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descriptive, explanatory, and practical aim:

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descriptive, explanatory, and practical aim:

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the paper attempts to uncover, reveal, or  disclose discursive ways of legitimation [of adultery, revenge, and depravity] in the filipino television culture

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a culture of adultery, depravity, insults, and catfights as forms of entertainment

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film
pictures

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possible dimensions of discourse involved

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possible dimensions of discourse involved

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rhetoric
speech acts
pragmatic strategies
interaction

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language and the media
language and culture
social cognition?
historical linguistics

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Marshall, J. & Werndly, A. (2002). The Language of Television. London: Routledge.
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Short, M. (1998) ‘From Dramatic Text to Dramatic Performance’, in J. Culpeper , M. Short , and P. Verdonk (eds) Exploring the Language of Drama: From Text to Context, pp. 6-18. London: Routledge .

Schiffrin, D. (1988) ‘Conversation Analysis’, in F. J. Newmeyer and R. H. Robins (eds) Linguistics: The Cambridge Survey (4 vols), vol. IV, Language: The Sociocultural Context, pp. 251-276. Cambridge: Cambridge University Press .

Pomerantz, A. and Fehr, B. J. (1997) ‘Conversation Analysis: An Approach to the Study of Social Action as Sense Making Practices’, in T. van Dijk (ed.) Discourse Studies: A Multidisciplinary Introduction (2 vols), vol. II, pp. 64-91. London: Sage

Muntigl, P. and Turnbull, W. (1998) ‘Conversational Structure and Facework in Arguing’ , Journal of Pragmatics 29: 225-256

Marohl, J. (1987) ‘De-realised Women: Performance and Identity in Top Girls’ , Modern Drama 30: 376-388
Google Scholar (reprinted in H. Zeifman and C. Zimmerman (eds) (1993) Contemporary British Drama, 1970-90: Essays from ‘Modern Drama’, pp. 307-322. Basingstroke & London: Macmillan ).

Herman, V. (1995) Dramatic Discourse: Dialogue as Interaction in Plays. London: Routledge .

Herman, V. (1998a) ‘Multiple “Floors” and “Turns” in Drama’ , Journal of Literary Semantics 27: 110-127

Hutchby, I. (1992) ‘Confrontational Talk: Aspects of “Interruption” in Argument Sequences on Talk Radio’ , Text 12: 343-371

Gruber, H. (1998) ‘Disagreeing: Sequential Placement and Internal Structure of Disagreements in Conflict Episodes’ , Text 18: 467-503 .

Gruber, H. (2001) ‘Questions and Strategic Orientation in Verbal Conflict Sequences’ , Journal of Pragmatics 33: 1815-1857

Gallois, C. (1994) ‘Group Membership, Social Rules, and Power: A Social-psychological Perspective on Emotional Communication’ , Journal of Pragmatics 22: 301-324

Edelsky, C. (1981) ‘Who’s Got the Floor?’ Language in Society 10: 383-421

Dersley, I. and Wootton, A. (2000) ‘Complaint Sequences within Antagonistic Argument’ , Research on Language and Social Interaction 33: 375-406

Cooper, M. M. (1998) ‘Implicature, Convention and The Taming of the Shrew’, in J. Culpeper , M. Short , and P. Verdonk (eds) Exploring the Language of Drama: From Text to Context, pp. 54-66. London: Routledge .

Cohen, R. (1986) ‘Spoken Discourse in Written Drama’ , Essays in Theatre 4: 85-97 .

Cohen, R. (1986) ‘Spoken Discourse in Written Drama’ , Essays in Theatre 4: 85-97 .

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Am i just applying a linguistic method of study to an ethical issue within the philippine media? If I am, is my study feasible then for a language resea

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Discourse Analysis as theory and method, Louise Phillips and Marianne Jorgensen, 2002, SAGE, London

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supporting arguments from social media critics and analysts

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supporting arguments from social media critics and analysts

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Fellow blogger FallenAngel posted in GRP Shorts an opinion from a gay acquaintance about the TV series "My Husband's Lover:"

Having watched almost one month worth of episodes of ‎My Husbands Lover I can't help but be disappointed. What I initially thought as groundbreaking television show was actually just another teleserye about adultery (which is pretty much almost all of our teleseryes are about). The only difference is we have a married closeted gay man and another gay man as a third party.

Give me something that would further gay rights. Give me some insight to same sex relationship dynamics. Tell me how it is like to be a successful but closeted gay man in a very testosterone dominated company. Tell me how scary it is to have a homophobic family. Explain to me why there are relationships composed of two masculine gay man (or two flamboyant gay men) instead of one masculine and one flamboyant which is still the society's concept of a gay relationship. Explain to me why it is easier for some people to accept someone's sexual orientation and why it is harder for others. Give me some discussion about religion and spirituality and morality and homosexuality and how they mesh and clash and come together. And most importantly, give me a reason why I should root for two gay men to be together.

So far, Eric is just there to ruin Lali's life. It's not a good message to send out. Gay men do not exists to break-up marriages or make wives miserable.

This show could have been educational. It could have been socially relevant. It could have been revolutionary. It could have been one of the most important television shows... but so far it hasn't been that. Yes it is a pioneer, and to an extent it is very bold. But a little more push and it could be great instead of bland. I hope it is still too early to change course, because it already has a good following and it would be a shame if it will be just another soap - titillating but weightless; provocative but irrelevant.

That was a convenient way to partially sum up the problems with local TV (and many movies).

First off: adultery - which is pretty much almost all of our teleseryes are about. Or if not adultery, some other dysfunction of the family. Filipino TV seems to have a love affair (no pun intended) with the dysfunctional family, making sure it's portrayed in nearly every show. By portraying these same situations time and again, they give the viewer the impression that these dysfunctional situations are normal and acceptable parts of Philippine society. Thus, they would accept dysfunction instead of solve it. Some might even go as far as to act it out in their lives. All that slapping, hair-pulling and crying - Filipinos seem to like watching this and would probably accept doing this, not just as normal, but as essential, in real-life.

FallenAngel's gay acquaintance wants a gay character to be shown not as the cause of dysfunction, but doing normal stuff, going through life, encountering problems, without any sensationalism. The show should also feature solutions to the dysfunction, which could have imparted good lessons to the viewers. Unfortunately, a problem with our tsismis-addicted public - they love sensational stuff.

As a result, Filipino local TV doesn't teach moral lessons, but instead teaches immoral lessons.

And it's not only this. There was another show which portrayed a separated couple quarreling over who should have custody over a child. This is another issue: a long custody battle - in the house and not in court. But Philippine law is clear on this: that the one with financial capability between the two could take custody. It should be obvious in the story which character has that capacity. TV stories, however, seem ignorant of the law.

I don't know if this is the result of incompetence, if new graduates who are the show's writers failed to make their research, or deliberately leaving out the facts. Whatever the reason, the result would be bad: the viewing public will assume that this is real, and it will promote further ignorance of the law.

Perhaps yet another thing that Philippine TV hasn't changed: portrayal of rich or well-to-do people as bad, and the poor as always "bida."

Yet another issue is the apparent disrespect towards children as I mentioned in an earlier article. And more.

The solution for this is still in the hands of the TV production staff. They should break the mold, break tradition. TV programs should not always listen to the masses. What has more truth is that whatever the media stations show on their screens, the viewers will just lap up. If they show something better, the viewers will learn from it accordingly.

Back to "My Husband's Lover:" it actually follows the mold of Philippine TV that glorifies the wrongs of society. It doesn't help gays at all, but may actually further hatred against them. To add to my commentary in an earlier article, gay rights are not really endangered by law, but more by culture. Especially the mass media.

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Filipino TV Shows seem to Promote Dysfunction - Get Real Post

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Fellow blogger FallenAngel posted in GRP Shorts an opinion from a gay acquaintance about the TV series "My Husband's Lover:" Having watched almost one month worth of episodes of ‎My Husbands Lover I can't help but be disappointed. What I initially thought as groundbreaking television show was actually just another teleserye about adultery (which is ...

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Research assumption: A script-writer with bias towards dysfunctional Filipino family relationships that prevents improvements in the character dialogue being made

Research aim: to provide an explanatory critique on Philippine TV pop culture through one of the mainstream shows being produced by Philippine media networks. (Phillips & Jorgensen 2002)

[in hindsight, this research paper aims to improve the quality of dialogue in Philippine mainstream TV shows. In regular sight, it seeks to find linguistic evidences of 'depravity', as a netizen puts it, in the dialogue of the characters in a Philippine noon time show.]