspects of the film that includes the cinematography
and mise-en-scene of the scenes that would be evaluated by them.
Methods and Sampling
The researchers chose the most talked-about movies on iWantv which are “Glorious”,
“Momol Nights”, “Allergy In Love”, “Sin Island", and "The Escort". These five films fit the research
for both of the movies contain sexual scenes and both are from iWant.
The researchers will gather at one place to watch and analyze the selected films. This
will be done the whole day. The date and time will depend on the researcher’s schedules when
they’re all available in order to watch the film for at least 2-3 times in order to properly analyze
the five selected films from iWant.
In analyzing the films, the researchers will be looking at its technical elements which
include the cinematography wherein they will look at the shadowing, colors the framing of the
scenes of the film, and the angles of the camera. They will also look at the way it was edited, the
montage of some of the sexual scenes. Other than the technicals, the researchers will also look at
the story of how it connects to the technical aspects of the film. Such as how the characters are
portrayed in the film and how both genders are represented in each film as to why they end up
doing sexual intercourse as the film progresses.

31
Instrument
The researchers used Open-Ended Questions as an instrument for this study. As
researchers, they are open to answers from questions that they are curious about. With this, they
will be using the same to ask the questions that they have about the roles of gender in the films
they have selected in their study.
Feedback and responses that come straight from the minds and mouths of people are
much better to use than stock responses that can be found online. According to QuestionPro,
Open-Ended questions are broad and can be answered with detail defined as free-form survey
questions that allow a respondent to answer in open text format such that they can answer
based on their complete knowledge, feeling, and understanding. This means that responses to
this kind of questions is not limited, taken from, and based on a specific set of options or
answers.
Data Analysis
In this study, the researchers will use Narrative Analysis which is a genre of analytic
frames wherein researchers interpret stories that are told within the context of research and/or
are shared in everyday life. Scholars who conduct this type of analysis make diverse—yet
equally substantial and meaningful—interpretations and conclusions by focusing on different
elements. This kind of method shall help the researchers in analyzing data gathered right after
focus group discussions that they will be conducting.
This type of data presentation is a way for researchers to be able to thoroughly describe
and fully understand the message of the study. Its function is to analyze the concept and idea of
the whole content. An audience tries to obtain a message and make sense of it that is carried by
the different content that they interpret like film, advertisements, TV, and other platforms of
media (McKee, 2002).

32
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A NARRATIVE ANALYSIS OF SELECTED SEX-DRIVEN iWANT FILMS AND THEIR REPRESENTATIONS OF GENDER ROLES PDF

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A NARRATIVE ANALYSIS OF SELECTED

SEX-DRIVEN iWANT FILMS AND THEIR

CAMUNGOL, KIRSTEN ROSE

Background of the Study

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

During those years, K

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

The Escort​. The story is about a girl named Y

Statement of the Problem

This study sought to answer the following problem:

Objectives of the Study

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

Significance of the study

Scope and Limitations

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

REVIEW OF RELATED LITERATURE

Sexual content in media

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

television programs to portray sexuality in an educational manner. Media portrayals of

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

Technology and Sex over Culture

The Launch of iWANT in the Philippines

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

Adolescent sexuality and the media

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

In a study of sexual innuendo on television, (Silverman-Watkins & Sprafkin, 1983),

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

It is rather much more difficult to have the topic of ​Sex b

Erotica and the internet

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

Online content platforms, iWant as such, revolutionized media consumption. Online

Media and Sexual Socialization

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

Alcohol, Sex, and Screens

Media Use and Brain Development During Adolescence

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

Having sexual content portrayed media is controversial in various contexts it is being

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FERDINAND DE SAUSSURE’S SEMIOTICS THEORY

​Fig 1. De Saussure’s model of Semiotics

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

According to De Saussure, there’s a signified and signifier. A signifier is a physical form

GENDER ROLE THEORY

Fig. 2. Gender Role Schema Model

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

Methods and Sampling

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

Conti, L. (2012). “​BOMBA: THE BIRTH OF A GENRE”. ​Retrieved

FAR EASTERN UNIVERSITY – Department of Communication SY 2019-2020

The Escort. The story is about a girl named Y

It is rather much more difficult to have the topic of Sex b

Fig 1. De Saussure’s model of Semiotics

Conti, L. (2012). “BOMBA: THE BIRTH OF A GENRE”. Retrieved

Chandler, D. (nd). Semiotics for Beginners. Retrieved from

Broadcasting & Electronic Media. 50(4). 635-650. DOI: 10.1207/s15506878jobem5004_4.

Royani, N. (2014). A Semiotics Analysis on Sucker Punch film. Retrieved from

Clark, C. S. (1995) Sex, violence, and the media. Retrieved from h

Deegan, C. C. (2016) I s the Philippines a conservative country in sexuality?. Retrieved from

Retrieved from https://www.snapsurveys.com/blog/qualitative-vs-quantitative

Kotwal, A. (1998). Qualitative Research. Retrieved from

Llagas, B. (2017) I s sex still considered taboo?. Retrieved from

Lewis, J. (2014) Sex is Not What TV Shows You. Retrieved from

Sandoval, G. (1993). Filipino Attitudes Toward Sexual Relations. Retrieved

covers. (2019). Retrieved from