Communication

Sexualized portrayals of women are staples of two television situational comedies because these reflect the patriarchal society’s gender hierarchy and dichotomy as experienced by the target audience in real life. The researcher found out the audiences’ contrasting perceptions on the vulgarity of jokes. Sexualized portrayals are unwelcome in reality but are considered pleasurable within what the researcher calls as the audiences’ ‘virtual structure’. GMA 7, one of the largest television networks in the Philippines, peddles this vulgarity as a common phenomenon in sitcoms: It commodifies actresses as sex objects, which limits their character roles and creates a consciousness that using women as bait of the target audience is okay as long as it is for entertainment purposes only.

Far from being passive audiences that previous media research studies have portrayed them, today's Filipino consumer is not just active, but interactive, multi-taskers, and digitally-driven (Santiago, 2008). They are now participants in the local and global economy through their engagement with social media sites. This paper looks at the concept of sentiment analysis, an area that has not yet been explored in the Philippines, as a possible lens by which social media consumers can be theorized and researched especially in a developing country with one of the highest exposure and penetration to social media. It tries to put together relevant literature as entry point for the discussion of the possibilities offered by sentiment analysis as a theoretical and research tool. In the age where the discourse on big data has caught the fancy of most scholars in developed nations but where developing nations are just starting to grasp the power and influence of social media and its implications to the social, political and economic life of its citizens, the need to make sense of people's sentiments online may help in bringing the power to create and shape contemporary discourse back to the people.

As the Philippines' largest export, the more than nine million overseas Filipino migrant workers have become the ideal target market for various products and services. On this end, ABS-CBN, the biggest local media conglomerate, treads a familiar path undertaken by transnational corporations of diversifying their interests by targeting Filipinos living/working in foreign countries as evidenced in their tagline " In the Service of the Filipino Worldwide ". This paper focuses on three films produced by Star Cinema, the film arm of ABS-CBN, dealing with the migrant workers, Milan (2004), Dubai (2005), Love Me Again (Land Down Under) (2009) and its representations of migrant stories in transnational spaces. Utilizing concepts from political economy and supported by qualitative textual analysis, this paper delves into the implicit relationship between mass media products and its accompanying ideologies of accumulation of material wealth and the government policies on the commodification of labor export through the films' representations of the plight and conditions of these migrant workers in foreign spaces.

This study explores the portrayal of President Rodrigo Duterte in digital media to determine if the possible direct relationship between a news website’s country of origin and its framing of President Rodrigo Duterte exists. A total of 90 online articles covering 15 issues, posted within the time period of June 30, 2016 to January 18, 2017, retrieved from the following news websites: BBC News, Al Jazeera English and Global News (international) and ABS-CBN News, CNN Philippines and GMA News Online (local) are content-analyzed using a codebook adapted from a collaborative framing research by the Reuters Institute for the Study of Journalism and the University of Oxford. This thesis has also conducted a second level of data analysis using McQuail’s (1992) standards of frame diversity: reflection, access, and choices. The evaluation of
frame diversity is grounded on Porto’s (2017) proposition of replacing the ideal of objectivity in journalism with the standard of frame diversity. This thesis finds that there
is no direct relationship between the outlet’s country of origin and its framing. Furthermore, frame diversity is not present in the framing of Duterte, thus it cannot be
used as a news quality standard for political news reporting.

Cube Productions is an event company that was established on August 2018. The head office is located in Ortigas, Pasig. We provide good quality services that are not only supported by creativity but passion and dedication as well to give justice to dream events that our clients want. History: This event management was made possible by experienced events team. Alondra Otero, being the CEO and the owner of CUBE Productions was always fascinated in attending events and in the concept on how these events are made possible. With the passion being developed, she visualized herself running an events company. Start-Up With its soft opening, the production focuses on improving their crafts and expanding their creativity in justifying concepts for the clients. The experiences are defined to what can be improved and be balanced. The production is currently improving its marketing strategies and publicity to build an image or a name in the events industry. Objectives: • To provide ideal services that can be maximized by clients • To have organized flow of events that leads to successful results • To establish a dreamy experience in one place through the foundation of our core team • To collaborate with relevant teams that would strengthen credibility of the company • To ensure sustainable relationship between employees and partners • To consider the client's budget and have fair deals in creating events Mission: • To be one of the most trusted events management in the Philippines that provide ideal services that cater to the standards of the community's dream events