The Representation of The Concept of Inf PDF

THE REPRESENTATION OF THE CONCEPT OF INFIDELITY
FROM THE SELECTED FILIPINO FILMS
An Undergraduate ThesisPresented to
The Faculty of Communication and Journalism Department
College of Liberal Arts and Communication
De La Salle University- Dasmariñas
In Partial Fulfillment of the Requirements for the
Degree of Bachelor of Arts in Communication
ALYSSA MARI V. BENGUSTA

JENNYLYN B. GANCAYCO
March 2015
DEDICATION
We dedicate this study to our families. Our greatest gratitude goes to our loving
parents whoseencouragement became our strength: Mr.&Mrs.Roscel and Rosemarie
Bengusta and Mr.&Mrs. Dante and Celia Gancayco.
We also dedicate this work to our friends who assisted us throughout the
completion of the study. We will always appreciate all they have done. We express
our dearest gratefulness to our thesis adviser, Prof. Isolde E. Valera, who has been
running errands to help us complete this work.
Our gratitude also goes to Mrs. Celia Bete, Ms.Yel, JumeirahMagaux Adams,
Director Paolo Magsino, and Prof. Robert Kyle Laxina for the warm accommodation
during our interview.
Most importantly, this thesis paper is finally dedicated to our friendship, hard work,
sympathetic and patience.

Approval sheet
This undergradute thesis entitled The representation of the concept of

infidelity from the selected filipino films prepared and submitted by Ms. Alyssa
Mari V. Bengusta and Ms. Jennylyn B. Gancayco, in partial fulfillment of the
requirements for the degree of Bachelor of Arts in Communication, has been
examined and is recommended for acceptance and approval for oral defense.
______________________
Ms. Isolde E. Valera
Thesis Review Panelist

Approved by the committee on oral examination with passing grade.
_______________________ ________________________
Mr. ArtinUmali Mr.Roel Ramirez, APR
__________________________
Ms. Ma. Nornelyn L. Cachuela
Accepted and approved in fulfillment of the requirements for the degree of Bachelor
of Arts in Communication.
___________________________
Ms. Brenda F. Martinez
Chair, Communication and Journalism Department
_________________________________
Dr. Christian George C. Francisco
Dean, College of Liberal Arts and Communication
THESIS EDITING CERTIFICATION
De La Salle University - Dasmariñas
College of Liberal Arts and Communication
Communication and Journalism Department
CERTIFICATION
This is to certify that the study entitled The Representation of the Concept
of Infidelity from the Selected Filipino Films, prepared and submitted by Alyssa
Mari V. Bengusta and Jennylyn B. Gancayco, has been edited by the undersigned.
Betty E. Puzon, PhD

Editor
ACKNOWLEDGMENTS
This research paper is made possible through the help and support from
everyone, teachers, family, friends especially our parents, and in essence, all
sentiment beings. Acknowledgment of gratitude goes to the following significant
advisors and contributors:
We are thoroughly grateful to our adviser, Prof. Isolde E. Valera, for her
invaluable guidance and insight throughout this endeavour, as well as for allowing us
to stay true to our vision for this research. We would also like to give thanks to our
Communication Research professor, Ms. Ma. NornelynCachuela, for her supervision,
patience and understanding, to our thesis panelists, Mr.ArtinUmali and Mr.Roel
Ramirez, APR, for their comment, critique, and suggestions that lead to the
betterment of our paper.
To our friends, families and loving parents, Mr. and Mrs.Bengusta and Mr.
and Mrs.Gancayco for their support, encouragement, and love. Thank you for your
unconditional and total-packaged support. We would also like to acknowledge Mr.
Adrian Andaya and Mr.Marcial Fidel Binalon for their unending understanding and
all-out assistance.
At first, we thought that having this kind of study would make us feel like
dying. And as we go through with our research study, we found out and realized that
studying is about “learning”. This would not be accomplished without our
camaraderie and teamwork. Our boundless understanding and infinite trust, love,
optimism, were our gears. We would like to appreciate each other’s effort. We also
found out that this was not about the test of knowledge, wisdom, and faith but of
friendship.
Foremost, we would like to give our deepest gratitude to God for His
guidance, blessings, knowledge, and strength. This would not be possible without
him.
ABSTRACT
People are being exposed to affairs in Filipino films; this study evaluated how
extramarital affairs are represented in Philippine cinema. It study focused on the
infidelity presented among selected Filipino movies from 1970 to the present
specifically HuwagPamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982),
Minsan Lang KitangIibigin (1993), and No Other Woman (2011). The researchers
focused on the visual elements and dialogues used in representation of infidelity. The
films were chosen according to its gross rates. Moreover, each movie discussed the
concept of infidelity among male partner. The researchers also used qualitative
content analysis through the support of Film Theory specifically Semiotic and
Formalist Theory with Interpretative Approach. Based on the analysis, nine visual
elements that include the setting, properties and costumes were used to represent
infidelity.
Water was the predominant visual element used to represent infidelity.
Followed by temptation, baggage, ring, candled light, unbutton clothes, watch, white
clothes, and sunset. Whereas meeting, delectable, sin, night, enemy, third party,
secrecy, poisonous and destruction were dialogues that corresponded to infidelity. It
was found out that there was dramatically a change in Filipino films over the period
of time. It was also identified that there were difference on representation of infidelity
between selected movies and reality.

Table of Contents
Title Page…………………………………………..…………………………….i
Dedication………………………………………………………………………. ii
Approval Sheet…………………………………………………………….……. iii
Thesis Editing Certification………………………………………………..…… iv
Acknowledgements…….…………………………………………….…………. v
Abstract…………………………………………………………………………. vii
Table of Contents……………………………………………………………….. viii
List of Tables……………………………………………………………………. x
List of Figures…………………………………………………………………… xi
Introduction……………………………………….……………….……………. 1
Methodology……………………………………….…………..….……………. 19
Results……………………………………….……………….…………………. 25
Discussion ……………………………………….…………….….……………. 51
References……………………………………..….……………….……………. 75
Appendices……………………………………….……………….……………. 79
Appendix A: Coding Sheets of Selected Filipino Films
Visual Elements:
HuwagPamarisan. Mister mo, Lover boy ko(1975)…….……………. 79
Relasyon (1982)………….……………….………………...……….... 82
Minsan Lang KitangIibigin (1993)………….….……….……………. 85
No Other Woman (2011)………….………..…………….………….... 86

Dialogues:
HuwagPamarisan. Mister mo, Lover boy ko(1975)………………. 91
Relasyon (1982)………….……………….………………...…..…. 94
Minsan Lang KitangIibigin (1993)………….………………..……. 95
No Other Woman (2011)……………..……………….……………. 100
Appendix B: Full Transcription of Interviews
Mrs. Celia Bete………………………………..……….…...………. 109
JumeirahMargeux Adams………….………………….……………. 115
“Yel”………….……………………………………….……………. 118
Prof. Robert Kyle Laxina………….………..………….……………. 121
Dir. Paolo Emmanuel Magsino………….…….……….……………. 127
Curriculum Vitae
LIST OF TABLES
TABLE Page
1. RQ 1(Table A): Coding Sheet for Visual Elements……….…............. 20
2. RQ1(Table B): Example Coding Sheet for Visual Elements................ 21
3. RQ 2(Table C):Coding Sheet for Dialogues……….……................... 22
4. RQ 2(Table D):Example Coding Sheet for Dialogues….................... 23
5. RQ1 (Table 1):Visual Elements Represent Infidelity…....................... 25
“HuwagPamarisan. Mister mo, Lover boy ko” (1975)

6. RQ 1 (Table 2): Visual Elements Represent Infidelity.......................... 29
“Relasyon” (1982)
7. RQ 1 (Table 3): Visual Elements Represent Infidelity…….................. 32
“Minsan Lang KitangIibigin” (1993)
8. RQ 1 (Table 4): Visual Elements Represent Infidelity…....................... 34
“No Other Woman” (2011)
9. RQ 2 (Table 5):Dialogues that Represent Infidelity……..................... 38
“HuwagPamarisan. Mister mo, Lover boy ko” (1975)
10. RQ 2 (Table 6): Dialogues that Represent Infidelity…....................... 42
11. RQ 2 (Table 7): Dialogues that Represent Infidelity…....................... 44
“Minsan Lang KitangIibigin” (1993)
12. RQ 2 (Table 8): Dialogues that Represent Infidelity……................... 46
LIST OF FIGURES
FIGURE Page
1. Figure 1. Peirce’s Triadic Semiotic Model………………..……….…...… 13
2. Figure 2. Conceptual Frameworks………………………………………. 14
3. Figure 3. Operational Framework………………………………….….… 15
4. Figure 4.Conceptual Framework of Film Theory……………….……..… 18

INTRODUCTION
With the media such a prominent part of today’s society it is little wonder that
it has become a resource on how the world works. Adolescents, particularly
impressionable as they attempt to make sense of themselves and others around them,
often look to the media (Bachen & Illouz, 1996: Brown, 2002; Signorielli, 1997) for
issues increasing in importance such as those of romantic and sexual relationships
(Arnett, 2000; Furnham & Simon, 1999). However, interpreting media
representations of these issues as being an accurate reflection of reality may have
serious implications for adolescents’ perceptions of the world. Films and television
programs typically rely on exaggerated and unrealistic portrayals of romantic and
sexual relationships to appeal to their audiences (Committee on Public Education,
2001; Jowett & Linton, 1980; Ward & Rivadeneyra, 1999); and, although older and
more experienced viewers can generally recognized this (Illouz, 1998), younger
viewers with few of their own experiences to compare against may come to view
these representations as cultural norms and form of unrealistic portrayals to gain
insight into what to expect in their own relationships, research must determine what
specifically are they being exposed to. Research on romance media content like
infidelity thus far, however, is severely lacking. This study, therefore, sought to
address this gap by analyzing the romantic content of a sample of selected Filipino
films. Furthermore, a coding system of the romantic themes identified during analysis
was created and reliability established.
Films that show men cheating on their wives are socializing today’s youth.
While adultery and infidelity were realities of modern day, the media and films are
partially responsible for shaping social attitudes about how to view such “deviant”
behavior. The purpose of this paper was to analyze how extramarital affairs
specifically infidelity among husband has been constructed in media, particularly in
Filipino films from 1970s to the year 2000s. The data collected from this analysis of
films was utilized to identify a trend and the changes occurred over a period of time.
Background
From the very beginning that humanity marked its life, infidelity has been an
issue and questionable act between the man and wife. Meyer (1997) listed that
infidelity is considered as one of the causes of marriage failure due to lack of sensual
connection between the couples. Richardson (1988) argues that because of social-
structural and social-psychological reasons, men have greater power than women in
adulterous relationships. He added that single women who have sexual relationships
with married men are considered to be in a “power-imbalanced” relationship. Harris
and Subotnik (2005) agreed that 40-50 % of men had an affair with the other women,
while 25% had been tantamount as wife infidelity. Infidelity defines as form of
violation of one spouse to a romantic partner inter-relates emotional and/or sensual
exclusivity (Gambescia, et al., 2003).
On the other hand, Neuman (2008) explained the reasons why men cheat. He
described men as sexually susceptible, prone to fantasy and lustful thinking. In line
with that, Neumann cited Brizendene (n.d.) regarding the psychological movement of
men's mind that they are thinking sex every split of fifty seconds. Same author also
affirms that the main reason why men cheat was the dissatisfaction to their spouse.
Meanwhile, Meyer also further enumerated the different kinds of infidelity
existed among couples such as:
1. Opportunistic Infidelity. This happens when a couple has in depth
attachment with their Spouse, but have a thirst to commit sexual act
with someone driven by unprecedented situations like drug addiction,
mental disorder, obsession, alcoholics, and other behavioural
predicaments.
2. Obligatory Infidelity. Related to fear and anxiety among couples.
Looking for sexual gratification in order not to be rejected by others.
This happens when the spouse is seeking for appreciation and
affection from his/her love.
3. Romantic Infidelity. A common form of infidelity occurs when the
couple has a small attachment with each other looking for other spouse
to fit in on his/her feelings. This is prevalent among keridas/kabit that
is unknown to other party.
4. Conflicted Romantic Infidelity. Similar to preceded form of infidelity.
The only different is that the affair happens on more than one men or
women at a time. Characterized on perplex situation where in the
couple and the other is torn with each other.
5. Commemorative Infidelity. Happens when couple have committed
toeach other has no attachment and feelings with each other. No sexual
interaction and attraction.
Upon those prevailing issues, various films were contextualized to the matter
of man's infidelity (in general). In this study, various Filipino films like Huwag
Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang
Iibigin (1993), and No Other Woman (2011) centralized on the issue of infidelity.
Philippine cinema adapted the different foreign film genre. After decades of years of
learning filmmaking, Philippines began to produce its own identity. Philippine
cinema has been presenting a more realistic picture of Philippine society.
Furthermore, Tagalog movies reflect the culture Filipinos today. In recent years,
television shows and movies have promoted one’s appetite for infidelity.
Addressing those given problems above, the researchers had come up to the
need for a research to study the reality and hidden issues in the various films
nowadays. Furthermore, the researchers viewed that relationship is very important
and how the media represents its influences the public. Gowelt (n.d) posited that
media projects reality. Hence, film tended to be mirror of family and human
relationship (Subotnik & Harris, 2005).
Since the mid-20th century, Philippine cinema had started to conceptualize
films with that kind of theme (Lucio, 1999). Until now, there is the presence of
infidelity as theme in media especially in movies known to be as “mistress-
syndrome”. The obsession of Filipino film-makers tended to visualize the reality of
prevailing cases of infidelity (Dante, 1992). The researchers chose to conduct this
study because of eagerness to identify and learn the “mistress-syndrome” in Filipino

films. The concerns regarding the concepts of films and television shows such as
mistresses and sensual scenes add to researchers’ zeal.
This study aimed to analyze the content of Huwag Pamarisan. Mister mo,
Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No
Other Woman (2011) specifically the visual elements such as signs, images, scenes;
and sound elements like dialogues, used to represent infidelity. Furthermore, the
researchers tackled as well how mistresses and legal women were being stereotyped.
At the end of the study, the researchers analyzed how the infidelity was represented in
the four selected films.
Significance of the Study
This study would serve as pillar and eye opener among the family and couples
who are suffering from similar issue. The result of the study would serve as validation
whether the media (film in particular) has a clear representation or just
exaggeration of the concept of kabit, kerida, and kalantari and infidelity.
Marital issues: Infidelity Conflict: Kerida vs. Film and Movies

Legitimate
The conceptual research framework represented by three elements
relationship, conflict, and film as seen above. Inspired by the contention of Rosario &
Cruz (1978) on their prediction done in the Philippine movie industry that as the new
millennium enters film will evolve around family and relational conflicts. Supported
by Mendoza (1999) elucidates that broken relationships, infidelity in particular is one
of the family issue that is being represented on various Filipino films. It seems that
audience is looking back on themselves and relating that to their experiences. It was
evidently happened as the Office of Solicitor General said that around 28 annulment
cases have been filed on their office a day during the year 2012 (Calonzo &
Cayabyab, 2012).
On the other side, related studies were conducted that focusing with the
metaphors and constructs in marital infidelity in Filipino films by De Guia (2012). De
Guia (2012) entails that in the movies studied previously husbands dominating the act
of infidelity due to possession, authority, and dissatisfy. Simultaneously, the women
represent passive, calm, and victim image for the sake of maintaining relationship.
Infidelity
Infidelity research addresses two types of betrayal that occur in committed
romantic relationships (Feldman & Cauffman, 2000), sexual or emotional. Sexual
infidelity, as its name suggests, refers to sexual activities that are committed with
someone other than one’s partner. Behaviors that constitute sexual infidelity range
from kissing to sexual intercourse and include behaviors such as sexual touching and
oral sex (Feldman & Cauffman, 2000; Roscoe Cavanaugh, &Kennedy, 1988).
Emotional infidelity refers to becoming emotionally involved with someone other
than one’s partner (Roscoe, et al., 1988).
Relational infidelity is defined as a severe relational transgression in which
one or both relational partners perform extra dyadic behaviors that violate relational
rules of monogamy and exclusivity without their partners’ prior consent. It is
important to note that the existence of extra dyadic behaviors do not always constitute
acts of relational infidelity because some relationships do not have an expectation of
exclusivity and monogamy (Drigotas, Safstrom, & Gentillia, 1999). It may involve
sexual involvement in the absence of an emotional attachment, an emotional
attachment on the absence of sexual involvement, or a combination of sexual
involvement and an emotional attachment. Although both sexual and emotional
infidelity can inflict stress on a relationship (Cann, Mangum, & Wells, 2001),
research indicates that sexual infidelity in the absence of an emotional attachment is
considered to be one of the most severe and unaccepted types of infidelity that occur
within dating and marital relationships (Sheppard, Nelson, & Andreoli-Mathie, 1995).
However, both sexual and emotional betrayals are the focus of infidelity research.
Previous research varies on the definition of infidelity (Blow & Hartnett,
2005). Drigotas, Safstrom and Gentilia (1999) define infidelity as “the combination
of (a) the feeling that one’s partner has violated a relationship norm regarding the
nature of the partner’s interactions with someone else and (b) the fact that violation of
this relationship norm typically elicits sexual jealousy and rivalry” (p. 509).
Shackelford and Buss (1997) define sexual infidelity as “sexual activity with
someone other than one’s long-term partner” (pp. 1034-1035), and emotional
infidelity occurring when “one’s partner channels emotional resources such as
romantic love, time and attention to someone else” (p. 1035). This study defined
infidelity as “the combination of (a) the feeling that one’s partner has violated a
relationship norm regarding the nature of the partner’s interaction(s) with someone
else and (b) that violation of this relationship norm typically elicits sexual jealousy
and rivalry,” (Drigotas et al., pg. 509). A violation might include sexual activity with
someone and/or channelling emotional resources such as romantic love, time and
attention to someone other than one’s long-term partner while involved in a
committed romantic relationship. To qualify as infidelity in this investigation, both
components of this definition must be satisfied (i.e., satisfies “a” and “b” above). For
example, a partner could spend time with or resources on another individual, but it
does not involve infidelity (e.g., helping a family member or friend). On the other
hand, an individual could experience sexual jealousy about or rivalry with another
individual (e.g., a woman is jealous of and/or feels competitive with her partner's
attractive co-worker) even though her partner has done nothing untoward in terms of
breaking a relational fidelity rule. Infidelity has serious implications for most
relationships and individuals. Exclusivity is expected in most serious relationships.
One study reports between 94% and 99% of married and heterosexual, cohabitating
couples expect monogamy (Treas & Giesen, 2000). Yet, this expectation is not always
met. For those who experience a partner’s infidelity, there are possible psychological
consequences that include, “damage to their self-image, personal confidence or
sexual confidence, feelings of abandonment, attacks on their sense of belonging,
betrayals of trust, enraged feelings” (Charny & Parnass, 1995, p. 100).
Researchers have classified and studied infidelity under broader categories.
Bachman and Guerrero (2006) classify infidelity as a hurtful event as it is a relational
transgression that communicates a “devaluation of the partner or relationship” (p.
945). Metts (1994) and Metts and Cupach (2007) classified infidelity as a relational
transgression as it violates relationship rules, whether implicit or explicit, and is
considered a betrayal. Yet, compared to other relational transgressions (such as lying),
infidelity is a unique threat in which a third party rival is involved in the primary
relationship.Other transgressions involve only the relational partners (e.g., deception
or criticism).
Motives for Sexual Intimacy in Affair
Fair (1978) argues that relationships with other people are an integral part of a
person’s life, with the most important relationship being with one’s spouse and
children. Fair also states that having variety in a person’s life is desirable, especially
by a man.A study by Burke (1984) conducted in the Netherlands, found that of 109
men and 109 women who have had at least one extramarital affair, 70% mentioned a
need for variety, meaning that “she/he had a need for sexual variety” and “it was
something new”. Ninety-three percent mentioned attraction to third person, 81%
stated that sexual circumstances simply went that far, 43% mentioned marital
deprivation, indicating that there was something missing in the relationship or
discontentment with their sexual relationship, 62% mentioned pressure by the
extramarital partner, and 8% mentioned aggression, meaning that he/she was angry
and wanted to take revenge on their spouse. Buunk (1984) notes people confronted
with the infidelity of their spouses feel they deserve an explanation of their partner’s
extramarital involvement.
According to Farrer and Zhongzin (2003), extramarital affairs have become
more acceptable and people are more likely to justify their extramarital affairs. Farrer
and Zhongzin examined the “concrete social contexts” in which the extramarital
relationships form places of leisure and the friends, family, and co-workers
associated. Farrer and Zhongzin found that many informants used leisure and play,
including dance clubs, to meet their outside lovers. A number of informants found the
Internet to be an easily accessible way to meet their extramarital partners. For most
informants, romantic feelings were the primary motive for sexual intimacy. Sexual
passion was the most common motive for an affair equally for men and women.
Farrer and Zhongzin (2003) found that lovers were almost always described as
“friends.”
Gender Differences
Men and women’s accounts of extramarital affairs differ. While, according to
Farrer and Zhongzin (2003), sexual passion was the most common motive for an
affair for both men and women. Most factors for men and women differ. Buunk
(1984) found that sexual variety is more essential for males than females and that
males tend to separate sex from other social aspects of life. Gordon (1990) found that
women who enter traditionally male dominated occupations increase the number of
affairs they have, and men who enter traditionally women dominated occupations
decrease the number of affairs they have. Farrer and Zhongzin (2003) found that
single men and women’s accounts of attraction to married people showed the greatest
gender differences. Single women described their married lovers as “more mature,
capable, kind and knowledgeable than single men their own age”, while single men
described married women to be “better lovers but seldom as ideal partners” (Farrer
and Zhongzin, 2003).
Lawson states two central myths around romantic relations. The first is “the
myth of Romantic Love,” which integrates traditional beliefs concerning love and
marriage. The second is “the myth of Me,” which is seen as a general openness
among people that may lead to extramarital affairs; a sense of “self-actualization and
self-exploration” (Gordon, 1990). Lawson regards men engaged in extramarital
affairs as “parallel (to the marriage, often condoned)” in contrast to the “traditional
(secret and potentially threatening to the marriage) adultery more often engaged in by
women” (Gordon, 1990).
Research Problem and Objectives
This study aimed to analyze the representation of infidelity in Philippine
media entertainment. The study focused on the visual elements and dialogues of
selected films Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982),
Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011).
It also sought to answer the following specific problem:
1. What are the visual elements used to represent infidelity in the selected films?
2. How does the dialogue represent infidelity in the selected films?

Theoretical Framework
The researchers applied Semiotic Theory in order to explain the study. The most
common definition of semiotics is 'the science of signs'. It involves the study of any
medium (or genre) as a semiotic 'sign system'. Semiotics aims to analyze media texts
as structured wholes. It focuses on the system of rules governing the 'discourse'
involved in media texts, emphasizing the role of semiotic context in determining
meaning (Bell, 2001; Woollcott 1982, cited in Chandler, 2000). Its focal point is
mainly on units of meaning and the generalizable conditions for encoding across
symbolic systems such as linguistic, visual, and auditory(Irvine,2004).
Semiotic theory focuses on the social and cultural meaning of signs and codes
(Scholes, 1982; 1985). Signs consist of an image, a word, an object or even a certain
type of practice. The meaning of signs depends on the relationships between the
signifier (the image, word, object, or practice), the signified (the implied meaning),
and the referent (what the image, word, object, or practice refers to) (Scholes, 1982).
According to Irvin, signification is a process, a product, and a social event, not
something closed, static, or completed once and for all occurring in the encoding and
decoding process. All members of a society are interpreters or decoders and the
ability to decode and understand signification is based on competence in the sign
system and with a larger cultural encyclopedia of codes and correspondences. The
researchers employed Semiotic Theory as support to the study because it acquired the
process needed by the researchers to construe the figures and content of chosen films.
According to Irvin, semiotics, however, moves beyond language to study all the
meaning systems in a society including: fashion, advertising, popular cultures like
television and movies, music, political discourses, all forms of writings and speeches.
He further tells that semiotics contributes to communication studies by providing a
method for uncovering and analyzing how a whole system of signification like a
movie genre, fashion images, or television works in a culture.
Figure 1. Peirce’s Triadic Semiotic Model
Signs may invoke different social meanings depending on socio-cultural
background of the society. To Peirce, the form which the sign takes (not necessarily
material) is the representamen; the sense made of the sign is an interpretant and the
material to which the sign refers is an object.
‘Infidelity’ is the centre of the triad since it is the subject to be studied and
discussed by the researchers. It is the basis and ground of the researchers on

analyzing the representation of the characters in particular films. The triadic form of
Semiotic Theory will be the guide in examining the content of the chosen movies and
comprehending the study. Moreover, Peirce also explains that communication and
meaning are formed by representation through signs that represent things, meanings,
and values, such as, words in a language, images, sounds, or other perceptible
signifiers. Signs and sign-systems present a socially interpreted and valued
representation. Irvin notes that, as other scholars do (e.g. Chandler, 2000), the study
of how a society produces meanings and values in a communication system is called
semiotics. He further enlightens those languages, and other symbolic systems like
music and images.
Conceptual Framework
Figure 2. Conceptual Frameworks
The study of representation of infidelity is depicted in the films Huwag
Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang
Iibigin (1993), and No Other Woman (2011) showed semiosis or how the object
supported the sign and how the interpretant explained and justified the sign. The
researchers included which instances and codings are needed in the semiosis.
Elements and metaphors (visual/auditory codes) are put in under the sign; analysis
beneath the interpretant or meaning; characters and scenes into the object; these were
to indicate on how the study had utilized and interpreted.
Operational Framework
Figure 3. Operational Framework
Conceptual Framework guides the researchers in constructing the Operational
Framework required in the study. The researchers became more specific in this
structure. They cited the specific signs, object and interpretant so as to clearly
illustrate and explain the procedure use by the researchers in their study.
In this framework, the researchers included the title of the study which is The
Representation of the Concept of Infidelity from the Selected Filipino Films then,
indicate the chosen categorized movies which are Huwag Pamarisan. Mister mo,
Lover boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No
Other Woman (2011). The Infidelity is narrowed into three sign system which are the
elements (sign), characters and scenes (object), and analysis (interpretant). And each
system is specified.
The elements included visual and sound coding. These were the essentials and
signs used by the researchers in the study in accordance to the triadic form of the
theory. Then, the scenes as well as characters namely legal woman, third party or
other woman and man were the objects. They supported and determined the sign.
Last, the analysis that stands as the meaning or interpretant provided a translation of
the sign, allowing the addressees a more complex understanding of the sign's object.
Each signs, objects, interpretant or the whole content of each selected films
was sensibly and wisely observed, studied and construed by the researchers in
accordance to the theory and research problems.
In that sense, the researchers came up with Film Theory specifically Semiotic
and Formalist Theory which were foreseen to be applicable in this research. Also, the
researchers used the study framework of Semiotic Theory for identifying, specifying
and evaluating the needed data as well as guide in comprehending and interpreting
codes (visual and dialogues).

Film Theory
Film theory, or cinema studies, is an academic discipline that aims to
explore the essence of the cinema and provides conceptual frameworks for
understanding film's relationship to reality, the other arts, individual viewers,
and society at large. Film theory is not to be confused with general film criticism,
or film history, though there can be some crossover between the three disciplines. It
seeks to develop concise, systematic concepts that apply to the study of cinema.
Classical film theory provides a structural framework to address classical issues of
techniques: narrativity, diegesis, cinematic codes, “the image”, genre, subjectivity,
and authorship.
A formalist approach led by Rudolf Arnheim, Béla Balázs, and Siegfried
Kracauer, looks at the film itself, its structure and form. Thus, while other approaches
often use some degree of external evidence to analyze a film, a formalist approach
will focus primarily on internal evidence. This approach might analyze how the way
the plot presents the story material forces the viewer to see things at certain times and
have reactions that might be different if presented some other way. A narrative
analysis will examine how a film employs various narrative formal elements (such as
character, setting, repetition/variation, etc.) to convey meaning to the viewer. Analysis
of specific formal techniques might concentrate on a film’s use of mise en scene or
photographic composition, camera movements, editing choices, sound in relation to
the image, etc., noting the effect of those techniques on how the viewer perceives the
scenes and interprets what they mean.

Figure 4. Conceptual Framework of Film Theory
Chapter 2
Methodology
This Chapter is divided into several parts which are Study Design, Research
Instrument, Data Collection, Techniques and Procedures, and Data Analysis. This
study used Instrumentation as an alternative to participants since the researchers
employed content analysis as method in analyzing and interpreting data of the study.
Study Design
This researched utilized the qualitative design. This study involved analysis in
Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), Minsan Lang
Kitang Iibigin (1993), and No Other Woman (2011). Waters (2005) described content
analysis as form of categorizing characters, dialogues, and aesthetic object in a
particular picture, film or series. The researchers conducted their study using the
movies. Since, it is content analysis, 2 coding sheets will be utilized by the
researchers.
The researchers used qualitative since the study focused on verbal and non-
verbal communications in terms of interpretation of meaning in text or images and
dialogues, also applied interpretative method to study the observation of message and
the coding of that significance then assumed to be more observant in the four selected
films.
Research Instrument
The instrument used four films such as Huwag Pamarisan. Mister mo, Lover
boy ko (1975), Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other
Woman (2011). The participated matters on the given films such as scenes, dialogues,
and signs were studied in this research.
Data Collection, Technique and Procedure
Each of the movies was viewed four times in order to generate the needed
data. Since, this researched is a form of content analysis; the researchers used 2 types
of coding sheets. The first coding sheet was for visual element which consisted of
scene or image, visual elements, characters, representation of infidelity and its
analysis; the second coding sheet was for sound element that consisted of dialogues,
images, representation of infidelity and analysis. The researchers constructed and
produced an organized design of coding sheets in order to deeply analyze each film.
Table A. Coding Sheet (Visual Elements)
Title of Film (year)
Scene Characters Visual Representation of Analysis

Elements Infidelity
The First Coding Sheet consisted of scene, visual elements, characters, representation
of infidelity and its analysis. It was constructed as shown below:
a. Scene. Picture of occurrence with description under
b. Characters. Individuals who are involved and responsible for
c. Visual elements. Symbolic image or presentation of infidelity
d. Representation of Infidelity. Correlation and interpretation of scene,
characters and visual elements to infidelity.
e. Analysis. The interpretation and connotation of signs and symbols.
Table B. Example Coding Sheet (Visual Elements)
No Other Woman (2011)
Scene Characters Visual Representation Analysis

Elements of Infidelity
Kara Seafoods Forbidden but The forbidden

enjoyable food represents
infidelity. It is
unhealthy or a
threat to one’s
health. Whilst
Infidelity is
harmful to a
relationship; it
is a threat to a
Kara takes her lunch marriage.
with Ram. She tries to
defend her reasons and
herself on eating foods
that are forbidden to her
health.
Coding sheet of Sound elements was divided into four columns as listed below:
a. Scene. Image or visual used to support and to add meaning to the dialogue
and representation of Infidelity.
b. Dialogues. Lines used in scenes by the characters; constructed lines in
films which either represent something or depict meaning.
c. Representation of Infidelity. Interpretation correlation of dialogues to
infidelity.
d. Analysis. The interpretation and connotation of signs and symbols.
Table C. Coding Sheet (Dialogues)
Title of Film (year)
Scene Dialogue Representation Analysis

of Infidelity
Table D. Example Coding Sheet (Dialogues)
No Other Woman (2011)
Scene Dialogue Representation Analysis

of Infidelity
Ram (v.o): Once Namimingwit Being a

you find to get her, ng babae salesman
sinasabi ko sayo she (eyeing for a compares to
will do everything girl); eyeing a girl
what you’d wanted Temptation because a
to do. And that’s the salesman has a
secret to being a specific
good sales man. It’s objective and
The character of the all about temptation. target just like a
other woman was Walang pinagkaiba man who wants
introduced; the kapag namimingwit to get the
foreword ka ng babae woman he
representation of wants.
infidelity and
temptation.
Data Analysis
In this study, the researchers selected four most well-known or highest gross
Filipino films from 1970 to present times. Each particular movie depicts the concept
of infidelity. Moreover, content analysis for four given films was utilized. Visuals
presented infidelity in terms of secret dating, arguments, and conflicts would be the
part of the sampling and analysis. While, the involvement of parents and friends in
the plot would not be discussed anymore but their dialogues which are related in the
data needed for interpretation and analyzing this was used. On the other hand, it only
focused and evolved around the legal woman, other woman and a husband. Their
dialogues, encountered, and gestures with each other were overseen in this research.
The researchers have examined carefully each element in the four given films.
It was accounted and analyzed through the use of coding sheets. Representations,
stereotyping, and semiotics were used by the researchers to have a clear background
on the meaning of characters’ representation.
Furthermore, the interpretative method was also used by the researchers to
deliberate and interpret the content, code and elements presented in the four
mentioned films namely Huwag Pamarisan. Mister mo, Lover boy ko (1975),
Relasyon (1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011).
Chapter 3
RESULTS
Table 1 showed the visual elements used to represent infidelity in Huwag Pamarisan.
Mister mo, Lover boy ko (1975) with the interpretation, analysis and the different
kinds of infidelity per visual element. The most dominant kind of infidelity in this
film was obligatory infidelity, and not as much romantic infidelity.
Table 1.
Visual Elements that Represent Infidelity in the 1970’s Film
“Huwag Pamarisan. Mister mo, Lover boy ko” (1975)
Scene Visual Representation Types of Analysis

elements of Infidelity infidelity
Unbutton Sexual desire Opportunistic Unbutton

clothes Infidelity clothes
represent
Commits sexual desire.
infidelity Stripping is a
While Christine (sexual way of
and Manuel drink intercourse) tempting a
inside the yacht, Because of person that
Christine the effect of leads to
unbuttons the Polo alcohol. sexual
of Manuel as she interaction.
tries to tempt him. People who
are not
married
hunger for it.
Wrist Time Obligatory Wrist watch

watch Infidelity represents
time. It
Infidelity depicts the
occurs when span of
Manuel looking at the husband is moment that
his wrist watch seeking for the husband
and checks time. sexual can have with
He is dating at gratification other woman.
night with because the In line with
Christine. husband that, night is a
seeking frequent time
affection from when
other person. infidelity
happens.
Time also
depicts
limitation on
infidelity
Ocean Mystery Romantic Ocean

(water) infidelity represents
mystery. A
The husband secret affair is
and other infidelity; it is
Manuel and woman had secrecy.
Christine are on small Everything
the yacht, attachment happens in a
cuddling each with each secret affair is
other and creating other. kept in veil or
their moment with secret that
a view of blue nobody
wide ocean. knows.
Yellow Color of Obligatory The color of

clothes infidelity infidelity yellow
represents
This happen infidelity. A
when the woman wears
other woman clothes with
Christine wearing has many the same
yellow swimsuit debts to the color; that
during her photo husband. correspond to
shoot since she is Because the a mistress. It
now an actress husband helps does not
her to achieve verbally tell
which is her a good life. what type of
ultimate dream. woman she is
Ana dresses up but through
herself with the use of
yellow clothes. color, it
identifies that
she is a
mistress since
yellow
symbolizes
infidelity.
Manuel and
Christine after
their sexual
intercourse. Their
bodies are
wrapped of yellow
blanket.
King Size Fulfilment Obligatory King size bed

bed infidelity represents
fulfilment.
This happen The mistress’s
when the material
Christine laying other woman desire was
on a king size bed has many satisfied.
seeing that she is debts to the While the
very excited and husband. huge space in
joyful as she also Because the bed is the
wishes for that husband helps longing for
material which her to achieve someone to
finally granted. a good life fulfill its
emptiness.
Bed scene Sexual Desire Romantic Bed scene
infidelity represents
infidelity. The
When the husband who
husband and has sexual
the other intercourse
Manuel and woman began with other
Christine after to have a woman is
their sexual small classifying as
intercourse. Their attachment sexual
bodies are with each infidelity.
wrapped of yellow other.
blanket.
Red Two Temptation Opportunistic A red- two

piece infidelity piece
represents
This happen temptation.Te
because the mpta-tion
husband is characterizes
Mando introduces obsessed to the mistress;
Christine, a meet other sexy and has
woman wearing woman to alluring body.
red two piece, to have sexual The mistress
Manuel. interaction, is the
just because temptation
his wife is and her
unproductive. appealing
figure makes
her more
attractive to
men.
Note: Other visual elements that did not represent infidelity of the main character
were not included.
Table 2 showed the visual elements used to represent infidelity in Relasyon (1982)
with the representation, analysis and the different kinds of infidelity per visual
element. This film is more on romantic infidelity in the beginning up to the end.
Table 2.

Fit and Temptation Romantic A woman

sexy body infidelity who is
exercising
The husband represents
and the wife sexy body. A
are both in sexy figure is
A woman who is love with a temptation
working her body each other. for man. An
out used as an alluring body
introduction to the is usually
character of the possesses
mistress. more by a
mistress.
Ring Commitment Romantic A ring

commitment.
When the It is a symbol
husband gives of man’s
other woman attachment
a ring to and love
Emil and Marilou symbolize his
having their lunch love to the
in their favorite other woman.
restaurant. Emil
surprised Marilou;
he gives her a
ring.
White Infidelity Romantic A white

blanket infidelity colour of a
blanket
Sexual represents
interaction infidelity. The
happen when husband has
the husband secret affair
A night before and and the other with other
morning after woman are woman. He
Marilou and Emil attached with has been
had sex. They are each other. having sexual
both naked with intercourse
their bodies with woman
wrapped in a who is not his
white blanket. legal partner.
Bed scene Sexual desire Romantic Bed scene

infidelity. The
Sexual husband who
interaction commits
happen when sexual
After the other the husband intercourse
woman and and the other with other
husband had sex. woman are woman is
attached with classified as
each other. sexual
infidelity.
Picture Evidence Conflicted A picture

verification.
When the The mistress
husband is verifies that
still in love the husband
with his wife still loves his
and also love wife even if
the other the two
woman. official
spouses are
separated. She
confirms that
she can never
be a substitute
Marilou washes to legal wife
the clothes of Emil
and she found out
there is a picture
inside the pocket
of Emil’s polo;
picture of Emil
and his wife.
River Mystery Romantic River

mystery. A
The husband secret affair is
and other infidelity; it is
woman doing secrecy.
the things that Everything
a couple does. that happens
in a secret
affair is kept
Marilou and Emil in veil or
on the bridge near secret that
the church. nobody
Looking the knows.
reflections of them
on the water.
Candled Expectation Obligatory A candled

light infidelity light
representsexp
When the ectation. The
other woman husband
seeking for celebrates
appreciation official
Marilou and affection occasion like
celebrating her from her love Christmas
Christmas alone. one. with his legal
wife and
child. The
mistress was
left alone with
expectation
from the
man/husband.
Baggage Closure of The baggage

closure. The
other woman
closes herself
from being a
mistress.
Marilou left the

house and decided
to work abroad.
were not included.
Table 3 showed the visual elements used to represent infidelity in Minsan Lang
Kitang Iibigin (1993) with the representation, analysis and the different kinds of
infidelity per visual element. This film showed three different kinds of infidelity, the
opportunistic, obligatory and romantic infidelity.
Table 3.
“Minsan Lang Kitang Iibigin” (1993)

Embracing Comfort Opportunistic Comfort

infidelity represents the
man. A man is
When the offering his
wife shoulder to
Monique is experienced fragile
longing for her mental woman. A
husband and disorder due woman needs
sharing her pain; to the death of attention and
wanting to bring his husband. affection
back his husband because of the
while Dave is death of her
trying to calm her husband.
down.
Mud Griminess, Obligatory The mud

Filthiness infidelity represents the
and Dirtiness dirtiness of
When the infidelity,
other woman since
Dave and longing for infidelity is a
Monique are sexual forbidden
having a sexual gratification affair.
intercourse in the because of
mud. herhusband’s
death and the
husband also
longing for
sexual desire
because his
wife can’t
provide.
Knife Evilness Knife

represents
evilness; Wife
used a knife
in killing the
other woman
Terry is trying to of her
kill her best friend husband such
and who is also that killing is
her husband’s an evil act.
other woman.
Letter Evidence Romantic Letter

evidence that
When the infidelity
husband happened;
wrote a letter Since the
that he falls in husband
Terry is searching love with the wrote a letter
for evidence that other woman. confessing his
his husband might feeling
have an affair to towards the
her best friend other women.
until she found a
letter of his
husband to his
other women.
were not included.
Table 4 showed the visual elements used to represent infidelity in No Other Woman
(2011) with the representation, analysis and the different kinds of infidelity per visual
element. This film showed all kinds of infidelity.
Table 4.

Sexy and Namimingwit Commemorati Being a

beautiful ng babae ve infidelity salesman is
woman (eyeing for a compared to
girl); When a eyeing a girl
married man because a
Temptation is looking for salesman has
many a specific
The character of different types objective and
husband is of woman to target just like
introduced in the commit a man who
story. infidelity. wants to get
the woman he
wants
Wedding Marriage; Opportunistic A wedding

ring loyalty infidelity ring
represents
When the marriage and
behaviour of loyalty. A
the husband wedding ring
to keep their is the
The wife always wedding ring traditional
reminds her in order to use symbol of
husband to wear his charm to marriage.
his wedding ring. attract Hence, being
customers. a loyal partner
is keeping to
the tradition.
Seafood’s Forbidden food Opportunistic The forbidden
but enjoyable Infidelity food
represents
When the infidelity. It is
other being
woman’s unhealthy or a
obsession of threat to one’s
The husband and getting her health.
other woman hands dirty Infidelity is
having lunch and behaviour unhealthy to a
together. of violating relationship; it
the law. is a threat to
marriage.
Swimsuit Ahas (snake) Romantic A snake

infidelity represents the
other woman.
When the It is the
husband and snake’s evil
the other image in the
woman had a literature and
The wife and other small the other
woman attachment woman’s evil
confrontation. with each role in the
other. marriage of a
happy couple.
Candles Romance Obligatory The wife tries

and infidelity to bring back
Romantic the romance
Ambiance When the that they have
wife is since she
longing for a senses or feels
sexual that her
The wife set a gratification husband has
romantic because she an affair with
ambiance to attract was the other
her husband for suspicious woman.
sexual desire. about her
husband’s
affair with
other woman.
This happen
when spouse
is seeking for
affection and
love.
White Mistress / Romantic White clothes

curtains, Other woman infidelity represent and
White bed are used to
sheet When the introduce her
And White husband and as other
Morning, after the blanket. other woman woman.
husband and the began to be
other woman slept attached with
together and had each other.
sexual intercourse.
Same Ulam ( Viand ) Obligatory The viand

viand with infidelity (ulam)
different represents the
carrier When husband or
husband, man; Two
other woman different
The wife invited and wife are women
the other woman longing carrying
and they cook the seeking for similar viand
same viand to the appreciation depicts having
husband. and affection relationship
from the one with the same
they desire. man
Sea Takip-silim Commemorati Sunset

(Sunset) ve infidelity represents
time; when
In this scene the husband
the husband and the other
and other woman
woman were secretly run
not yet into each
attached with other arms.
each other Night is a
commemora- frequent time
The husband and tive Infidelity when cheating
other woman happen when mostly
meeting each other the husband happens.
in the seashore. and other
woman have
no attachment
and feeling
with each
other.
Baggage Closure Commemorati The baggage

ve infidelity symbolizes
closure of a
When the husband and
husband and other
The other woman other woman woman’s
will move out of detached with affair; End of
the house that they other and also Infidelity.
used to be with the no more
husband. sexual
interaction
and attraction.
(8) Missed Evidence Romantic The missed

calls infidelity calls represent
a marital
The infidelity. It
avoidance of depicts
communicatio avoidance of
The husband does n impliesthat communicatio
not want to answer the husband is n which is a
his wife calls with his other way of
because he is with woman. And keeping secret
other woman. the text of the or lies.
other woman
Text means that
Message she is now Text message
being attached represents
to the evidence that
husband. the husband is
The other woman being
texted the husband unfaithful and
but the wife saw has other
those messages. woman.
Bedscene Sexual Desire Romantic Bed scene
infidelity. The
When the husband who
other woman commits
and the sexual
husband had intercourse
sexual with other
After talking about intercourse woman is
the boring bed of because of classifying as
Kara, Ram was they have sexual
seduced sexually small infidelity.
by Kara; kissing. attachment
with each
other.
were not included.
Table 5 showed the dialogue used to represent Huwag Pamarisan. Mister mo, Lover
boy ko (1975), with the interpretation, scene description, analysis and the different
kinds of infidelity per dialogues. The most dominant kind of infidelity in the film was
obligatory infidelity, and not as much as romantic infidelity.
Table 5.
Dialoguesthat Represent Infidelity in the 1970’s Film
Dialogue Scene Representation Types of Analysis

description of Infidelity infidelity
Guy2: Ay hindi While the Pasay Opportunis- Pasay

dapat artista yan other tic Infidelity represents the
dapat yan sa woman is mistress.
Pasay. on the When the Pasay is a
filming, the other well-known
Guy1: Malay mo four woman place of
dun talaga galing bystanders commits prostitute
yan. were talking sexual act thereof the
about her. in order to mistress sees
gain her by others as a
obsession cheap, low
of having a class type of
decent life. woman.
Christine: The other Bungalow Obligatory Bungalow

Sobrang woman is infidelity represents an
overacting mo talking with affair of
naman. Ang ganda the husband When the husband and
nitong bungalow. through the husband other woman.
phone after looking for Bungalow is a
Manny: receiving sexual single
Nagustuhan mo her new gratification attachment
ba? bungalow and used his style of
house that money in house; the
the husband order to emotional
gave. have the attachment in
other infidelity and
woman’s extramarital
affection. affair are
single or one-
way which
means that
there is no
assurance on
affection and
a take-take or
give-give kind
of
relationship.
And in this
case, the man
has the
absolute
benefit such
as sexual
pleasure.
Tred: Mamayang Tred tries to Gabi (night) Conflicted Mistress
gabi ugaling advise Kabet romantic represents
kabet, utak kabet, Christine to (mistress) infidelity other woman
pagmamahal ang stop her who has an
kabet wrongful This happen affair with
and sinful when the someone’s
actions and other husband.
decisions; woman Night is the
being a having usual time
mistress affair with when
and gold- different infidelity
digger. man. At a happens. The
time. husband can
easily cheats
his wife and
meets his
mistress at
night as it is
the time of
slumber and
when there
are less
people who
can possibly
see them.
Christine: Oy! After their De-bungalow, Opportunis- “de-

Ang bilis bilis ng sexual artista. tic Infidelity bungalow”
panahon no? interaction, Investment and “artista”
Parang kahapon Christine When the represent the
nasa batulon lang expressed other investments
ako tapos ngayun her thanks woman of man. The
eto, de-bungalow, about the commits husband make
tapos echos artista materials sexual act used of his
anong say mo. given and in order to money and
Manuel, mahal na done by gain her power to get
mahal kita. Manuel. obsession the girl he
of having a wanted. He
decent life. offered and
granted the
materials
longing by the
other woman.
Christine: Other Enemy Obligatory The other
Magkaharap tayo woman sits infidelity woman and
Mrs. Salvador in front of the wife see
pero hindi tayo the wife as When the each other as
magkaibigan if tries to other rival and
settle things woman are enemy. They
between longing for both fight
them with the husband their rights to
the affection the man.
husband. and tries to Since the
talk to the other woman
husband possesses the
wife’s in materials she
order to longing for
have her but
husband. dissatisfied,
she wants to
absolutely
take the
husband so
she can
achieve her
goals that is to
get rich and
be drown
from material
belongings
and
properties.
Note: Other dialogues that are not about infidelity are not included.
Table 6 showed the dialogues used to represent Relasyon (1982) with the
interpretation, scene description, analysis and the different kinds of infidelity per
dialogues. This film is more on romantic infidelity from the beginning up to the end.
Table 6.
Dialogues that Represent Infidelity in the 1980’s Film
Dialogue Scene Representatio Types of Analysis

description n of Infidelity infidelity
Emil: Sinabi ko Emil talks Meeting Romantic Meeting

ng may meeting with infidelity represents to
ako e. Mahuhuli Dorothy, his secret meet up
ako. Dorothy ano wife, over The husband of husband
ka ba? the phone chose to be and mistress.
Napakaunreasonab making an with the It is one of a
le mo naman e. alibi where other woman man’s ways of
Ano, basta na lang in fact he is because he cheating. A
ako aalis dito? with loves her. husband tells
Ganon ba? Marilou, his that he is in
mistress. the middle of
a meeting
which in fact,
he is with his
mistress.
Emil: Nandiyan si Emil and Tago nang tago Romantic Hiding

Evelyn, yung Marilou are (keeps on infidelity represents the
kapatid ni dating. Emil hiding) status and
Dorothy. was hiding When the legality of
from her Secrecy other woman husband-
Marilou: Emil wife’s sister and husband mistress
hindi na ata ako as he was doing the relationship.
makakatagal ng avoiding to same thing A secret affair
ganito; tago nang be seen as that couple does not
tago. cheating his do, because legally permit
wife. they are to be seen and
attached with be known by
each other. the public
since it is
intolerable
type of
relationship.
A husband
hides
whenever he
is with his
mistress
because he is
anxious that
his wife may
find out that
he cheats.
Marikit: Kahit na “Masarap” Commemo- Delectable

anong sabihin mo rative represents
pa basta para sakin Delectable infidelity man. A man
masarap ang mga satisfies the
lalaki. When the mistress on
friend of her sexual
Marilou: At other woman appetite that
masarap mainlove told that men feeds her
are emotional
delectable. need as well.
Pertaining
with
different
types of
man.
Table 7 showed the dialogues used to represent infidelity in Minsan Lang Kitang
Iibigin (1993) with the representation, analysis and the different kinds of infidelity
per visual element. This film showed three different kinds of infidelity, the
opportunistic, obligatory and romantic infidelity.

Table 7.

Dave: Bakit di ako Dave is Envy Obligatory Envy

naging kasing confessing infidelity represents the
swerte ni alex, that he is emotion of
Ang swerte swerte envied When the the man to the
niya sayo Monique’s husband is other man;
husband to confessing The husband
Monique: Dave had such his love to is jealous that
walang ganyanan beautiful the other other man had
huh wife woman. his desired
Because woman.
Dave: E totoo they both Envy
naman e, tuwing long for sometimes
pinagmamasadan appreciation leads to
kita kinaiingitan and infidelity.
ko si Alex. affection
from his/her
love.
Monique: Hindi Monique is “Kasosyo sa Obligatory Buddy/partner

ako sure sa informing kalungkutan” infidelity represents
feelings ko sayo Dave that infidelity. The
dave , napaka bilis she is Buddy/ Partner Because of reason why
ng pangyayare. pregnant. in sadness and longingness the other
Bestfriend ko si After a despair for the woman
Terry kamamatay month’s death commits
lang ni Alex, baka that they husband, infidelity is
naman hopeless had sex. the other because of her
lang ako ang woman longing for
naghahanap lang commits her husband.
ako kasosyo sa sexual act. She needs
kalungkutan at someone who
napagbalingan can be with
kita. her when she
is in pain and
Dave: Alam mo who will
nararamdaman accompany
ko? Mahal kita her in all
Monique. instances.
Terry: Matutupad Terry Business partner Opportunis- The business

na naman ang isa visited tic infidelity partner
sa pangarap mo Monique’s represents
mag business na house with When the other woman.
lang ,swerte mo evil other A man’s
talaga monique motivation woman excuse of his
lahat ng parangap towards commits harmless
mo natutupad Monique infidelity flirtations. A
because of man will tell
Monique: Hindi mental that he and
naman ako disorder, the other
makakapagbusines because of woman are
s kung hindi longing of just friends or
tumulong si Dave. her dead buddies.
husband.
Terry: After the Ten Obligatory Ten

Magkunwari wife finds commandments infidelity Commandme
tayong nasa show out that her : Ika pitong utos nts: Ika pitong
mo pero ako yung husband’s huwag kang Because of utos -huwag
host ikaw yung other makikiapid longing for kang
guest anong tittle woman is her death makikiapid.
ng palabas? Ikaw her husband the represents
pitong utos: bestfriend other forbidden
huwag kang woman relationship
makikiapid. May commits
isang tanung lang sexual act.
ako
sayo?frankahin
mo sana ako. May
relasyon ba kayo
ng asawa ko?
Monique: Dispute Kerida, kabet Obligatory Kerida, kabet

Relasyon? between the number 2, infidelity number 2,
wife and the mistress mistress
Terry: Relasyon! other Because of represents the
Kerida, kabet woman. longing for other woman.
number 2, her death Those are
mistress. Relasyon husband the social terms
other used in
woman recognizing
commits and naming a
sexual act. husband’s
other woman
Table 8 showed the dialogues used to represent infidelity in No Other Woman (2011)
with the representation, analysis and the different kinds of infidelity per visual
element. This film showed all kinds of infidelity in the selected dialogues. And
commemorative and romantic infidelities are the predominant.
Table 8.

Ram (V.O): Ram Salesman Commemo- Being a man

Everyday hindi Escaler, the rative represents and
mo siguro husband, infidelity relates from
mabibilang ang defines how being a
dami ng taong ma- to be a salesman; they
e-encounter mo, salesman. This happen are both on
but you have to The film when the getting what
find your target. In started husband one aims for. A
man is
order to win, you through and other
ambitious and
have to understand voice over. woman had
is aiming for a
that this is the Defining no sexual
game of and attachment goal in life. A
temptation. Once comparing and feelings salesman has a
you find to get her, the same with each sales
sinasabi ko sayo aspect of other, no marketing that
she will do being man sexual he needs to
everything what and a interaction accomplish.
you’d wanted to salesman. and
do. And that’s the attraction.
secret to being a
good sales man.
It’s all about
temptation.
Charmaine’s While in a Ahas (Snake) Conflicted The snake

mother: Kung room, romantic represents the
ahas ka, mas ahas Charmaine infidelity other woman;
ako sa’yo. assists her it is how snake
Tahimik lang ako mother to When the perceived in
pero ‘pag kinanti calm down wife’s literature. In
ako nanunuklaw! who is so father is the Christian
bible, the
fuming and having
snake is a
pissed off affair with
temptation; it
of seeing different
denotes evil.
her women’s at
husband, a time.
Charmaine’
s father,
flirting with
the other
woman.
Sharmaine: Ma While in a Business partner Conflicted The business

baka naman party, romantic partner
mamaya di niya Charmaine’ infidelity represents to
kerida yan. s father is other woman.
Mamaya business with his When the A man’s
partner. business wife’s excuse of his
partner who father harmless
seems to be having flirtations. A
man will tell
his mistress affair with
that he and the
too. They different
other woman
do not tell women at a
are just friends
anything to time.
anyone but or buddies.
their actions
speaks
about what
relationship
and affair
they have.
Charmaine’s Charmaine’ Salivating Opportunis- The salivating

mother: s mother creature tic infidelity creature
Madaming laway madly (animate)
na laway diyan sa warns her When the represents the
asawa mo! Pero daughter to wife’s other woman;
oras na may watch over mother salivation is a
magtangkang her wants to sign of hunger
or desire for
umagaw, get that husband. remind her
something.
bitch a good fight! daughter
that many
women are
craving for
her
husband.
And
“magtang-
kang
umagaw”
pertains to
the act of
opportunisti
c infidelity
as an
obsession.
Kara: Bakit ka ba Ram and Dirty hands Commemo- Getting hands

gumagamit ng Kara having rative dirty
kobyertos? Why their lunch infidelity represents
don’t get your together. infidelity; it
hands dirty? Eating When the means of
seafood that husband getting a thing
Ram: Bawal! My you enjoy and other impure. One’s
wifey does not more woman had being as a
permit me to you without no husband
use my hand. using spoon attachment becomes
and forks and feelings impure if he
hence hands for each commits
other yet. infidelity.
Kara: I’m Kara trying Delectable food Commemo- Infidelity

allergic! Hindi to defend rative represents to a
naman ako herself for infidelity delectable
natatakot being food in a sense
maallergy no! allergy on When the that a delicious
Tsaka kung seafood. husband food gives
tatanggapin ko She is and other satisfaction to
lang ‘to, pa’no ko trying to woman had a palate while
infidelity gives
malalaman na explain the no
satisfaction to
masarap pala siya? goodness of attachment
a sexual
Dapat labanan mo breaking the and feelings
desire.
kahit bawal rules. for each
because other yet.
eventually, your
body will just get
used to it anyway.
Kara: When you Ram visits Bed having an Romantic A bed having
see an empty to Kara’s empty space; infidelity an empty
space, it makes house that filling an empty space
you realize that is also a space When the represents
you’re alone at placed in husband aloneness or of
ayoko ng ganon. the resort. and other being alone.
He asks woman The empty
Ram: What if Kara about began to space is the
longing for
someone wants to have a
something or
fill in that empty small
someone to be
space? attachment
with or to fill
and feelings
in.
with each
other.
Charmaine: In a bazaar Romantic A jelly fish
Babe, ano yan? where infidelity represents a
Charmaine mistress; can
Ram: Ah, wala together When the be a danger. A
nakuha ko’ to sa with her husband jelly fish can
dagat. mother and and other be poisonous
friend, woman like a mistress
in a marriage
Charmaine’s selling began to
friend: Jelly fish! pastry have a
products, small
Ram arrived attachment
until and feelings
Charmaine with each
noticed her other.
husband’s And the
neck with kiss mark
skin rashes came from
which was the other
actually a woman.
kiss mark.
Chapter 4
DISCUSSION
Previous researches studied infidelity classified as relational transgression.
Many different kinds of behavior qualify as relational transgression and one of its key
relational rules is infidelity as it violates relationship rules, whether implicit or
explicit, and is considered a betrayal (Metts 1994, and Metts and Cupach 2007). In
this study, the researchers discussed and focused more on how infidelity represented
using visual elements and dialogues that used as symbol or cinematic codes on the
representation of infidelity, to determine whether the media (film in particular) has a
clear representation or just exaggeration of the concept of kabit, kerida, or kalantari
and infidelity.
Infidelity can occur in a marital, cohabitating or dating relationship and is
therefore more generally referred to as extra dyadic involvement (e.g., Thompson,
1983). In selected movies, infidelity happened in a marital relationship. As part of
evaluating and understanding the study, the researchers, aside from examining the
elements (image and audio), some of the domains that sex differences in infidelity
have been studied as well which include: the occurrence of infidelity behavior in a
relationship, the attitudes toward infidelity in a relationship, the emotional impact of
infidelity on a relationship, and justifications of infidelity. The inclusion of those also
helped researchers to clearly follow and corroborate data, symbols, and most
importantly the entire study.
In accordance to Classical Film Theory, narrativity, diegesis, cinematic codes,

and images in the preferred Filipino films were carefully observed. The treatments
and techniques of gathering images and dialogues were followed from the operational
framework. Based on Formalist approach by Rudolf Arnheim, Béla Balázs, and
Siegfried Kracauer, the researchers attentively looked at the film itself, its structure
and form as well as analyzed how the way the plot, specifically the scenes, and
elements presented the story material of infidelity. Moreover, narrative analysis were
also applied so as to examine how a film employed various narrative formal elements
and key techniques (such as character, setting, costumes, actors and props) to convey
meaning. Characters and actors referred to the wife, the husband, and the other
woman. Setting included the time, place, and circumstances in which a scene took
place. Costumes and props were the clothes, stuffs, and visual properties used by the
actors.
The triadic form of Semiotic theory was the main guide from gathering up to
analyzing representations of data. The entire study was studied and understood by the
researchers through Formalist Film Theory while Semiotic Theory was used as guide
in gathering the necessary data particularly the visual and sound elements utilized
from chosen movies.
Reasons/ Motives in Committing Infidelity
Majority, 3 out of 4, of the husbands committed infidelity were businessman
than men in other occupation. The major cause of their deceitful could be due to high-
demanding, long hours, and associated stress of their careers. The continously strain
and working late every night could be the grounds to beginning thought of a need for
variety in man’s life; which leads to lying, going out for drink, and meeting potential
lovers and fell under the excuses of having a long meeting. It was supported by an
interviewed mistress, Yel, “He is a businessman. He is the HR manager sa company
na pinapasukan ko”(see on Appendices B). Another motivation of the husband of
committing betrayal is the “other woman”. He was tempt to the femme fatale
personality of the other woman who characterized as seductive, more attractive than
the legal wife, and has better body figure. All mistresses in the selective movies have
the characteristics of femme fatale. As one of the interviewees, Celia said, “maganda,
maputi, makinis, sexy”; based on her husband’s excuse, “oo nga Mang e. Di kasi
nagsara ng cr, natukso ako kasi diba ang puti-puti nun?” (see on Appendices B). It
showed that man has high tendency to be lured by another woman who is visually
seducing. That means that a mistress has her femme fatale personality that made a
married man easily tempted which caused infidelity.
However, the image of mistress showed differences in every film. In Huwag
Pamarisan. Mister mo, Lover boy ko(1975) the other woman was a low class girl
(chorus girl) and a gold digger; in Relasyon (1982) was a decent woman but a martyr
one; in Minsan Lang Kitang Iibigin (1993) was a prominent lady (reporter) but
longing for husband; in No Other Woman (2011) the kept woman was a high class
(heiress) type and liberated. However they all characterized as prostitute and sexual
material by man.
Meyer (1997) argued that the infidelity is considered as one of the causes of
marriage failure due to lack of sensual connection between the couples. In the 1970s
and 1990s, one of the main reasons why the husband compelled infidelity was due to
lack of sexual connection with his wife. Paolo Magsino, independent film director,
explained “…pinufullfil ng kabet yung pagkukulang ng asawa”. He further said,
“nakakahanap ng kabet kasi nakukulangan sa totoong asawa” (see on Appendices
B). Which was in Filipino films, either mainstream or independent, that how was
infidelity and kabitan, colloquial term, showed and represent. The wives from the
chosen films possessed attribute that really affect their husband on committing
infidelity, either emotional, sexual or both. The legal wife from 1975 film was
unproductive. She could not be able to have a sexual intercourse with her husband
because of her illness. While 1993 movie, the wife had suffered from mental problem.
She was traumatized by her past which was related to sexual connection. And because
of that, she was afraid to meet with her husband sexually. On the other hand, the
husband (Gabby Concepcion) pushed himself to other woman (Zsazsa Padilla) to
admit him and let be a father of the child she was carrying from her womb. The other
woman interrogated the man from his clinginess, “dahil hindi ka niya mabigyan ng
anak?” (see on Appendices A). For the husband, inability of his wife to bear a child is
a shortcoming of his wife. He believed that it was the obligation of her wife to give
him a child; wholeness of the family. In additional, Neuman (2008) explained the
reasons why men cheat. He described men as sexually susceptible, prone to fantasy
and lustful thinking. “…kaibigan kita, kaibigan ko din asawa mo pero kailangan din
pa minsan minsan magdilig ka din ng iba’t ibang rosas”, “Wala na kayong inisip
kundi puro sex” (see on Appendices A), when a friend of the husband pushed him to
have sexual connection with other woman since his wife was ill and unable to do it
with him. De Guia, 2012 stated that legal wives are commonly characterized as
passive, calm, and victim image. The mistress (Anne Curtis) in 2011 movie had
dispute with the wife and she bluntly held, “you can call me anything you want. A
snake, a bitch, other woman but I will never be a pathetic, boring housewife!” (see on
appendices A). Pathetic and boring housewife were some features of a legitimate
partner that caused husband’s infidelity. A study Burke (1984) conducted in the
Netherlands, found that of 109 men and 109 women who have had at least one
extramarital affair, 70% mentioned a need for variety, meaning that “she/he had a
need for sexual variety” and “it was something new”. It was similar to 2011 film
wherein the married man (Derek Ramsey), while conversing with the mistress (Anne
Curtis) about bed, he said “I guess we try something new”. Along with that,
according to Farrer and Zhongzin (2003) found that lovers were almost always
described as “friends”. One of the scenes in Relasyon was when the son of the man
(Christopher de Leon) got curious and asked, “Tita Lou kamag-anak ka ba ng papa
ko?” (see on Appendices A) then, the mistress (Vilma Santos) answered “Hindi,
kaibigan lang ako ng papa mo” (see on Appendices A). As further support, based on
a six-year old interviewee, Margeux, who got introduced by her father to his mistress,
her father told to her “Anak, ayan nga pala yung bestfriend ko” (see on appendices
B).
Gender Differences
In terms of gender differences, explainations as to why individuals partake in
infidelity, studies have reported that men are more likely to engage in extramarital sex
if they are unsatisfied sexually, while women are more likely to engage in sex if they
are unsatisfied emotionally (Sheppard, Nelso, & Andreoli-Mathie, 1995). Kimmel &
Van Der Veen (1974) found that sexual satisafaction may be more important to
husbands and that wives are more concerned with compatibility with their partners
(Sheppard et al., 1995). In general, marital dissatisfaction overall is the number one
reason often reported for infidelity for both sexes (Sheppard et al., 1995). It is
important to note that there are many other factors that increase the likelihood of
anyone engaging in infidelity. In No Other Woman, the husband had an opportunity to
supply his furnitures to a luxury hotel. That gave him the chance to meet his mistress.
Other factors such as being well educated, living in an uraban centre, being less
religious, having a liberal ideology and values, having more opportunities to meet
potential lovers, and being older affected the likelihood of one being involved in an
extramarital affair (Blow & Hartnett, 2005).
In Huwag Pamarisan. Mister mo, Lover boy ko, the mistress was a gold
digger, longing for material possession. She let herself be a mistress for her to achieve
her goals. “Financially, excitement, not normal experience. Those were my top
reasons why I entered on this kind of relationship” (see on Appendices B) Yel
supported. Acquiring querida becomes a benchmark of being a man. This level of
social acceptance and dominance is typically attributed to the alpha male (Hawley &
Little, 2008). Some characteristics relevant to the image of the alpha male are the
ability to control various aspects of one’s life, to attain a certain level of aggression,
to influence peers and to attract sexual partners. In No Other Woman, the husband
was so manly who was aimed by anyone; wholly good looking. “Maraming laway na
laway diyan sa asawa mo!” (see on Appendices A), mother (Carmi Martin) said to
her daughter (Christine Reyes). In general, the alpha male must gain a certain degree
of attainment that enables him to acquire objects, in this case, mistresses, that further
boosts his ego. In Relasyon, the husband (Christopher de Leon) has seen infidelity
and having commitment with different women as usual and morally good. Director
Paolo Magsino described “…yung nature talaga ng lalaki is tumingin talaga sa iba.
Hindi nasasatisfy sa isang ulam”. Ulam or viand referred to woman. He further
explained, “hindi nasasatisfy sa isang ulam pag may paborito kang ulam, halimbawa
paborito mo menudo, ‘pag araw- araw kang nag memenudo magsasawa ka so titikim
ka ng adobo pero ang paborito mo pa din menudo” (see on Appendices B). On the
other hand, Professor Robert Kyle Laxina also said, “Nature ng mga lalaki yung
mangaliwa, kasi dito sa Pilipinas meron tayong tinatawag na “Macho image” ok
lang ‘pag lalaki ang nangaliwa, ‘pag babae ang nangaliwa iba agad ang tingin,
pokpok agad, puta agad” (see on Appendices B) as the same as in how the father of
the mistress (Vilma Santos) in Relasyon disciplined her own daughter, “Sa lalaki
walang mawawala, kahit maging apat ang asawa niya. Parte ng pagiging lalaki niya
e! Pero ikaw babae ka pa naman, lahat ng bagay sayo mawawala! Pati respeto ng
mga tao mawawala” (see on Appendices A).

Mulvey stated that the structural-reality of films which are composed of
“patriarchal-ness” is explained as male gaze. In line with this, infidelity was
committed by man or husband from all preferred films. Besides it becomes
particularly important when depicting the femme fatale. Merriam-Webster’s
dictionary defines the femme fatale as a mysterious and seductive woman whose
beauty often captivates lovers into undesirable and compromising situations. By
objectifying the women, they become sex symbols, desirable icons that compel
lustful longings. “Wala na kayong inisip kundi puro sex”, “…kaibigan kita, kaibigan
ko din asawa mo pero kailangan din pa minsan minsan magdilig ka din ng iba’t ibang
rosas” (see on Appendices A). The term is derogatory; the role was commonly used
for villains or the rivals of the heroes. The mistress was usually the seductress in most
infidelity films. However, at times, traits of the femme fatale are used by the heroines
in order to establish control or regain what they loss. For this instance, the victims or
offended party resort to them to take back their lovers. The character is then
transformed from being a passive character to an active one. In 2011 movie, the wife
was too passive and has trusted enough her husband as she always tried to accept and
to understand her husband’s actions. Her mother (Carmi Martin) advised her,
“tingnan mo naman yang itsura mo! Panahon na para ipack up mo na yang Lucy
Torres mo! Ilabas mo na diyan si Gretchen Barreto!” (see on Appendices A). A
passive wife represents Lucy Torres who is calm and soft spoken; Gretchen Barreto
represented the submissive woman that was brave and strong especially in times of
trials. A woman usually revived her lover’s interest by gaining confidence, taking
control of her life and establishing herself as a socially-dominant female. Another
was when the wife (Christine Reyes) was nearly on a quit and let go situation of their
relationship as she said, “nagpapakababa ako, hindi ko dapat ‘to ginagawa. Pero
ginagawa ko sayo ‘to kasi mahal kita!” and “hindi ako ‘to pero ginagawa ko ‘to para
sayo” (see on Appendices A). These dichotomies of roles are often used in love affair
films. But, there were cases where there were no dominating personalities among the
female roles. In such cases, the women react to what the men need, more often than
not, as catalysts to change an aspect of the men’s lives.
It can be concurred that relationships between main characters, both male and
female in the infidelity-romance genre are motivated not by love alone, but rather by
the need to emphasize and secure their self-value. Like with No Other Woman, when
the man (Derek Ramsey) has the feeling of impotent and has been interrogating his
capabilities and power by his father-in-law. He pitiably said “Lahat na lang bigay ng
tatay mo! Lahat na lang hindi atin! Kaya minsan pakiramdam ko nawawalan na ko
ng bayag” (see on Appendices A). The notion of self-worth as displayed in the
cinema differed for each gender: For the males, it becomes the feeling of achievement
and confidence once control over one’s life is attained; For the females, unfortunately,
it still relies heavily on the worth given to them by the man, often measured in terms
of love and respect.
Types of Infidelity
According to Drigotas and Barta (2001), infidelity is defined as a partner’s
violation of norms regulating the level of emotional or physical intimacy with people
outside the relationship (p. 177). Infidelity can be sexual, emotional, or both. Sexual
infidelity is any behavior that involves sexual contact, such as kissing, intimate
touching, oral sex, or sexual intercourse. Emotional infidelity involves the formation
of an emotional attachment to or affection for another person, and can involve such
behaviors as flirting, dating, intimate conversations, or falling in love.
Sexual fidelity is one of the most important symbols of commitment in a
relationship. Yet it is increasingly under attack from new pressures, and few of us
understand why people have affairs or how best to recover from them.Sexual
infidelity, as its name suggests, refers to sexual activities that are committed with
someone other than one’s partner. Behaviors that constitute sexual infidelity range
from kissing to sexual intercourse and include behaviors such as sexual touching and
oral sex (Feldman & Cauffman, 2000; Roscoe, Cavanaugh, & Kennedy, 1988). The
2011 movie had this type of infidelity. No Other Woman had sexual disinterest or
which the wife noticed that her partner seemed less interested and excited about
having sex with her since infidelity occurred.
Emotional infidelity refers to becoming emotionally involved with someone
other than one’s partner (Roscoe, et al., 1988). Behaviors such as flirting, dating,
spending time together and falling in love with someone other than one’s partner are
identified as acts of emotional infidelity or betrayal (Roscoe, et al., 1988).
Relational infidelity is defined as a severe relational transgression in which
one or both relational partners perform extra dyadic behaviors that violate relational
rules of monogamy and exclusivity without their partner’s prior consent. It is

important to note that the existence of extra dyadic behaviors do not always constitute
acts of relational infidelity because some relationships do not have an expectation of
exclusivity or monogamy (Drigotas, Safstrom, & Gentillia, 1999). It may involve
sexual involvement in the absence of an emotional attachment, an emotional
attachment in the absence of sexual involvement, or a combination of sexual
involvement and an emotional attachment.
Shackelford and Buss (1997) define sexual infidelity as “sexual activity with
someone other than one’s long-term partner” (pp. 1034-1035), and emotional
infidelity occurring when “one’s partner channels emotional resources such as
romantic love, time and attention to someone else” (p. 1035).
Concept of Infidelity
Huwag Pamarisan. Mister mo, Lover boy ko was a 1975 film wherein the
other woman is a chorus girl or an entertainer in a night club, where she met the
husband. She intentionally desired and admitted to be somebody’s mistress for the
reason of material possession. At the same time the husband was easily tempted
because of her physical qualities, sexy and good looking. Wealth and power were
invested by man in order to seduce the woman. Since the other woman was a gold
digger, she let herself be tempted and agreed to be a mistress without considering the
legal status of the man. The wife suffered illness and been unproductive that caused
her spouse to look for someone else. It was showed that the husband committed
infidelity because of hunger on sexual activity.
The use of color of yellow (clothes and flower) presented as symbol of

unfaithfulness. Signology.org explained that color yellow in some cultures
symbolizes disgrace, betrayal and deceit. In the Christian Bible, Jesus was betrayed
by Judas who wore a yellow coat when he identified Jesus to the high priests through
a kiss. Yacht with a view of ocean, a body of water, was employed in the film as
meeting place of man and other woman. It symbolizes mystery which means their
secret affair. Unbutton of clothes was given an emphasis through camera shot. It
denoted sexual intercourse and desire between the husband and mistress. They
usually seen each other at night however the presentation of time was observed. They
met each other with limited moment. However, the wife is suspicious of her
husband’s infidelity but she did not do anything about it. At the end of the movie, it
was still the wife who was prioritized and chose by man. While the mistress, returned
all the belongings given by the husband included the bungalow house. Bungalow
used to represent an affair which corresponds to single detachment. The mistress was
soon emotionally attached which was opposite to husband. This proved that in their
affair and infidelity, there was just a single way of emotional attachment.
The film was an Opportunistic type such that the husband committed sexual
infidelity because of the effect of alcohol and he was obsesses to meet other woman
to have sexual interaction, using his money, due to his wife who is unproductive;
Obligatory when the husband sought for sexual gratification and affection from other
person.
Relasyon, a 1982 film, presented another type of infidelity. The movie begun
and ended with scenes of husband and other woman only; there was a minute
existence of wife. The mistress in the movie was a decent girl with a decent job. She
was very conscious with her looks that remained her attractiveness. On the other
hand, the husband was self-centred and seemed infidelity as moral; there was nothing
wrong from being polygamous or from committing oneself to different women.
The infidelity represented as lewd, tricky, secretive and prison- barred on a
situation. Betrayal is morally wrong and having secret affair was socially
unacceptable. The image of white clothes represented infidelity. Unfaithfulness was
cautious in the sense that it could be a danger to one’s marriage. It was also a
correspondence of stimulation of senses of the characters. The white blanket was used
whenever the mistress and the man had their sexual interaction and that means that
infidelity was about sexual longing too. The husband enjoyed being unfaithful
because there were sexual satisfaction and higher privilege he got from the other
woman rather than or that the wife could offer to. The mistress in the movie was
martyr such that she exerted more effort than the husband. In terms of investment, she
rented an apartment for them and paid for it without the assistance of the man. She
had been a slave over her master, the husband. The presentation of candle light
represented as mistress’s expectation. She expected that she could get limitless time
and legal rights from the man. The existence of lake with a reflection depicted
passiveness or silence. As symbolism.org described water at it was most passive
which symbolized lakes and ponds and other small bodies of water. This type of
water reflects because of its smooth surface and it is not surprising that this type of
water draws people close to it to engage in the act of the reflection. It was this state of
water that served as the first mirror for mankind. The secret affair and infidelity only
brought to an end by death. The picture frame signified that the husband was dead.
Even at the last stage of man’s life, he was with the mistress however; the absolute
rights were still taken by the wife. The other woman left the rented apartment and
decided to go abroad and moved on. The existence of baggage again symbolized
closure of both infidelity and illegal affair.
This movie was a romantic infidelity. The husband gives other woman a ring
to symbolize his love to the other woman and they were both attached to each other.
However, it was also a conflicted infidelity as the husband still in love with his wife
and also loved the other woman.
Minsan Lang Kitang Iibigin, a 1993 movie, showed some changes from the
characters until the story. There was both emotional involvement but single
attachment. Only the husband had affection on the other hand, the other woman
involved in infidelity because of loneliness from her died husband. While the wife in
the film presented as aggressive and competitive.
The infidelity in 1990s represented as grimy as sexual interaction between
husband and other woman happened first on the muddy land while they were under
the rain; and sin as the wife said “…Ika pitong utos: huwag kang makikiapid. May
isang tanong lang ako sayo, prangkahin mo sana ako. May relasyon ba kayo ng
asawa ko?” (see on Appendices A). Adultery is one of the most frequently and
severely condemned sin in the Bible. Adultery is mentioned 52 times, including in the
Ten Commandments, all four Gospels, and ten other books of the Bible. Only the sins
of idolatry, self-righteousness and murder are mentioned more often. You shall not
commit adultery (NIV, Exodus 20:14). People also wonder if romantic relationships
outside of marriage are permissible as long as there is no actual sexual intercourse.
However, in Bible teachings, marriage is an exclusive romantic and sexual
relationship between husband and wife. Jesus said: “You have heard that it was said,
‘Do not commit adultery.’ But I tell you that anyone who looks at a woman lustfully
has already committed adultery with her in his heart” (NIV, Matthew 5:27-28). While
the used of rain was for the intimacy of the scene. Director Paolo Magsino
understood, “…Pag sa mga romance kasi ganun din, mas intimate tingnan. Mas
makakadagdag sa emotion ng mga manonood. Mas effective kapag ginagamitan
minsan ng ulan” (see on Appendices B).
The mistress was a close friend of the wife. Letter existed as an evidence of
betrayal wherein it was written how much a husband (Gabby Concepcion) longing for
the other woman (Zsazsa Padilla). The husband committed infidelity because of
inability of the wife to have sexual interaction with him. The legal woman could not
provide a child which is a husband’s main desire.
The film was opportunistic infidelity as the man (Gabby Concepcion)
comforted the other woman (Zsazsa Padilla) who was suffering from mental disorder
due to the death of his husband and her loneless caused to commit infidelity;
Romantic infidelity since the husband wrote a letter that he was falling in love with
the other woman and he started to fall out of love with his wife.
No Other Woman, a 2011 film, presented a more liberated and earthy scenes,
as well as more symbolic visual elements and dialogues. Water and white clothes
were also utilized. Infidelity represented as forbidden, delectable, and temptation. The
husband, who was a salesman, regarded his work as eyeing a girl wherein there was a
need of seduction. The mistress was presented as high class prostitute, liberated and
termite that can destroy man’s marriage. The husband betrayed his wife because of
marital deprivation. His abilities and power as man was questioned by his father-in-
law that made him feel impotent. Due to that, he was tempted to try for something
new. The slipping off of ring by the husband during meetings with his client
represented infidelity. From the ninth edition of Jesuit Father John L. Thomas’
“Beginning Your Marriage,” the book observed, “The bride and groom usually give
each other rings in the shape of a circle, symbolizing that they hope that their love
will be without end”. Father Wang pointed out that in some films a character
“plotting how he might hook up” with a stranger “slips his wedding ring off and puts
it in his pocket.” The intent is to deceive his new acquaintance. The assumption is
that by wearing a wedding ring, people acknowledge their marital commitment
publicly and in a continual way.
Infidelity represented as forbidden. The scene when an allergic food
particularly sea foods were eaten by the mistress and these foods were highly
prohibited to her. Logically and idiomatically, an allergic food was highly proscribed
to a person who has allergy with that same as with infidelity; unfaithfulness was
morally unacceptable and betrayal was a sin since it could ruin relationship. It also
corresponded to temptation. Being a salesman and eyeing for a girl were both on
getting what one aims for. A man was ambitious and was aiming for a goal in life.
Aiming and eyeing for a girl were a clear intention of betrayal. Over the voice of the
husband, “..And that’s the secret to being a good sales man. It’s all about temptation”
(see on Appendices A). Furthermore infidelity also represented in the film as sin,
“Bakit ka ba gumagamit ng kobyertos? Why don’t get your hands dirty?” (see on
Appendices A) said Kara, the mistress. Getting hands dirty was getting things impure;
being unfaithful was getting impure. Hand corresponded to other woman and as Ram,
the husband, said “Bawal! My wifey does not permit me to you use my hand” (see on
Appendices A) means that his wife did not allow and tolerate him from committing
any impurities that could harm their relationship. The commitment of infidelity also
represented as sexual desire. It was one of the reasons why the husband took pleasure
in betraying his wife. At the end, the baggage again existed as correspondence of
conclusion of infidelity and secret affair.
Infidelity was mysterious such that there had a furtive feeling from both man
and other woman or even in the affair itself. There was no pure and apparent
affection. Ring corresponds to commitment. However, in No Other Woman (2011),
the husband takes off his ring, sign of unfaithfulness, whenever he meets and tempts a
client. Wearing of it seemingly tells that a person is already committed.
This movie had almost types of infidelity: Commemorative infidelity when a
married man who was a salesman believed that his job was about temptation and that
corresponded to eyeing for many different types of woman; Opportunistic infidelity
such that the husband has the behaviour of slipping off their wedding ring in order to
use his charm and to attract customers; Romantic as there was an avoidance of
communication from the husband to his wife whenever he was with his mistress since
the husband and the other woman had a small attachment with each other.
The existence of king size bed from three selected films namely Huwag
Pamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982), and No Other Woman
(2011) corresponded to fulfillment such that all mistress’s directly conversed and
asked the husbands to stay and to accompany with them and filled in the empty
space; aloneness. For instance, “When you see an empty space, it makes you realize
that you’re alone at ayoko ng ganon” (see on Appendices A) Kara, the mistress said.
As Ram, the husband answered “What if someone wants to fill in that empty space?”
(see on Appendices A).
Farrer and Zhongzin examined the “concrete social contexts” in which the
extramarital relationships form places of leisure and the friends, family, and
coworkers associated. Farrer and Zhongzin found that many informants used leisure
and play, including dance clubs, to meet their outside lovers.
Meyer enumerated the different kinds of infidelity that existed among couples
and all of the selective films showed it was romantic infidelity. A form of infidelity
that occurs when the couple has a small attachment and looking for other spouse to fit
in his feeling. This is prevalent among queridas/kabit that is unknown to other party.
On the other hand, De Guia (2012) entails that in the movies studied previously
husbands dominating the act of infidelity due to possession, authority, and dissatisfy.
In 1970s and 1990s the husband commits infidelity due to authority, dissatisfy and
lack of sexual intercourse with his wife. In 1980s and 2000s the cause of the husband
infidelity was due to the possession. Simultaneously, the wife represented as passive,
calm, and victim image for the sake of maintaining relationship.
Additional Findings
The emotional and physical aftermath after an affair has been disclosed can be
very difficult, and responses can vary between couples. Some studies suggest that
only a small percentage of couples that experience infidelity actually improve their
relationship, whereas some studies report couples having surprisingly positive
relationship outcomes (Blow & Hartnett, 2005). In terms of negative responses to
infidelity, Charney and Parnass (1995) report that after hearing of a partner’s
infidelity, reactions have included rage, loss of trust, decreased personal and sexual
confidence, sadness, depression, damaged self-esteem, fear of abandonment, and a
surge of justification to leave their partner (Blow & Hartnett, 2005). Like in Minsan
Lang Kitang Iibigin (1993), the legal wife (Maricel Soriano) outrageously went to
where the mistress lived at. Because of her husband’s infidelity, she was not able to
control herself and she stubbed the other woman who was her best friend. Whilst
similar to on the study done by Schneider, Irons, and Corley (1999) that was reported
nearly 60% of the partners cheated on suffered emotional problems and depression
following disclosure of the affair, in No other Woman, the legal wife (Christine
Reyes) tried to save and repair their broken relationship, she even confronted her
husband’s mistress as she desperately wanted the infidelity and secret affair closed.
But at the end of the story, she decided to just leave on their relationship so as he
could heal and mend the wound brought by her husband’s infidelity.
Supported by Mendoza (1999) elucidates that broken relationships, infidelity
in particular is one of the family issues that is being represented on various Filipino
films. It seems that audience is looking back on themselves and relating that to their
experiences.
Conclusion
The researchers analyzed and found out through the completed table,
conducted data and thorough observation with study of mise-en-scene such as
setting, properties, and costumes, that water, temptation, baggage, ring, candled light,
unbutton clothes, watch, white clothes, and sunset were the visual elements used to
represent infidelity.
The infidelity was represented using visual elements as mysterious (water),
commitment (ring), yellow and white clothes, expectation (candled light) and unclean
(mud); using sound elements as dirty (shame, filthy/pig), sin (7th on the 10
commandments, getting hands dirty and forbidden food, culpability). On the other
hand, it was represented as temptation, immaturity, sin/sinful, secretive, dirty and
filthy.
In the film Huwag Pamarisan. Mister mo, Lover boy ko (1975), Relasyon
(1982), Minsan Lang Kitang Iibigin (1993), and No Other Woman (2011) showed
those affairs or infidelity happened for myriad reason. All relationship needs
satisfaction in sexual desire and emotional act and when one of these is deficient,
more likely one of them will feel dissatisfied and this may lead into infidelity, the act
of unfaithfulness. Infidelity did not always occur as a cause of relationship
dissatisfaction nevertheless it is the husband’s enjoyable experience, loss of man’s
ego, sexual experience and emotional intimacy. Majority in four selected films the
reason why they engaged such infidelity the husband was dissatisfied with the
primary relationship and avoidance of personal relationship problem. Men and
woman had a different reaction towards infidelity. Men are caring more about sexual
infidelity while women about emotional infidelity. According to the study using
visual elements and dialogues, it showed that marital infidelity is represented in the
films as a dispute among the element rather than the relationship. Infidelity is a
destruction of union of marriage although it was presented as temporarily fun and
exciting parallel to the concept of other woman.
The other woman is used as an object of unfaithfulness consequently it was an
obstacle in marriage. In 1990s up to the present as soon as the husband committed
infidelity the image of the other woman to the wife is like an animal in all forms – a
reptile, poisonous sea creature and an insect; to the husband she is representation of
something new, exciting and fun; that kind of experience that the married man
longing for. Andthe wife sees her as enemy to get rid of contrary in 1970s up to 1980s
with the wife playing in submissive form. In 1970s up to the present, the visual
element and dialoguesrepresented the other woman as an attractive, gorgeous, sexy
but still craving for some affection and attention. While the concept of husband
conceived as a necessity in the element of having a successful marriage. In 1970s to
the present the women are option for the man; either the wife wins back her husband
of the other woman becomes successful in taking away the man from his wife. The
husband can choose either of the two and still has got nothing to lose. Unlike the wife
who seeks the attention of her husband and the other woman who fights with the wife
over him.
The gathered data from analysis of representation of infidelity in the films is
utilized to identify a trend and the changes occurred over a period of time. Between
1970s and 1990s there was a dramatically changes that occurred in the data. Before
the 70s and 80s women either had no knowledge about their husband’s affair or they
knew about it but did nothing about defending their marriage however today a
woman reacts in such different manner. Some women in the film’s most likely in
1990s up to 2000s went to the extent of taking revenge, going psychotic, leaving their
husband , and expressing a great deal of anger. Nevertheless, those films in 1990s up
to 2000s indicated that even though women have more power and opportunities
today, this did not stop their husbands from having affair. Majority of the women in
selected films were ended up staying with their adulterous husband.
Director Paolo Magsino quoted that “na-impluensyahan tayo ng Western film,
kasi dati mga 70’s -80’s parang medyo conservative pa, mga dalagang Pilipina”. The
changes occurred over the period of time because the effect of western civilization,
the adoption of ideas in different types of films in different places. In 1970’s up to
1990’s the nudity and sexual scene is not too exposed and visible in this year, but the
changes occurred in 2000’s such as being exposed of sexual intimacy and he
discussed that one of the effects of other films; the country become more liberated,
even lacking of originality in some aspect, the industry has evolved more into
business and they wanted to deliver what the society demands with movies giving
emphasis on one-liners, scandalous confrontations , happy ending stories and stories
that many people would relate like he said that “sa main stream , laging happy
ending kasi yun ang gusto makita ng mga tao. Pagkatapos makita yun ng tao ay ang
pangit nung ending, malungkot sila. Pero ‘pag gusto naman nilang sumaya nanood
sila ng ganun klaseng pelikula siyempre usually ‘pag mainstream magaganda ending
niyan, ay maganda yung film, nakarelate din ako” so that majority of the four
selected films, the husband always ended up staying with their wife.
One of the main focuses of this study was to identify whether the media (film
in particular) had a clear representation or just exaggeration of the concept of
infidelity. Director Paolo Magsino argued that “hindi makatotohan yung mga binibig-
kas nilang dialogue which is malayo naman sa katotohanan mangyari” (see on
Appendices B) and this study verifies that this statement is accurate; some dialogues
that being used really unusual. Another thing is the concept of “kabet”, before in
Philippine films (1970’s) other woman being captured by the wealth of the husband,
and because of money and poverty other woman commits infidelity but in the present
other woman represented as well-educated, elite and high-class which is dissimilar
and uncommon to reality. Director Paolo Magsino supported this finding and quoted
that “ginawana din nilang may kaya yung kabet, kumbaga mas pinakita na lang do’n,
wala na silang pakialam doon sa problemang kabet, tapos makikipag-away sa public
gagawa ng eskandalo? Parang wala naman nangyayari na ganon lalo ‘pag

mayaman at edukada. Yun yung sinasabi kong part ng exaggeration.”
Recommendation
The researchers recommend to the future researchers who are enthusiastic to
study infidelity films in Philippine cinema that they should use other film genre aside
from what is used in this study. The researchers suggest to the future researchers to
use other theories on how they will conduct a study in other infidelity films and also
can conduct a study in Infidelity using the Philippine television series or drama
instead of Philippine cinema. They should explore other sources of information that is
available in the present Philippine drama series in various networks. The future
researchers should do the same kind of study to foreign infidelity films and
differentiate the kinds of infidelity to compare and contrast with Philippine films. In
additional Future research can include the non-verbal communication to emphasize
the facial expression, gesture and reaction of the character of the film. Then Future
researcher can also use other research method such as interview and survey with
different characteristic and same situation, observation of the actions of the character
and applied more scientific approach and the future researcher can also use the
combination of Qualitative and Quantitative approach in studying content analysis.

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Appendices A
Coding Sheet for Visual Elements
Scene Character Visual Representation Analysis

Element of infidelity
Manuel Unbutton Sexual Desire Unbutton

Christine clothes clothes
represents
sexual desire.
Stripping is a
way of
tempting a
While Christine person that
and Manuel drink leads to sexual
inside the yacht, interaction.
Christine unbuttons People who
the Polo of Manuel are not married
as she tries to tempt hunger for it.
him.
Manuel Wristwatch Time Wrist watch

Christine represents
time. It
depicts the
span of
moment that
the husband
can have with
Manuel looking at other woman.
his wrist watch and In line with
check the time. He that, night is a
is dating at night frequent time
with Christine. when infidelity
happens. Time
also depicts
limitation on
infidelity.
Manuel Ocean Mystery Ocean
Christine / Water represents
water;
Water means
mystery.
A secret affair
is infidelity; it
Manuel and is secrecy.
Christine are on the Everything
yacht, cuddling happens in a
each other and secret affair is
creating their kept in veil or
moment with a secret that
view of blue wide nobody knows.
ocean.
Christine Yellow Infidelity The color of

Clothes Mistress yellow
represents
infidelity. A
woman wears
clothes with
the same color;
that
corresponds to
mistress. It
does not
verbally tell
what type of
woman she is
but through the
use of color, it
Christine wearing
identifies that
yellow swimsuit
she is a
during her photo
mistress since
shoot since she is
yellow
now an actress
symbolizes
which is her
infidelity
ultimate dream.
Ana dresses up
herself with
yellow clothes.
Christine King Size Bed Fulfillment King size bed

represents to
fulfillment.
The mistress’s
material desire
was satisfied.
While the huge
space in bed is
the longing for
someone to
fulfill its
emptiness.
Christine laying on
a king size bed
seeing that she is
very excited and
joyful as she also
wishes for that
material which
finally granted.
Christine, Bed scene Sexual Desire Bed scene

Manuel represents to
sexual desire.
Infidelity takes
place when the
bed scene
transpire to the
husband and
other woman.
Manuel and
Christine after their
sexual intercourse.
Their bodies are
wrapped of yellow
blanket.
Christine, Red Two Piece Hotness A red two

Manuel, piece
Mando represents to
Vicky hotness.
Hotness
characterizes
the mistress;
sexy and has
alluring body.
The mistress is
Mando introduces the temptation
Christine, a woman and her
wearing red two appealing
piece, to Manuel. figure makes
her more
attractive to
men
.

Elements of infidelity
Marilou Woman who is Fit and sexy A woman who

working out body ; is exercising
Temptation represents
sexy body. A
sexy figure is
temptation for
man. An
A woman who is alluring body
working her body usually
out used as an possesses
introduction to the more by a
character of the mistress.
mistress.
Marilou Ring Commitment A ring

represents
commitment.
It is a symbol
of man’s
attachment and
love.
Emil and Marilou

having their lunch
in their favorite
restaurant. Emil
surprised Marilou;
he gives her a ring.
Marilou, White Blanket Infidelity A white color

Emil of a blanket
represents
infidelity. The
husband has
secret affair
with other
A night before and woman. He
morning after has been
Marilou and Emil having sexual
had sex. They are intercourse to
both naked with a woman who
their bodies is not his legal
wrapped in a white partner.
blanket.
Marilou Candled Light Expectation A candled light
represents to
expectation.
The husband
celebrates
official
occasion like
Christmas with
his legal wife
Marilou celebrating and child. The
her Christmas mistress was
alone. left alone with
expectation
from the
man/husband.
Marilou Baggage Closure The baggage

represents to
closure. The
other woman
closes herself
from being a
mistress.
After the death and

burial of Emil,
Marilou leaves the
house and decided
to start her new life
to abroad.
Marilou River Mysterious Water and

reflection
represents
mysterious.
They are in a
secretive
situation and
Marilou and Emil even the
on the bridge near husband is
the church. furtive on his
Looking the feelings and
reflections of them decisions since
on the water. he still has the
affection to his
wife. His
infidelity is
mysterious as
well such that
he keeps his
affair with his
mistress to his
wife and to the
public.
Marilou Picture Evidence A picture

represents to
Evidence. The
mistress
verifies that
the husband
still loves his
wife even if
the two official
spouses are
separated. She
confirms that
she can never
be a substitute
to legal wife.
Marilou is about
washing the clothes
of Emil as she
found out there is a
picture inside the
pocket of Emil’s
polo; picture of
Emil and his wife.
Marilou Wrist watch Time A wrist watch

Emil represents
time. The
husband
divides his
time between
the legal and
the other
woman. As
part of
Emil checks the agreement, the
time; he has to husband
leave earlier before should be with
a Christmas eve. his official
While Marilou wife during
distracts and special
prevents him from occasion while
looking at his the mistress
watch as Lou wants left alone. It
him to stay. symbolizes
period and
moments.

Elements of infidelity
Terry Letter Evidence Letter

represents
evidence that
infidelity was
happened;
Since the
husband wrote
a letter
confessing his
feeling
Terry is searching towards to the
for evidence that other women.
his husband might
have an affair to
her best friend until
she found a letter of
his husband to his
other women.
Monique, Mud Griminess , The mud

Dave Filthiness represents the
And Dirtiness dirtiness of
infidelity,
since infidelity
is a forbidden
affair.
Dave and Monique

are having a sexual
intercourse in the
mud.
\
Monique, Rain Mystery Rain
Dave represents
water;
Water means
mystery.
A secret affair
is infidelity; it
is secrecy.
Everything
happens in a
secret affair is
kept in veil or
secret that
nobody knows.
Dave and Monique

are having a sexual
intercourse in the
mud.

Elements of Infidelity
Kara Sexy and Namimingwitng Being a

beautiful babae salesman
woman (eyeing for a compares to
girl); eyeing a girl
Temptation because a
salesman has a
specific
objective and
The character of target just like
husband is a man who
introduced in the wants to get
story. the woman he
wants.
Charmaine Ring Marriage A wedding

ring represents
marriage and
loyalty.A
wedding ring
is the
traditional
symbol of
The wife always
marriage.
reminds her
Hence, being a
husband to wear his
loyal partner is
wedding ring.
keeping to the
tradition.
Kara, Takip-silim, Time Sunset
Ram Sunset represents
time; when the
husband and
the other
woman
secretly run
into each other
arms. Night is
a frequent time
when cheating
mostly
happens.
At time that the sun

sets, Kara who
consciously aware
on Ram’s marriage,
seduces Ram. She
dares him to kiss
her without falling
in love with her.
Kara White Blanket, Mistress / Other White clothes

white curtains woman represent and
and white are used to
bedsheet. introduce her
as other
woman.
Kara woke up
alone and left by
Ram as naked
Charmaine Candle light Romance The wife tries

to bring back
the romance
that they have
since she
senses or feels
that her
husband has an
affair with the
other woman.
Charmaine sets the
room with candled
light and red roses
on the bed and
floor as she wants
to surprise as well
as seduce her
suspicious husband
Ram.
Charmaine, Ulam (Viand) Husband The viand

kara, (ulam)
Ram. represents the
husband or
man; Two
different
women
carrying
Ram arrived at similar viand
home seeing his depicts having
wife and other relationship
woman together with the same
while handling the man.
same kind of viand.
Kara Swimsuit Ahas(snake) A snake

represents the
other woman.
It is the
snake’s evil
image in the
literature and
the other
Kara lying on a sun woman’s evil
bathing chair, role in the
wearing her snake marriage of a
tone swimsuit. happy couple.
Kara, Baggage Closure The baggage

Ram. symbolizes
closure of a
husband and
other woman’s
affair; End of
Infidelity.
After an accident,
Kara visits Ram to
finally close their
affair. She talks to
Ram and tells that
she will be leaving

the country as part
of statring her new
life.
Kara, King Size Bed Bed having an A bed having

Ram. empty space; an empty
filling an empty space
space represents
aloneness or of
being alone.
The empty
space is the
longing for
something or
someone to be
Ram scolds Kara with or to fill
regarding her being in.
stubborn; eating
foods that are
prohibited to her
.
Ram Unbutton shirt Sexual Desire Unbutton shirt

Charmaine represents to
sexual desire.
It signals that
one wants to
have a sexual
intercourse.
Charmaine is
asking for sexual
connection as she
wants to attest her
suspicion towards
Ram’s infidelity.
Kara, Seashore Mysterious Seashore (sea)

Ram. represents to
mysterious.
Having sexual
connection
with other
woman who is
not your legal
partner is part
of infidelity. It
is a secretive
Ram and Kara is action that is
having their first usually done
intimate sexual by an
intercourse at night unfaithful
near the seashore partner.
Charmaine Text Message Evidence Text message

represents the
evidence. It
signifies man’s
infidelity.
Phone is
commonly
used as
secretive way
of
communicatio
Kara sent message n for cheating.
to Ram at late at
night. But then, it
was received and
read by Charmaine.
Coding Sheets for Dialogues
SCENE DIALOGUE REPRESENTATION ANALYSIS

OF INFIDELITY
Guy2: Ay Pasay Pasay represents the

hindi dapat mistress. Pasay is a
artista yan well-known place of
dapat yan sa prostitute thereof the
Pasay. mistress sees by
others as a cheap,
The staff and Guy1: Malay low class type of
production together mo dun talaga woman.
with Christine are galing yan.
having their shoot.
They are talking
behind Christine
regarding her as
actress.
Christine: Bungalow Bungalow

Sobrang represents to an
overacting mo affair of husband
naman. Ang and other woman.
ganda nitong Bungalow is a single
bungalow. attachment style of
house; the emotional
Manuel: attachment in
Nagustuhan infidelity and
mo ba? extramarital affair
Christine talking with
are single or one-
Manny with regards
way which means
to her new bungalow
that there is no
house.
assurance on
affection and a take-
take or give-give
kind of relationship.
And in this case, the
man has the absolute
benefit such as
sexual pleasure.
Tred: Gabi (night) Mistress represents

Mamayang Kabet (mistress) to other woman who
gabi ugaling has an affair with
kabet, utak someone’s husband.
kabet, Night is the usual
pagmamahal time when infidelity
ang kabet happens. The
Tred tries to advise husband can easily
Christine to stop her cheats his wife and
wrongful and sinful meets his mistress at
actions and decisions; night as it is the time
being a mistress and of slumber and
gold-digger. when there are less
people who can
possibly see them.
Christine: Oy! de-bungalow” “de-bungalow” and

Ang bilis bilis “artista” “artista” represent
ng panahon the investments of
no? Parang man. The husband
kahapon nasa make used of his
batulon lang money and power in
ako tapos able to get the girl
ngayun eto , he wanted. He
de-bungalow , offered and granted
tapos echos the materials
artista anong longing by the other
say mo. woman.
Manuel, mahal
na mahal kita.
After had their sexual
interaction, Christine
express her thanks
about the materials
given and done by
Manuel.
Christine: “Hindi tayo The other woman

Magkaharap magkaibigan” and the wife see
tayo Mrs. (enemy) each other as rival
Salvador pero and enemy. They
hindi tayo both fight their
magkaibigan. rights to man. Since
the other woman
possesses the
Christine sits in front materials she
of Ana as if tries to longing for but
settle things between dissatisfied, she
them with Manuel. wants to absolutely
take the husband so
she can achieve her
goals that is to get
rich and be drown
from material
belongings and
properties.
Manuel: “binulgar” (disclosed) ‘‘binulgar”
Nagpunta ka represents to
sa bahay kung disclosure of secret
anu-ano sinabi affair. Since their
mo. Binulgar relationship is
mo ang forbidden, the
relasyon husband wants to
nating dalawa. keep it secret from
Sinong her wife. To man,
babaeng, his infidelity and
sinong asawa affair with other
Manuel confronts ang hindi woman are things
Christine regarding masasaktan na and case that should
her scandal and malaman yun? be conceal, that the
disclosure their secret Manuel: Hindi legitimate spouse
affair to the legal ba sinabi ko na should not identify
wife. sayo bakit or discover it.
hindi pa tayo
pwedeng
magkita?
Manuel: Isipin “tulong” (support) The husband

mong mabuti supports the other
itong woman from
nakaraang material hunger. In
buwan, ni their affair, he
minsan hindi shows that even his
ko sinabi support is limited. It
sayong iiwan is still the wife who
ko si Anna wins against the
para sayo. mistress over the
Hindi kita bina husband. It explains
balewala and proves that he
Christine, lahat cannot even offer
ng tulong na his love to the
mabibigay ko mistress. He can
sayo ay provide desires but
Manuel tries to nabigay ko na not necessities.
explain to Christine lahat ang
his real emotion. He hilingin mo ay
clarifies the place of sinusunod ko
his mistress to his na pero isang
life. bagay lang ang
huwag mong
gagawin, ang
papiliin ako sa
inyong
dalawa; ikaw o
si Ana? Wala
kang laban kay
Ana.

OF INFIDELITY
Emil: Sinabi Meeting Meeting represents

ko ng may to secret meet up of
meeting ako e. husband and
Mahuhuli ako. mistress. It is one of
Dorothy ano a man’s ways of
ka ba? cheating. A husband
Napakaunreas tells that he is in the
onable mo middle of a meeting
naman e. Ano, which in fact, he is
Emil talks Dorothy, basta na lang with his mistress.
his wife, over the ako aalis dito?
phone making an Ganon ba?
alibi where in fact he
is with Marilou, his
mistress.
Emil: Tago nang tago (keeps Hiding represents to

Nandiyan si on hiding) the status and
Evelyn, yung legality of husband-
kapatid ni Secrecy mistress
Dorothy. relationship. A
secret affair does not
Marilou: Emil legally permit to be
hindi na ata seen and be known
Emil and Marilou are ako by the public since it
dating. Emil is hiding makakatagal is intolerable type of
from her wife’s sister ng ganito; tago relationship. A
as he avoiding to see nang tago. husband hides
him from cheating his whenever he is with
wife. his mistress because
he is anxious that
his wife may find
out that he cheats.
Lou’s uncle: Conjugal property Conjugal property

Iha, mahirap represents to
ang pinasukan possessions of legal
mong yan! partners. Since the
Isipin mong mistress is the
mabuti ang illegitimate one, she
ginagawa mo. has no rights to any
Unang una sa possessions of man,
batas, wala or even joins on any
Marilou’s uncle, an kang legal property that man
attorney, explains and personality, has
discusses her hindi mo
condition as a maaaring
mistress as well as the ikabit ang
benefits that she can apelyido niya
get from Emil. sa pangalan
mo. Wala kang
conjugal
property.
Maski sa
sweldo niya
wala kang
karapatan.
Yung sweldo
ng lalaki
belongs to the
legal wife.
Kung saka
sakaling
mamatay siya,
wala kang
mana.
Marilou: Ma, Kamalian Fault or sin

huwag niyo (Fault/sin) represents infidelity.
naman sisihin Betrayal is a sin in
si Emil. Kung law, God’s
kamalian niya, commandments and
kamalian public. It is an unfair
naming action that is
dalawa. unreasonable and
Marilou’s mother unacceptable.
rebukes her for being
left alone and lost by
Emil.

OF INFIDELITY
Dave: bat di Avoidance Avoidance represent

ako naging the other woman
kasing swerte wants to escape the
ni alex, Ang husband confession.
swerte swerte When someone’s
niya sayo. husband confessing
his feeling towards
Monique: the women. The
Dave walang women is avoiding
ganyanan huh or escaping the
Dave is confessing Dave: E totoo forbidden feelings.
that he is envy with naman e,
monique’s husband to tuwing
had such beautiful pinagmamasad
wife. an kita
kinaiingitan ko
si Alex.
Monique: Business partner The business partner

hindi naman represents to other
ako woman. A man’s
makakapagbus excuse of his
iness kung harmless flirtations.
hindi A man will tell that
tumulong si he and the other
Dave woman are just
friends or buddies.
Terry: Alam
Terry visited ko, lagi naman
Monique’s house with siyang
evil motivation pumapalit sa
towards Monique. trabahong
naiwan ni
Alex, ganun
naman talaga
ang asawa ko
kahit nung
nabubuhay pa
si Alex lalo na
nung namatay
si Alex
Terry: Ikaw Suspicion Suspicion represents

talagang babae the emotion of the
ka ayaw mong wife when they feel
tumigil ang that their husband is
kapal kapal ng having an affair to
mukha mo. other woman
Sino to?
Terry: bakit di
Dave is talking to his mo sinabi sa
wife’s bestfriend;his akin si
wife steal the phone Monique to?
and started to
screamed and warned
the woman on the
telephone.
Dave: Si Alex Envy Envy represents to
lang naman man. A man is
talaga ang may jealous with other
talent sa pag man that has his
iinvest kung desire woman.
minsan nga na-
iingit ako sa
kanya, na
halos lahat
alam niyang
Dave admits that he is gawin.
really envy with
Monique’s husband.
Terry: Dave Investment The investment

investment represent their
tong bahay na marriage; the wife
to, ano ka ba? bought a new big
Parang di mo house to invest in
alam habang the future
tumatagal nag
a-appreciate
yung value,
ano bang
Terry bought a new kinakatakot
house and new mo?
furniture; Dave is
angry because
Terry: Ten Commandments: Ten

Magkunwari Ika pitong utos huwag Commandments: Ika
tayong nasa kang makikiapid. pitong utos -huwag
show mo pero kang makikiapid.
ako yung host represents forbidden
ikaw yung relationship
guest anong
tittle ng
palabas? Ikaw
pitong utos:
huwag kang
makikiapid.
Terry visited May isang
Monique’s house with tanung lang
evil motivation ako sayo?
towards Monique. Prangkahin mo
sana ako. May
relasyon ba
kayo ng asawa
ko?
Monique: Kerida, kabet number Kerida, kabet
Relasyon? 2, mistress number 2, mistress
represents the other
Terry: woman. Those are
Relasyon! social terms used in
Kerida, kabet recognizing and
number 2, naming a husband’s
mistress. other woman.
Fighting scene with Relasyon
the wife and the other
woman.
Terry: Kaya Other woman Other woman

lang, worried represents the
talaga ako kay source of suspicion;
dave e the wife believes
talagang that the cause of
nagbago na changes of her
siya wala nga husband is the other
ba talagang woman.
siyang babae?
Monique:
Terry is sharing her Terry ayan ka Dependent Dependent
thought about her na naman represents the wife;
husband suddenly Since the wife had
changed; Monique is Terry: Totoo, no source of income
listening to her and sa mga kilos and she felt helpless
also giving her a niya sa mga and needy without
piece of advice. mata niya pag her husband
nakaharap siya therefore she can’t
sakin bago manage to lose her
niya ko husband.
halikan
nakikita ko
yung mga
mata niya
hindi na sakin
iba na amoy
ng katawan
niya,
Monique:
Terry ano ba
naman logic
yan.
Terry: E totoo
naman sympre
naman
mararamda-
man ko yun
hindi naman
ako dense,
yang babaeng
yan oras na
malaman ko
kung sino siya
kakalbuhin ko
siya, hindi ko
kayang
mawala si
Dave
nakasandal
ako sa kanya e
wala akong
trabaho , wala
akong ibang
mapupuntahan
siya lang ang
lahat lahat sa
akin , siya lang
ang pamilya
ko
Terry: Hindi
kagaya mo
kaya mong
mabuhay mag
isa , ako wala
akong alam
Monique: “Kasosyo sa Buddy/partner

Hindi ako sure kalungkutan ” represents infidelity.
sa feelings ko The reason why the
sayo Dave, Buddy/ Partner in other woman
napaka bilis ng sadness and despair commits infidelity is
pangyayare. because of her
Bestfriend ko longing for her
si terry husband. She needs
kamamatay someone who can be
lang ni alex, with her when she is
baka naman in pain and who will
Monique and Dave hopeless lang accompany her in all
are discussing ako ang instances.
regarding Monique’s naghahanap
pregnancy. lang ako
kasosyo sa
kalungkutan at
napagbalingan
kita.

OF INFIDELITY
Ram (V.O): Being a salesman Being a man

Everyday represents and
hindi mo relates from being a
siguro salesman; they are
mabibilang both on getting what
ang dami ng one aims for. A man
taong ma-e- is ambitious and is
encounter mo, aiming for a goal in
but you have life. A salesman has
to find your a sales marketing
Ram Escaler, the target. In order that he needs to
husband, defines how to win, you accomplish.
to be a salesman. The have to
film started through understand
voice over. Defining that this is the
and comparing the game of
same aspect of being temptation.
man and a salesman. Once you find
to get her,
sinasabi ko
sayo she will
do everything
what you’d
wanted to do.
And that’s the
secret to being
a good sales
man. It’s all
about
temptation.
Charmaine: Business partner The business partner

Ma baka represents to other
naman woman. A man’s
mamaya di excuse of his
niya kerida harmless flirtations.
yan. Mamaya A man will tell that
business he and the other
partner. woman are just
friends or buddies.
While in a party,
Charmaine’s father is
with his business
partner who seems to
be his mistress too.
They do not tell
anything to anyone
but their actions
speaks about what
relationship and affair
they have.
Kara: Bakit Get the hands dirty Getting hands dirty

ka ba represents infidelity;
gumagamit ng it means of getting a
kobyertos? thing impure. One’s
Why don’t get being as a husband
your hands becomes impure if
dirty? he commits
infidelity.
Ram: Bawal!
Ram and Kara having My wifey does
their lunch together. not permit me
Eating seafood that to you use my
you enjoy more hand.
without using spoon
and forks hence
hands
Charmaine’s Enemy For a wife, her

mother: husband’s other
Kilalanin mo woman is an enemy.
muna kung She is competing
sino kalaban with the mistress.
mo. Anak, eto
ang tandaan
mo, kapag ang
lalaki mayat’
maya
nagappalit ng
Charmaine has babae, ok lang
proven that her yun. Walang
husband is cheating problema dun.
her. She cries and Atleast sayo pa
asks for advice to this umuuwi. Pero
mother on how she pag ang lalaki
will handle that state hindi na siya
of affairs. nagpalit at
may suki na
siyang kabet,
dun lumaban
ka na.
Charmaine:
Hindi ko
kayang
makipag-
agawan! Tsaka
bakit
kailangan
kong
ipaglaban
kung alam
kong akin?
Charmaine: Putang Mahirap The other woman

Hindi naman /Putang mayaman represents a female
basta basta ang (low or high class of prostitute who
karibal ko. prostitute) hooks or attaches
Heredera! herself to any man.
Tsaka ano ba
mas madaling
kalaban, yung
putang
mahirap o
Charmaine has yung putang
proven that her mayaman?
husband is cheating
her. She cries and Charmaine’s
asks for advice to this mother: Pare
mother on how she parehong puta
will handle that state lang yun!
of affairs. Yung
mayaman
original ang
hermes, yung
mahirap binili
sa greenhills.
Yun lang yun!
Ram (O.S): Long meeting A long meeting

Sorry hon, I’m implies that the
stuck in a long other woman is a
meeting. situation a husband
cannot get out of.
Charmaine called
Ram and asking
where is he at. Ram is
making an excuse to
her wife when
actually he was with
his other women.
Ram: Lahat na Male power The male sex organ
lang bigay ng represents
tatay mo! power/authority. A
Lahat na lang male sex organ or
hindi atin! guts is a “sense of
Kaya minsan potency”. It
pakiramdam determines a man’s
ko nawawalan potency to be
na ko ng sexually productive.
Charmaine tries to bayag. Potency is the
cheer up Ram. She authority to give
tells positive orders and make
viewpoints since Ram decisions.
has the feeling of
impotent and has
been interrogating his
capabilities and
power by her father-
in-law.
Charmaine’s Snake The snake

mother: Kung represents the other
ahas ka, mas woman; it is how
ahas ako snake perceived in
sa’yo. Tahimik literature. In the
lang ako pero Christian bible, the
‘pag kinanti snake is a
ako temptation; it
nanunuklaw! denotes evil.
While in a room,
Charmaine assists her
mother to calm down
who is so fuming and
pissed of seeing her
husband, Charmaine’s
father, flirting with
the other woman.
Charmaine’s Salivating creature The salivating

mother: (animate) creature (animate)
Madaming represents the other
laway na woman; salivation is
laway diyan sa a sign of hunger or
asawa mo! desire for
Pero oras na something.
Charmaine’s mother may
madly warns her magtangkang
daughter to watch umagaw, get
over her husband. that bitch a
good fight!
Kara: Bakit Get the hands dirty Getting hands dirty
ka ba represents infidelity;
gumagamit ng it means of getting a
kobyertos? thing impure. One’s
Why don’t get being as a husband
your hands becomes impure if
dirty? he commits
infidelity.
Ram and Kara having Ram: Bawal!
their lunch together. My wifey does
Eating seafood that not permit me
you enjoy more to you use my
without using spoon hand.
and forks hence
hands
Kara: I’m Delectable food Infidelity represents

allergic! Hindi to a delectable food
naman ako in a sense that a
natatakot delicious food gives
maallergy no! satisfaction to a
Tsaka kung palate while
tatanggapin ko infidelity gives
lang ‘to, pa’no satisfaction to a
ko malalaman sexual desire.
Kara trying to defend na masarap
herself for being pala siya?
allergy on seafood. Dapat labanan
She is trying to mo kahit
explain the goodness bawal because
of breaking the rules. eventually,
your body will
just get used to
it anyway.
Ram: What Bed having an empty A bed having an

would’ve space; filling an empty empty space
you’re space represents aloneness
thinking when or of being alone.
you’re getting The empty space is
that bed? It’s the longing for
boring and something or
small. someone to be with
Ram visits to Kara’s or to fill in.
house that is also Kara: When
placed in the resort. you see an
He asks Kara about empty space, it
its boring bed. That makes you
conversation means realize that
something lead them you’re alone at
to sexual contact. ayoko ng
ganon.
Ram: What if
someone
wants to fill in
that empty
space?
Charmaine: Jelly fish (dikya) A jelly fish

Babe, ano represents a
yan? mistress; can be a
danger. A jelly fish
Ram: Ah, can be poisonous
wala nakuha like a mistress in a
ko’ to sa dagat. marriage.
In a bazaar where Charmaine’s

Charmaine together friend: Jelly
with her mother and fish!
friend, selling pastry
products, Ram
arrived until
Charmaine noticed
her husband’s neck
with skin rashes
which was actually a
kiss mark.
Charmaine’s Makating dikya Makating dikya used

mother: to represent a
Naku! Ganyan mistress in the sense
talaga kapag that Makati is the
galing sa other symbol used to
makating refer to a lustful
dikya, woman.
nagmamarka.
Charmaine’s mother
commenting on
Ram’s skin rashes
which was actually a
kiss mark.
Charmaine: Warning The sound effect

Mababaliw represents the mood
siguro ko of the scene; tension
kapag nalaman between the
kong may characters. The legal
babae siya. wife indirectly
Baka mapatay warns her husband
Charmaine invited ko yung kabet. and the other
Kara to have her Silang dalawa woman; killing
dinner on their house. actually. someone shows how
While having their intense her love and
dinner and talking protection to her
about relationship, husband
Charmaine in some
way warns Kara and
Ram as she feels that
Kara and her husband
have secret affair;
Kara is mistress. A
dinner invitation for
Kara is intentional for
warning.
Charmaine: Short cuts in making Short cuts represent

You should man falls in love cheat. The wife
cook more. believes that the
Alam mo, the other woman is a
best way to a cheater in their
man’s heart is competition over the
through his husband.
stomach. Pero
sa ganda mong
yan, siguro Playing around
marami kang
alam na short For the other
cuts. woman, She is just
playing around
Kara: Well, I between the legal
have my ways. wife and husband.
But right now
I am not
Ram and Charmaine looking for
have their dinner in anything, I’m
their house together just playing
with Kara. There is a around.
tension between the
two women that
makes the husband
feels uncomfortable.
The conversation
goes ironically.
Kara: Well, if Cheap Catfight A cheap catfight

you’re represents dispute;
expecting a there is an
cheap catfight. involvement of two
It’s not quiet and seemingly
happening. harmless creatures
in a fight.
Charmaine: Exclusive Village For the legal wife,
Binabantayan her husband is her
ko lang ang property that she
asawa ko. must protect; she
Alam mo kasi must protect her
ang marriage husband from the
para yang mistress who’s
isang trying to take him
exclusive away.
village,
kailangan
mong
bantayan para
hindi
makapasok
ang mga
squatter.
Charmaine: Ahas (snake) The snake used to

E, anong represents a
tawag mo sa mistress. Getting
mang-aagaw one’s husband is the
ng asawa ng same as
may asawa? panunuklaw.
Uuh, ahas!
Charmaine fearfully Bikini mo ba
talks Kara as trying to yan o balat
ask her from stop mo? Kaya pala
flirting with her magaling kang
husband. She uses gumapang.
metamorphic words
that best describe
Kara as mistress. Kara: And so An enjoyable For the other
just you know. experience woman, being with
Yes! I enjoyed someone’s husband
your husband! is an enjoyable
And I’m sure experience; The
the feeling is mutual feeling
mutual. between the two is
Mamayang pleasure.
gabi habang
humihilik ka,
kakatok siya sa
pintuan ko.
Charmaine: Baboy (pig) A pig (baboy)
Bitawan mo represents the
‘ko. Ang emotion of the wife
bababoy niyo! towards infidelity;
Para niyo na the feeling of
rin akong dirtiness and
binaboy! filthiness of her
husband having
sexual relationship
in other woman.
While in a hotel
room, after
Charmaine talked
Kara, she cried and
feels extremely bad to
her husband.
Appendices B
Full Transcription of Interviews
Interviewee (I): CELIA BETE
Sabang Dasmarinas City, Cavite
54 years old/ WIFE
35 years married
Researcher/ Interviewer (R): Jennylyn Gancayco
I: Nagtrabaho siya noon sa Secretary of Finance, kay Jaime. Yung secretary ng boss
niya may crush sa kanya. Ngayon, sabi niya sa akin “Mang may crush sa akin yung
secretary”. Ang sabi ko naman “yariin mo, babaero ka pa naman”. Sabi niya “ay,
hindi.”Naging close ko yun, naging friend kasi pumupunta sa bahay. One time,
nagbakasyon sila sa Baguio, one month sila doon. Nagtaka ako wala pang one month
bumaba na papa mo nauna sa boss niya. Pagdating sa bahay, paikot- ikot siya sa
upuan. Sabi ko“Anong nangyari sayo? Bakit nauna ka? Sabi niya wala.Tapos
uminom ng beer. Sabi ko“Ano bang nangyari sayo?” Kasi hindi siya mapakali. Edi
niloko ko“siguro nayari mo si Emily no? Kasi ganyan ka.”Sabi niya, “Oo nga,
nayari ko nga kasi hindi nagsara ng cr”
R: Yung Emily yung kaibigan mo?
I: Oo. Nagbakasyon nga sila si Baguio
R: Gaano katagal?
I: One month nga sila dapat tapos wala pang one month nauna na siyang bumaba.
Kakapanganak ko pa lang kay... ate! Kakapanganak ko pa lang sa panganay. Sabi ko

“anong nangyari, bakit nauna kang bumaba?” Sabi niya, “bilhan mo muna akong
beer”.O, edi binilhan ko ng beer. Paikot-ikot sa upuan, sabi ko, “ano ba talagang
nangyari sayo? Aa! Siguro may kasalanan ka. Nayari mo siguro si Emily.” Sabi niya,
“oo nga Mang e. Di kasi nagsara ng cr, natukso ako kasi diba ang puti-puti nun?”
Edi ayun, kinaladkad ko sa cr kasi nandoon mama ko, nandoon si mama kaya hinila
ko siya sa cr. Tinadyakan ko, binayagan ko, sinabunutan ko. Hindi siya kumibo kasi
kasalanan niya. Akala ko…
R: Umamin din agad?
I: Oo, umamin. Kasi nga natukso daw siya. Katagalan.. Akala ko matapos na ‘yon.
Aba! Nagtaka ako tuwing Wednesday parating ang sabi niya sa akin “Mang, sa San
Pablo ako hindi ako uuwi ha?” Sabi ko bakit every Wednesday. Kinabahan ako,
siguro baka nagkatuluyan na, nagkasarapan. Tapos kapag umuwi siya kinabukasan,
parang wife’s instinct, nakita ko sa bulsa niya may ticket na papuntang ano..West
Pembo, Makati. Yung bus papuntang Guadalupe tapos minsan naaano ko na may
resibo siyang West Pembo. Yun pala yung babae doon nakatira. Every Wednesday ng
gabi doon pala siya naglilimlim.
R: Naglilimlim?
I: Doon siya natutulog. Na-ano ako. Sabi ko bakit… Na-ano ako, pumunta ko doon sa
trabaho niya. Nakita ko yung mga damit niya nakafile d’on sa damit ng babae. Sabi
ko nga “nagkaiigihan”
R: Kailan mo pinuntahan yung babae?
I: Siguro after mga four months. Four months kasi..

R: So, tumagal pa ng four months?
I: Taon pa ang inabot kasi diba nabuo pa si Michael? O! Edi sabi ko bakit kaya.
Tinanong ko siya uli wala kasi si Emily doon hindi ko matanong. Sabi niya, “ay,
hindi. Pinalabhan lang yun kaya nandon sa cabinet”Edi hindi siya umamin. Sabi
ko“bakit kaya every Wednesday umaalis si Dante?” Edi noong wala si Emily
bumalik ako sa trabaho. Doon na! Nalaman ko.
R: Saan yung trabaho?
I: Doon lang din malapit lang. Malapit lang sa tinirhan. Sa Marikina, sa may
Katipunan lang sila sa Loyala Heights. Sabi sa akin ng kasamahan pagbalik ko, “ate,
wala na si Emily” bakit? “Nabuntis ata ng boyfriend niyang sundalo” Kinabahan na
ko. Sabi ko baka si Dante na yung nakabuntis. Tapos hindi talaga inamin ni Dante
hanggang isang beses hindi na naman siya mapakali sa cr, ikot siya nang ikot. Naiwan
yung wallet niya doon sa ano..sa labas! Sabi ko, “ano ‘tong parang yung ano..sapot
ng gagamba nakabalot sa papel? Ano to?! Aminin mo!”(husband) “Aay..ano yan
Mang.. Nanganak kasi si Emily”.
: Nakabalot daw si Michael kasi sa hilot lang ‘yon pinanganak e. Nakabalot si
Michael, yung balot ni Michael inilagay niya sa wallet niya pampaswerte kasi
pamahiin kuno. Hindi naman siya sinuwerte, minalas pa lalo. Di sabi niya… Sabiko
bakit.“aay! Hindi pala.”Sabi niyang ganun, “Inilagay pala yan ng ano.. kasamahan
ko kasi nanganak daw si Emily”. Parang naanu-ano siya, nabigla siya sa ano.
Uupakan! Nandoon siya sa cr naligo, tinadyakan ko. Noong nalaman kong nanganak
hindi ko na siya kinibo. Hindi ko na siya.. isang taon walang kibuan.

R: Magkahiwalay kayo ng bahay o isang bahay pa din?
I: Isang bahay lang. Nandoon naman si Tita Sol noon e! Kapag humingi ako ng pera
kasi sahod na niya “o, yung sahod mong buo ilagay mo diyan kasi gatas ni ate” Pero
hindi kami nag-uusap tapos may nakausap.. may kapitbahay kasi kaming Christian
pinayuhan ako kasi maski daw nagloko papa mo, hindi naman daw nagbago ng ugali,
hindi nagpabaya sa pamilya, times two pa, times three, times times pa yung
pagmamahal atsaka pag-aalaga niya sa pamilya niya. Katagalan napatawad..
napatawad ko din siya. Tapos noong napatawad ko na siya, pumunta naman yung
babae kasi.. bakit ko siya napatawad? Kasi nangako siyang itong panganak daw ni
Emily, hindi na daw niya anohin..talagang papansinin. Pinanganak lang niya kasi nga
alam niyang virgin pa no’ng nadali niya, alam niyang anak niya yun. Kasi yung
aanakin talagang sa kanya. Pinangalan niya sa apelyido nkiya, e diba lalaki naman si
Mike? Buti na lang naging lalaki. Mula noon siguro talagang iniiwasan na niya kasi
yung babae..kinutuban na naman ako.. May inutusang matanda. Ang sabi ng matanda
“dito po ba nakatira si… ano..Dante Gancayco?” May kotse pa si papa mo no’n e
kaya madaling makakabit kasi may kotse. Alam kong suki niya sa home service sa
mekaniko kilala ko. Sabi ko, “bakit po ate?” kasi suki niya si Mrs. Reyes. Mrs.
Reyes ba yun yung ginamit niyang pangalan? Basta yun! “Mrs.Reyes? Taga saan po
yon?”Sabi niya bandang Cubao. Sabi ko lahat ng customer ni Dante kilala ko. Sabi
ko “ay!wala!” Wala naman talaga si Dante no’n. Kinabahan ako, sabi ko hindi ko
kilala yun ha. Sinundan ko si matanda hanggang nandoon si Emily magang maga pa
yung dede. Siguro nagpadede pa siya sa anak niya. Nandoon pala siya sa kanto
nakatingin sa eskinita. Kitang-kita ko edi nilapitan ko. Sabi ko sa kanya, “o, ano?
Naanakan ka ni Dante? Diba noong dalaga ka pa sinabahin na kita na mag-ingat ka
kay Dante kasi noong kinabinataan niyan pader lang lagyan mo ng padala,
siguradong yari! O, ano ngayon?Alam mo bang pinapili.. Diba noon sinabihan kita
mag-ingat ka wag kang magpadali kay Dante! O, ngayon sinong pinili? Kami
rin.Kawawa ka!”Noong ganon, umalis siya, tumalikod siya. Wala na siyang sinabi.
Mula noon, hindi ko na siya nakita. Si Michael pala pinamigay niya sa kung saan-
saan pero yun talaga hindi na pinansin ni papa mo. Kung baga, nagkamali lang talaga
siya noon.
R: Wala kang trabaho no’n?
I: Wala syempre focus lang ako no’n kay ate.
R: Gaano na katagal ang relasyon niyo noong mangyari ang pangangaliwa ng asawa
mo?
I: Seven..Mag-e-eight years. Bale seven. Seven years kaming kasal.
R: Bestfriend mo yung naging kabet ng asawa mo?
I: Hindi ko bestfriend pero friend.
R: Anong itsura nung…
I: Maganda, maputi, makinis, sexy. Mahilig si papa mo sa sexy.
R: Sa tingin mo anong dahilan ng pangangaliwa ng asawa mo?
I: Aa..wala. Natukso lang talaga siya. Alam ko naman na ako ang mahal kasi kung
hinsi niya ko mahal, tinakwil na siya’t lahat, ako pa rin pinili niya.
R: Sa nakita mong ebidensiya bukod sa ticket ng bus, may nakita ka pa bang iba?
I: Yung nga! Yung ano ng anak niya, sapot.
R: Sa mga cellphone wala naman? Text?
I: Hindi pa uso cellphone noon e.
R: Anong naging epekto sa relasyon at pamilya ninyo?
I: Hindi ko pinaalam sa pamilya ko kasi ang pamilya ko patay na patay sa kanya.
Hindi ko talaga sinabi yun, sinabi ko lang no’ng ano na, no’ng pinatawad ko na.
R: Ikaw nanlamig ka?
I: Oo! Syempre! Pero kasi gumawa siya ng way na mapaano e, lumuhod tapos
nagpakaano talaga. Kung baga, nag-effort talaga siya para mapatawad.
R: So napatunayan mo kasi may nagsabi sa inyo?
I: Oo. Umamin siya tsaka yung babae pumunta sa bahay ay malapit sa amin.
R: Para sayo ano ang infidelity?
I: Aa, kasi si papa mo nga hindi siya yung manliligaw. Siya ang nililigawan. Siya ang
inaano ng babae kasi minsan din noong nagtrabaho siya sa school bus bukod kay
Emily may babaeng wala pang boyfriend yun ha, eighteen years old lang pinadalhan
siya ng sulat.
R: Pero yung ginarwa niyang pambabae macoconsider mo bang infidelity?
I: Oo. Betrayal.
R: Para sayo ano ang marriage?
I: Ano, sagradong bigay sayo ng Panginoon. Yan yung binigay sayo ni God na
katuwang mo sa ano, sa buhay mo. Kaya isang sagrado yun.
R: Pagkatapos ng pagkakaroon ng ibang babae, one year kayong naghiwalay?

I: One year. Pero nagtiis siya sa kung anong mga salitang sinasabi ko sa kanya kahit
duraan ko pa siya, hindi siya umaalis.
R: Kung hindi uso ang cellphone noon, paano kayo nagcocommunicate lalo na pag
malayo kayo sa isat isa?
I: Wala. Basta alam kong uuwi siya.
R: Walang beeper o kahit na ano? Anong form ng communication niyo?
I: Hindi. Kailan lang din lumabas ang cellphone. Telephone lang. Tatawag ako sa
payphone kakausapin ko boss niya.
R: May ginawa ka bang paraan para ipaglaban ang relasyon niyo?
I: Hindi. Wala. Pinabayaan ko siya. Pinapili ko nga siya e, “edi suamama ka doon!”
Kasi ako malakas loob ko na ano.. Basta ako alam sa amin kasal ako. Ok lang sakin,
ako yung taong ayaw magmakaawa.
Interviewee (I): JUMEIRAH MARGEUX ADAMS
Six (6) years old/ DAUGHTER
R: Ilang taon ka na?
I: Six!
R: Asan na si dada mo?
I: Wala. Sa Windward.
R: Windward? E, saan si mimi mo?
I: Dubai.
R: Hindi sila magkasama?
I: Hindi.
R: Bakit?
I: Break na kasi sila.
R: Paanong break?
I: Nagkahiwalay sila dahil sa pera. Dahil kay Jeuelle.
R: Bakit dahil kay Jeuelle?
I: Kasi walang pangdiaper at panggatas e, hindi naman tatay ko nagbibigay, lola ko.
R: Aa..bakit, may iba ng girlfriend si dada mo?
I: Opo.
R: Nakita mo na?
I: Opo.
R: Anong itsura?
I: Pangit.
R: Pero sexy? Hindi?
I: Hindi. Mataba.Sobrang mataba.
R: Pero maputi? O maitim?
I: Maputi.
Re: Sino mas maganda?
I: Si mimi.
R: Sa tingin mo bakit nagustuhan ni dada yung kabet?
I: E kasi gusto niya mataba

R: Anong naramdaman mo nang nalaman mong may ibang babae si..?
I: Iyak ako.
R: Nasasaktan ka? Anong sinabi mo kay dada? Pinakilala ba sayo ni dada mo yung
babae?
I: Opo.
R: Paano niya pinakilala sayo?
I: Anak, ayan nga pala yung bestfriend ko.
R: A, bestfriend ang sabi niya? O, tapos, anong sabi mo?
I: Bestfriend mo pala yan.
R: Pero alam mo na yun ang girlfriend?
I: Opo.
R: Sa tingin mo tama na ipinaalam sayo na may ibang girlfriend na si Dada, wala na
sila ni mimi?
I: Hindi po.
R: Bakit naman?
I: E, aksi masama yun.
R: Paano kapag nakita mo si Dada at yung other girl na magkasma, anong gagawin
mo?
I: Tatakip ako ng unan.
R: Bakit?
I: Kasi ayaw ko sila makita.

Interviewee (I): “YEL”
23 years old/ SECRETARY/ OTHER WOMAN
Researcher/ Interviewer (R): Jennylyn Gancayco
R: Ano ang malimit na oras na pagkikita at pagsasama ninyo?
I: Twice a week. He is a businessman. Depends on his time.
R: Pano kayo nagkikita? Saan o anong mga lugar ang pinupuntahan ninyo? Malayo
bas a mga taong nakakakilala sa inyo?
I: My house. Yes, if lalabas kami malayo sa lugar niya, mall or out of town.
R: Ano ang tunay na status niya sa legal wife nya? Paano ka nakaksigurado na totoo
ang mga sinasabi nya?
I: Wife niya is nasa States, they are not in good terms. Base sa kanya at sa anak niya
‘cause nakakausap ko din anak niya from States.
R: Ano yung mga bagay na naibigay or nai-invest nya sayo?
I: Financially, material things, opportunities like yung paggastos niya na makapunta
ako ng Dubai to find new career and opportunities para sa akin, but most of all effort
and the love he gave and continue giving to me and for my family.
R: Paano nagsimula ang relasyon ninyo? Gaano kaseryoso at kalalim ang relasyon
ninyo?
I: He is the HR manager sa company na pinapasukan ko. He interviewed me at the
same time my mom then everything starts from that sending messages, asking for
date, giving foods. But our relationship is secret because he is well respected
sacompany and alam na may asawa siya. At time comes, he decided to tell me na
magresign sa company aksi mahirap situation naming tapos pinasok niya ko sa
business which is Man Power Agency kung saan we don’t need to hide and we have
time together as always! We are almost two years. Our relationship will turn three
years on January 2015 to the point na kahit hindi ka magsalita, ‘di siya magsalita
alam mo na may nangyayari o may problema even we have doubt, we still chose to
trust each other. Gano’n ka-deep!
R: May communication pa din ba si guy at ang legal wife niya?
I: I think so. May anak sila, normal yun pero minsan ako pa yung nagrereply sa
messages ng wife niya.
R: Bakit ka pumatol o pumayag makipagrelasyon sa married man?
I: I am always curious. I want to explore and we didn’t expect na magtatagal ang
relationship at magiging seryoso kami sa isat isa.
R: Para sayo, ano ang infidelity?
I: Infidelity for me is a sin that makes you realized things and a sin that you can make
right. It is always a choice not a chance.
R: Para sayo, ano ang mistress? Maicosonsider mo ba ang iyong sarili na mistress?
I: Mistress is a girl who gives “stress” on the guy. But in general, mistress is “kabet”,
third party na sumisira ng relationship. I don’t think I am a mistress. Before we have
the relationship, they are not ok. It’s just that they are still married that’s why in the
legal aspect I am still mistress.
R: Anong purpose o reason ng pagpasok mo sa isang ganyang uri ng relasyon?

Naisip mo ba kung ano kahihinatnan ng relasyon nyo at magiging epekto sa ibang
tao?
I: Financially, excitement, not normal experience. Those were my top reasons why I
entered on this kind of relationship. My personality is I don’t think I just do it and
keep going with the flow and until now I don’t have any regrets.
R: Anong trabaho mo? Ng karelasyon mo?
I: Encoder sa company kung saan manager siya.
R: Alam ba ng asawa niya na ikaw ang bagong karelasyon?
I: I don’t know really but woman’s instinct is different so I think she feels and knows
something. Anyway I don’t care. She should blame herself not me or either my
boyfriend.
R: Kung dumating sa punto na malaman man ng legal wife ang anumang relasyon
ninyo ng kanyang asawa, ano ang gagawin mo?
I: I will not do any thing, I will let my boyfriend to do what he thinks right. I have
pride and I know my position from the start. I have the right thing to decide.
R: Kung hindi ikaw ang pipiliin ng guy, ano ang mararamdaman mo at ano ang
gagawin mo?
I: Masasaktan but its normal. There’s no happy ending but atleast we gave and made
each other happy and memories that no one can steal.
R: Nabigyan ka na ba ng singsing? Para sayo, ano ang sinisimbolo o ibig sabihin niya
sa pagbibigay niya sayo ng singsing? Anong klase ito (diamond? silver?gold?)
I: Yes, but it’s a silver, not normal ring because it’s ring that has three hearts. One
ring is with lock, key and heart. He always told me and he is hoping that in time we
will have our chance to get married. And as a mistress is a nice thing to hear that a
guy who is married still thinks that he can marry me. He is 61 years old and not
normal to hope and think for that.
Expert (E): ROBERT KYLE LAXINA
Southern Philippines of Science and Technology
PROFESSOR (Primary and Secondary)
RELATIONSHIP COUNSELOR/ PSYCHOLOGY PROFESSOR
General Psychology, Behavioral Sciences
Researcher/Interviewer (R): Alyssa Mari Bengusta
R: ANO ANG INFIDELITY?
E: Ang ibig sabihin noon ay pagtataksil, paghahanap ng iba, paghahanap ng kalinga
in which doon siya nasasatisfied. Ang tao kasing nag cocommit ng infidelity ibig
sabihin no’n meron siyang hinahanap na emotional, sexual needs.
R: MADALAS NA DAHIL NG PAG COCOMMIT NG INFIDELITY?
E: Hindi satisfy sa sex, pangalawa physical appearance and pangatlo yung mood
noon babae hindi or nung asawa hindi silana satisfy. Yung cause ng infidelity, marital
problems yun, kasi usually nagkakaproblema sila, number 1 yung sexual issues,
halibawa hindi sila nasasatisfied dun sa asawa nila may mga fetish tayong tinatawag ,
may mga lalaki kasi naghahanap ng ganitong image halimbawa gusto nila pag-uwi
yung asawa nila naka red underwear lang ganyan o kaya ang problema iba nakikita
nila naka duster lang or something another yung mood pag laging nag aaway ang
mag-asawa, reason yun kasi yung kailangan yung asawa niya hindi na ibibigay
unfortunately may na me-meet silang panibago na halos parehas silang gusto.
R: TOTOO BANG NATURE NA NG LALAKI MANGALIWA?
E: Nature ng mga lalaki yung mangaliwa, kasi dito sa Pilipinas meron tayong
tinatawag na “Macho image” ok lang ‘pag lalaki ang nangaliwa, ‘pag babae ang
nangaliwa iba agad ang tingin , Pokpok agad, puta agad ang tingin kasi nga we are
very particular “macho image” kapag lalaki ok lang na gumawa ng ganitong klaseng
kasalanan so para satin, sa kultura natin even sa bible kapag ang lalaki madaming
asawa ok lang kasi it was blessed by God, so ang nangyari sa kultura natin dito sa
Pilipinas gano’n din ang ginagawa.
R: SINO ANG MADALAS NA NAG COCOMMIT NG INFIDELITY BABAE O
LALAKI?
E: LALAKI.
R: SA PELIKULA, PAGGAMIT NG SIMBOLISMO, KADALASAN GINAGAMIT
E: Yung literal kasi ‘pag sinabing ahas is traydor, yung dikya ibig sabihin makati,
usually sa pelikula ang ginagamit na symbolism yung mga tabing tabing, dilaw o
puting tela. Yung pinapakita dun yung shadow nila minimize obscenity medyo
conservative pa naman tayo dito sa Pilipinas, hindi pa naman pinapakita yung kung
anong ginagawa nila, yung kandila ibig sabihin no’n ganun kainit ang nararamdaman
nila, gano’n karubdob na tinatawag, yung ilog at tubig na umaagos, ibig sabihin no’n
nakaraos na, fountain something with water it represent ejaculation.
R: PAGTITINGIN SA ORAS
E: yung pagtitingin kasi ang issue kasi do’n ay time management, yung laging
pinapakita yung relo, o pagmamadali kasi ang ibig kasing sabihin no’n nakaw yung
sandal nila that’s why as much as possible in a shortest period of time kailangan
masatisfy yung panahon na magkasama sila kasi nga usually masasabi natin na meron
silang panahon para sa asawa nila.
R: KADALASAN TRABAHO NG ISANG LALAKING NA IINVOLVED SA
INFIDELITY
E: Normal na nangangabit, karamihan kasi kung ikaw mangangabet dapat maganda
trabaho mo, sabihin na natin mga businessman, o basta college graduate o mga nasa
offices ibig sabihin kasi pwede kang sumuporta sa asawa mo at pwedeng sumuporta
sa kabet mo pwede kang magbigay ng mga bagay at gamit na gusto ng kabit mo at ng
asawa mo, siyempre nga naman kung ikaw ay mahirap at mangangabet ka pa parang
napakapanget naman non although nangyayare yung mga yan dito sa Pilipinas. Dito
nga satin sa Pilipinas kung sino pa mahirap yun pa yung madaming asawa.
R: KADALASAN EXCUSES NG MGA LALAKI SA MGA ASAWA PAG
KASAMA NILA ANG KABET NILA
E: kadalasan excuses number 1 trabaho pangalawa kaibigan pangatlo sitwasyon,
halimbawa yan sa trabaho alam na natin yun, nag over time, may out of time, may
meeting. Yung sa kaibigan halimbawa niyaya ni ganito party ni ganito, party ni
ganyan at the same time may mameet sila doon, doon magsisimula then sa sitwasyon
halibawa nasiraan, na traffic, nabundol may tinulungan may ganyan ganyan, yun ang
karamihan na ginagamit.
R: SA ULAM, KINALAMAN AT GINAGAMIT BILANG REPRESENTATION SA
KABET:
E: Sabi nga kasi nila the best way into the man’s heart is to stomach, isa rin kasing
issue yan kapag ang babae o ang asawa hindi marunong mag luto o mag present yun
yung ginagamit, laging pinapakita na imahe dito sa Pilipinas ang mga kabet mabilis
nilang alamin yung kagustuhan ng mga lalaki.
R: Bungalow
E: Bungalow ibig sabihin nun ibabahay nila, ibig sabihin nun they wanted to live
separately parehas sa pamilya nila, or ilalayo niya ang kabet niya sa isang lugar para
meron silang specific place na pupuntahan dun, may specific time , may specific day
na kung kelan siya pupunta para pag dating doon alam niya saan niya talaga makikita
ang kasama niya,
R: TIME NA NAGKIKITA YUNG KABET
E: Kadalasan hapon, pa hapon. Halimbawa pagdating ng lunch break diyan sila
nagsisimula kasi as much as possible halimbawa ako yung may kabet no, ang uwi ko
ay seven o’clock sisiguraduhin ko before 7 , 8 or 9 o’clock kailangan nasa bahay na
ako para nga naman di mahalata na ako ay nangangaliwa so pipiliin kong magkita
laging pahapon. After lunch break madalas kasi nangyayare yan kunwari magde-date,
kakain sa labas hanggang ibat-iba na yung kinakain nila pareho.
R: PINAKA EBIDENSYA NG ASAWA NA MAY KABET YUNG ASAWA NILA

E: Teka lang, hindi kasi ako naniwala na ang instinct ng asawa pag nagduda siya ay
totoo, kasi may babaeng paranoid may babae na konting labas ng asawa kala nila
naglalandi na, so ang nangyayare sa ganun the more na prinoprovoke nila yung asawa
nila sa ganun, gagawin talaga nila. Nalalaman yan dahil sa may nagsabi, dahil sa mga
chismosa kapit-bahay o kakilala, pangalawa na siguro ang hinala.
R: Text message:
E: Kung ako mag-aasawa mas gusto kong i-practice yung privacy, ang problema kasi
sa mag asawa gusto lahat ng bagay buksan nila, mapacellphone, mapafacebook gusto
lahat alamin. The question is personal, parang toothbrush yan e, parang salawal yan
parang brief yan na kailangan ikaw lang ang magsusuot. Yung ganun klaseng
paghihinala gagawin lang nila yun kung may nakarinig o naparingan na nga sila na
ganito. Hindi kasi sapat ang hinala under lang kasi yan ng paranoia, it just doubt
kumbaga hindi patas, ibig sabihin ang asawa mo nahuli o ginabi ng uwi
nakipaglandian agad sa iba kasi may mga factor kang dapat isipin. Halimbawa
malayo may mga babae talaga na dumadating sa “postpartum” halimbawa buntis, it’s
because of hormonal imbalance, iniisip nila ‘di na sila mahal kasi buntis na sila. It
doesn’t mean na lahat ng iniisip nila laging tama.
R: NAKAKASIRA BA TALAGA YUNG PAMBABAE NG LALAKI SA
MARRIAGE?
E: Definitely, oo naman. Nakakasira talaga kasi diba in biblical point of view sabi
nga ang pinagsama ng diyos hindi dapat paghiwalayin ng tao saka sumumpa kayo
pareho sahirap at ginhawa magkasama kayong dalawa, in social point of view bago
ka magpakasal tinanggap mo lahat nung panget na bagay dun sa mapapangasawa mo,
kung ang niluluto niya ay kung anong lasa kailangan tanggapin mo yun. Kaya nga
may period ng courtship, may period na dapat magiging steady kayong dalawa para
makilala niyo pareho ngayon pagdating sa ganyan at kung dumating sa point na
ganyan at alam niyo masisira din ang pag-aasawa niyo dapat hindi muna, ‘pag nasira
ang pamilya malaking bagay yan lalo na kung may anak na maapektuhan
R: PAANO YUNG CASE NA OK NAMAN YUNG LALAKI PERO NAPROVOKE
LANG SIYA SA KABET?
E: Hindi ako naniniwala dahil natukso lang? Lahat ng bagay na ginagawa natin
panget man o maganda pare-parehas natin desisyon yun. Hindi totoo sinasabing
natukso, ginusto mo yun. Hindi totoo ang sinasabing lalaki na natukso kasi ako,
paano ka matutukso kung kilala mo ang sarili mo kung hanggang saan ka, at kung
mahal mo asawa mo kahit mag hubad yan diyan hindi ka matutukso, the problem is
laging sinasabing mga lalaki na “lalaki kasi ako naghubad na kasi yan anong
gagawin ko” which is not true dapat hindi ganun lagi ang batayan. “porque may
naghubad papatong ka agad” yan ang katwiran mo kasi lalaki ka, “andiyan ang palay
tutukain na ng manok ba’t hindi pa tutukain?” Hindi yung totoo bakit mababawasan
ba ang pagkalalaki mo ‘pag tumanggi ka sa babaeng nakahubad? Dapat nga maging
proud kang gawin yun kasi may asawa ako. Mahal ko ang asawa ko dapat ganito.
Ang problema nasa lalaki na talaga. Hindi dapat laging sagot ganun.
Expert (E): PAOLO EMMANUEL MAGSINO
INDEPENDENT FILM DIRECTOR
Researchers/Interviewers (R)
R1: Jennylyn Gancayco
R2: Alyssa Mari Bengusta
R1: Bakit nauuso ang mga palabas na may kabet or infidelity?
E: Sabi ko nga bat nauuso aang kabet, yun kasi nararanasan ng tao, ako film maker
ako iisip ako ng konsepto kung ano nga ba anong ganre ang makakarelate ang mga
tao, example diba uso ang love life kadalasan din makakranas sila ng infidelities,
kabet, broken family ganyan so pag gagawa ako ng film ung gagawin ko ung tatak sa
tao kunbaga makakarelate sila dun sa pinapanuod nila.
R1: So hindi naman siya about sa profit ganun?
E: Ayun na nga e, pag yung nagustuhan ng tao ui naka relate ako diyan, maganda to
panorin niyo
R2: Pero may kinalaman din siya sa social problem, parang sa Pilipinas kadalasan
majority ganun.
E: Ganun na din.
R1: Paano binibigyan direksyon ang mga ganitong uri ng palabas?
E: Pano binibigyan ng direksyon? What do you mean na?
R1: Nagkakaroon ba ng exaggeration?
E: Oo yun, sa main stream to a sympre iba kasi ang indi sa main stream e
R2: Kahit sa indi?
E: Unahin ko sa main stream, sa main stream ang nakikita ko lang na perspective
medyo exaggerate e kumbaga.
R2: Example?
E: Kumbaga sa main stream, laging happy ending kasi un ung gusto makita ng mga
tao. Kapag ka tapos makita yun ng tao ay ang panget nun ending, malungkot sila.
Pero pag gusto naman nilang sumaya nanuod sila ng ganun klase ng pelikula sympre
usually pag mainstream magaganda ending niyan, ay maganda yung film, maganda
yun, nakarelate din ako.
R2: Sa indi film?
E: Sa indi film kasi more on gusto naming ipakita kung ano yung totoo, anong
totoong ngyayare saka gusto namin ng kakaiba.
R1: Censorship
R2: So mas reality ang indi films kesa sa mainstream?
E: Yun ang perspective ko, kasi sa main stream pare-parehas lang kung anong
gustong tangkilikin ng tao e dun sila, yun ung gagawin ng mga main stream film
makers, dun sila kikita kunbaga yun lang.
R1: Ano ang mga pagbabagong nangyari o nakita sa pelikulang Pilipino particular sa
infidelity (bawat dekada)?
R2: 70’s hanggang 2000’s
E: Siguro na-impluensyahan tayo ng Western film e, kasi dati mga 70’s -80’s parang
medyo conservative pa, mga dalagang pilipina nun mga probinsyana tapos maiinlove
tapos mag kakaconflict ng konti, tapos nun nainpluemsiyahan na tayo ng konti ng
film ng ibat ibang bansa parang nahaluan na tayo naging liberated na tayo diba,
ngayon makikita na natin may nudity na din, di ko naman sinasabing wla pang nudity
dati pero mainstream na tapos may nakikita na ano diba
R1: ‘pag dating sa symbolize sa visual elements, dialogues, mas symbolistic ung dati
nun 70’s 80’s? Kasi ngayun parang given na lahat ?
R2: Yung dati ba indirect lang pag sinabing kabet indirect siya pag sinabi ngayon
direkta na talaga? Diba sa films may gamit na symbols pag sinabing kabet puting tela,
ngayun ba tahasan na yung kabet?
E: Yung iba kasi film makers, katulad ng sinabi ko gusto nila yung magegets agad ng
tao, yung makikita agad tru dialogue man unga actual na gusto nilang ipahayag
R2: So may changes talaga?
E: May changes talaga pero, tulad nga sinabi ko iba talaga ang indi film sa main
stream. Pero masasabi ko na marami padin gumagawa ng symbolism
R1: Ano nga bang tunay na kahulugan ng media? Gaano katotoo na sumasalamin ito
sa katotohanan at buhay ng tao?
E: Salamin ng katotoohanan?
R1: Parang sinasabi nila na ang media kasi sumasalamin sa social issues, ano ba
talaga ang tunay na kahulugan ng media? Kasi sinasabi nila malaki daw epekto ng
media sa tao.
E: Sobrang laki talaga ng epekto ng media sa buhay ng tao, kasi dun pinapahayag e,
base sa perspective ko sobra lang namamanipula ng media ang pag iisip ng tao ganun
kalaki ang epekto ng media sa tao. ‘di ko sinasabing mali lahat, mali yung
pinapahayag ng media parang exaggerate, parang naapektuhan ung mindset ng mga
Pilipino pag nakakanuod sila ng film, ganun ka powerful ang media.
R1: Paano nga ba nabubuo ang istorya sa pelikula tulad ng infidelity? Paano irerelate
ang mga simbolong ginagamit sa mga pelikula?
R2: Ano bilang director, paano mo tatapusin ang ganitong pelikula? Tingin mo
tangap na bang society natin ang pagkakaroon ng kabet? At pangangaliwa o
infidelity?
E: Depende kasi sa mood ng writer at director yun e, kung ako gagawa ako, kung
gusto ko kumita malamang sa malamang happy ending talaga yun , maganda talaga
yung tataktak sa utak ng tao pero base sa personal na nararamdaman ko, kung ano
talaga ang actual na ngyayare ayoko kasi ng parang tapos na gusto ko parang open
ended , gano’n. Kasi ang buhay di naman natatapos yan e tuluy-tuloy yan e.
R2: Sa tingin mo tangap na ba sa society ang infidelity? Sa totoong buhay?
E: Oo.
R1: Bilang film maker, yung open ended ba may meaning yun? Tulad ng sinabi mo
ang buhay di naman natatapos? Kasi nag sabi na kapag hirap tapusin ang isang storia
giangawa nilang open ended? Iba ba yun sa pananaw ng indi? Kasi ganun din daw sa
mainstream giangawang open ended pg di na alam pano tatapusin ang isang storia e.
E: Depende kasi sa story talaga, may mga story na nangyare sakanila in real life at na
tapos na, na gets niyo? Kumbaga pwede nilang gawan ng story yun? Pwede nilang
tapusin. Pero yung ibang story na nililikha lang base sa naiisip nila yun yung mga
possible na open ended.
 White cloth – satingin mo bakit siya giangamit sa infidelity films?
E: White cloth? Infidelity kasi usually kasi
R2: Unfaithfulness, sexual gratification
E: Oo tama, pero kasi kaya un yung ginagamit puti, un kasi yung talagang giangamit
sa hotel, kadalasan pag ngrerent ako ng room, puti kasi diba, alam na ng tao yun saka
rules na yun ng mga interior design at sino nagpasimuno nun e, pero as an artist,
visual artist din aksi ako puti kasi neutral siya bagay siya sa kahit ano, pag naglagay
ka ng tao sa puti parang silang dalawa lang ung makikita kung hahaluan mo
halimbawa ng sesex sila , hahaluan mo ng may blue or green parang makakasira sa
intimacy ng scene
 Water- seashore, ocean, rain, river
R2: Bakit laging may kasamang water or sa ocean, river at rain kadalasan ngayyare
yung pagtatlik?
E: Feeling ko kasi based on my perspective ulit, halimbawa sa ocean, sa sea yun
eksenang ganun ibig sabihin tayong dalawa lang e, tahimik
R2: Parang motel lang din?
E: Siyempre ikaw mag sesex ka ba sa maingay?
R2: May kinalaman ba yun sa secrecy, pagtatago nila?
E: Yun, kasi isa din yun parang escape, escape sa reality pag nasa dagat ka parang
ikaw lang mag isa, naririnig mo yung mga alon
R2: Pero may kinalaman din yun sa infidelity?

E: Siyempre ‘pag ikaw, yun nga intimate yun eksenang gawin sympre yung gusto
mo gawin syempre gusto yung sa nararamdama based dun sa tao gusto maki pag sex
R2: So mas intimate talaga ung kabet kesa sa mga asawa, sympre pag doon di naman
kadalasaan giangawa ng mga asawa yun, nggaganun talaga kasi usually mga asawa sa
bahay lang pinapakita so ang ibigsabihin nun sexually intimacy sobrang intimate sila,
sobrang wild.
E: Kasi pag ganun pinufullfil ng kabet yung pagkukulang ng asawa. Kasi kung kabet
ka at sa bahay lang din kayo anong pinag bago nun sa asawa
R2: So parang thrill yun
R1: E, ulan? Diba madalas sa pelikula ginagamitan talaga ng ulan?
E: Sa mga pelikula kasi natin ginagamit ang ulan kapag may trahedya, patay, kapag
mga drama kasi pampabigat ng eksena tulad ng ginawa ko sa Galub, diba mas
dramatic siya tingnan? ‘Pag sa mga romance kasi ganun din, mas intimate
tingnan.Mas nakakadagdag sa emotion ng mga manonood. Mas effective kapag
ginagamitan minsan ng ulan
R2: Anong characteristic ng isang kabet, o other woman
E: Based sa nakikita ko sa community, pag magbibigay ako ng character sa kabet
usually kasi walang pera yung kabet, pero maganda siya makakakita siya ng
mayaman.
R2: Maganda lang? Sa body size?
E: Maganda visual, mukha sa katawan tapos wala siyang pera may problema sa
family tas ugali niya talakera, ganun tapos liberated din tapos all out ganun ang kabet
tapos nakita ng mayaman nilandi tapos na nagustuhaan siya ng mayaman tapos
nakapit lang siya dahil sa pera
R2: 1975? E sa ngayon? Ano naman nakikita mong image ng kabet? Yung
pinagbago?
E: Sa ngayon naman, natatawa ako. Kasi ngayun nahaluan na tayo o naimpluensya na
kasi tayo ng story from ibat ibang bahagi ng mundo, ginawa na din nilang may kaya
yung kabet, kunbaga mas pinakita na lang dun , wala na silang pakialam dun sa
problema ng kabet mismo, ang labanan na lang dun ngayon yung ganda e sinong mas
maganda.
R2: May katotohanan ba yun? Siyempre mayaman sila may pinag-aralan, tapos
makikipag away lang para sa lalaki lang na mas mayaman pa sila kung tutuusin?
E: Ta’s makikipag away sa public gagawa ng eskandalo? Parang wala naman
ngyayare na ganon.
R1: So part yun ng exaggeration?
E: Yun ung sinasabi ko.
R1: Sa tunay na pelikula pano pinapakita yung kabet? Para lang ba sila sa sexual
longing ng lalaki? Lagi na lang bang talunan?
R2: Tingin mo anong kadalasan reason bat nangangaliwa yung mga lalaki?
E: Straight ko na sagot ko? kasi basically may mga ilang factors, magbibigay ako ng
ilang factors una, nakakahanap ng kabet kasi nakukulangan sa totoong asawa,
nakukulangan sa pag aalaga, pagmamahal kaya makakahanap ng kabet, is either may
scene na magkalayo yung asawa “long distance relationship” makakahanap yung

babae o lalaki ng iba, pangatlo is yung nature talaga ng lalaki is tumitingin talaga sa
iba hindi na sasatisfy sa isang ulam pag may paborito kang ulam, halimbawa paborito
mo menudo pag aaraw araw kang nag memenudo mag sasawa ka so titikim ka ng
adobo pero nag paborito mo pa di adobo.
R2: Follow up lang sa sinasabi mong ulam, ulam din ang giangamit na visual ano yun
representation din ba un ng infidelity? ‘pag sianbi bang ulam ano sayo yun?
E: Representation din, yummy, parang yun ‘pag ka liberated na tayo pag sinabi mong
ulam, kinakain masarap parang symbolism na din yun.
R2: Bakit kadalasan businessman ung ginagamit sa films
E: Kasi pag sinabing businessman mayaman, so sila yung madaming pera para
mangabet. Kasi usually naman mahirap ka mag kakabet ka pa edi lalo kang nag hirap
R1: Pero sabi in reality naman wala naman pinipili ang pangangabet diba?
E: Yun.
R2: So anong tingin mo giangamit sa films na excuses pag kasama lang nila yung
kabet nila?
E: Usually, depende naman sa story, pero as businessman usually naman kasi
ginagamit nila, may meeting, may pinapatapos pa kasi sakin yung boss ko e, ganun o
may project kami
R2: Mga normal ng tao
E: ‘pag normal ng tao usually bat ka nalalate ng uwi kasi galing ka sa trabaho ,
trabaho talaga ang first alibi, kasi yun ung nature ng buhay e diba magtrarabaho ka
hangang gabi tapos mag oover time ka pwd mo bang sabihin ng paparty pa kami, oo
acceptable reason
R2: Anong kadalasang ebidensya pag nahuhuli na may kabet?
E: Text, ngayon giangamit na din ang social media. Dati makakita ka lang ng pulang
marka sa polo. Paminsan naman underwear pag aniwan sa kwarto o mahuli sakto,
yung ang ayoko sa ngayon e diba yung mainstream natin ngayon e pag nahuli sa akto
tapos makikipag talakan mag babalikan ng salita ayun ung ayaw ko, di
makakatotohan , ung mga binibigkas nilang dialogue which is malayo naman sa
katotohanan mangyare.
E: ngayon kasi socially na English na e.
R2: Anong connection ng visual na candled lights at unbuttoned shirt sa infidelity
R1: Paano nirerepresent ng visual elements at dialogues ang infidelity?
E: Tama yung sinabi mo na way nalang nila yun para macaptured yun attention ng
audience way din nila yun para pag isipin ung mga audience sympre as a film maker
ayaw mo naman din na laging sinusubo na lang sa audience mo kaya ang way nila
gumagamit na lang sila symbolism
R1: Paano mo irerepresent using visual and dialogue?
E: Ako mas gusto ko direct talaga.

Curriculum Vitae
#54 Galleon Road Regatta Classics Subd.

Anabu II-B Imus, Cavite
Phone No: 0917 248 3908
Email: aiey02@yahoo.comor
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OBJECTIVE:
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my skills especially in Communication.
 As a hardworking, I am motivated by the opportunity to advance my skill in
a dynamic environment.
SKILLS:
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 Caring and hardworking with excellent interpersonal communication.
 Typing speed : average 45 wpm in 1 min
 Proficient in personal computer use
 Physically fit and active in workplace awareness
 Fast learner and enthusiastic to work in any organization
WORK EXPERIENCE:
 TaskUs Inc, Call Center End of Contract
Content Moderator
August 29 2013 – March 10, 2014
2nd Floor ARC Centre, Real 1, Aguinaldo Highway,
Bacoor Cavite
PERSONAL PROFILE:
Date of Birth : July 13, 1994

Place of Birth : Valenzuela
Age : 20 years old
Weight : 46 kg
Height : 5’2
Gender : Female
Citizenship : Filipino
Religion : Roman Catholic
Civil Status : Single
Language spoken : English, Filipino and Basic
Japanese
Sports : Basketball, Volleyball
And Badminton
EDUCATIONAL BACKGROUND:
 DE LA SALLE UNIVERSITY-DASMARINAS (ENROLLED)

AB- Communication Arts,
Tertiary
SY: 2010-2014
 SOUTHERN PHILIPPINES INSTITUTE OF SCIENCE AND
TECHNOLOGY
Imus, Cavite
Secondary
SY: 2006-2010
 ANABU IIB ELEMENTARY SCHOOL
Imus, Cavite
Primary
SY: 2004-2006
EXTRA CURRICULAR ACTIVITIES
2012 – 2013 Member of Vibrant Beat

DLSU-D Dance Company
2011 –2012 Genshiken, Cos-Playing

DLSU-D Organization
2010 – 2011Member of Delirium,

Theatre Club for College of Liberal Arts
De La Salle University –Dasmarinas
CHARACTER REFERENCE:
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Assistant Team Leader
TaskUs Inc,
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Team Leader/ Trainer
Task Us Taguig
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Registered Nurse
Bacoor District Hospital
Revilla’s Business Park
Bacoor, Cavite
 ROBERT KYLE LAXINA 09166679258

College and High-school Professor
Southern Philippines Institute of Science and Technology
I hereby certify that the above information is true to the best of my knowledge and
belief.

Applicant
150
Jennylyn B. Gancayco
Block 3 Lot 5 Abraham St. Phase 1

Dexterville Classic
Mobile no.: 0927-542-8988
E-mail
address:jennylyngancayco@gmail.com
nylynnej_jhen22@yahoo.com
OBJECTIVE
 To attain an internship that I can gratify with, and maximize my talents,

knowledge and skills in terms of media production and communication.
 Work with passion and to seek a responsible for the goodness of this
company.
EDUCATIONAL BACKGROUND
 De la Salle University- Dasmarinas

AB Communication Arts Major in Media Productions
Tertiary
SY: 2011- present
 Fiat Lux Academe

Secondary
SY: 2005-2009
 Sabang Elementary School

Primary
SY: 1999-2005
PERSONAL INFORMATION
 Date of birth: July 22, 1993
 Place of birth: Calamba, Laguna
 Age: 21
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151
 Weight: 44 kgs
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 Mother’s Name: Celia B. Gancayco
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Affiliation:
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KEY SKILLS
 Put all the efforts in completing the given task
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 Highly adaptable, positive, flexible, patient risk-taker who is open to new
ideas
AREAS OF INTEREST
 Watching local and foreign films

 Assisting productions
 Interacting with people
 Surfing on social networking sites for informational purposes
ADDITIONAL SKILLS
 Computer literate
Can find desired information in the internet within reasonable time
Microsoft Office (Word, Power Point, and Excel)
 Capable in Communication Skills

English and Filipino
152
 Basic knowledge on film/radio script writing and media productions
REFERENCE
Mr. Jeremy Manicad
Choreographer/ Program Manager
Usaping Bayan at City Government of Dasmarinas
Mobile: 0917-767- 2896
Mr. Ron Gagalac

News Correspondent, Freelance Journalist
ABS-CBN News
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Mr. Neville Carbon

Filmmaker, Lecturer
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0915- 561- 2095
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Jennylyn B. Gancayco
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THE REPRESENTATION OF THE CONCEPT OF INFIDELITY

FROM THE SELECTED FILIPINO FILMS

The Faculty of Communication and Journalism Department

College of Liberal Arts and Communication

De La Salle University- Dasmariñas

In Partial Fulfillment of the Requirements for the

Degree of Bachelor of Arts in Communication

ALYSSA MARI V. BENGUSTA

parents whoseencouragement became our strength: Mr.&Mrs.Roscel and Rosemarie

Bengusta and Mr.&Mrs. Dante and Celia Gancayco.

running errands to help us complete this work.

during our interview.

sympathetic and patience.

This undergradute thesis entitled The representation of the concept of

Ms. Isolde E. Valera

Thesis Review Panelist

Mr. ArtinUmali Mr.Roel Ramirez, APR

De La Salle University - Dasmariñas

College of Liberal Arts and Communication

Communication and Journalism Department

Betty E. Puzon, PhD

sentiment beings. Acknowledgment of gratitude goes to the following significant

advisors and contributors:

Communication Research professor, Ms. Ma. NornelynCachuela, for her supervision,

patience and understanding, to our thesis panelists, Mr.ArtinUmali and Mr.Roel

betterment of our paper.

unconditional and total-packaged support. We would also like to acknowledge Mr.

studying is about “learning”. This would not be accomplished without our

extramarital affairs are represented in Philippine cinema. It study focused on the

specifically HuwagPamarisan. Mister mo, Lover boy ko (1975), Relasyon (1982),

Water was the predominant visual element used to represent infidelity.

secrecy, poisonous and destruction were dialogues that corresponded to infidelity. It

between selected movies and reality.

Approval Sheet…………………………………………………………….……. iii

Thesis Editing Certification………………………………………………..…… iv

Table of Contents……………………………………………………………….. viii

Appendix A: Coding Sheets of Selected Filipino Films

HuwagPamarisan. Mister mo, Lover boy ko(1975)…….……………. 79

Minsan Lang KitangIibigin (1993)………….….……….……………. 85

No Other Woman (2011)………….………..…………….………….... 86

HuwagPamarisan. Mister mo, Lover boy ko(1975)………………. 91

Minsan Lang KitangIibigin (1993)………….………………..……. 95

No Other Woman (2011)……………..……………….……………. 100

Appendix B: Full Transcription of Interviews

Mrs. Celia Bete………………………………..……….…...………. 109

JumeirahMargeux Adams………….………………….……………. 115

Prof. Robert Kyle Laxina………….………..………….……………. 121

Dir. Paolo Emmanuel Magsino………….…….……….……………. 127

1. RQ 1(Table A): Coding Sheet for Visual Elements……….…............. 20

2. RQ1(Table B): Example Coding Sheet for Visual Elements................ 21

3. RQ 2(Table C):Coding Sheet for Dialogues……….……................... 22

4. RQ 2(Table D):Example Coding Sheet for Dialogues….................... 23

5. RQ1 (Table 1):Visual Elements Represent Infidelity…....................... 25

“HuwagPamarisan. Mister mo, Lover boy ko” (1975)

1. Figure 1. Peirce’s Triadic Semiotic Model………………..……….…...… 13

2. Figure 2. Conceptual Frameworks………………………………………. 14

3. Figure 3. Operational Framework………………………………….….… 15

4. Figure 4.Conceptual Framework of Film Theory……………….……..… 18

it has become a resource on how the world works. Adolescents, particularly

issues increasing in importance such as those of romantic and sexual relationships

(Arnett, 2000; Furnham & Simon, 1999). However, interpreting media

representations of these issues as being an accurate reflection of reality may have