The Filipino Culture: Television and Teleseryes

Television has always been a part of Filipino culture. From the supermalls and

barbershops to the carinderias and school canteens, one can find a TV set where a variety of

shows can be watched. Because of technological advancements, local mobile phone

manufacturers were able to produce phones and tablets equipped with television antennas,

and these gadgets were once popular among the Filipino masses. Families and office workers

gather at lunchtime to watch their favorite noontime shows while eating their meals. Students

and even tricycle drivers sometimes halt their studies and work to watch the Miss Universe

competition or Manny Pacquiao’s boxing fight. Indeed, the Philippines has established a TV

Culture, and until today, this culture has been standing strong and still prevalent in the

contemporary Philippines. One of the reasons why Filipinos’ strong relationship with the TV

is the reason why there is a continuous production of teleseryes by the Philippine media.

The Philippines has always been home to a variety of teleseryes produced over the

years. The term teleserye is a portmanteau of the words television (tele) and serye (series) and

this translates to television series. According to Sanchez (2022) in his article on the Filipino

soap operas, teleseryes have been around for more than 60 years and it has transitioned from

radio dramas to television dramas. Sanchez wrote:

“The teleserye is an encompassing term that refers to all sorts of Filipino TV soap

operas. It descends from early forms of serial drama introduced in radio in 1938.

Then and now, it is shaped by both American soap opera conventions [in Allen (1985,

137-138): “(it is) marked by (an) absolute resistance to closure”; “(it is also) marked

by (its) contemporary setting...(and) ‘domestic’ concerns”; “(it is) ‘didactic’ in

 nature...as (a vehicle) for consumer products”; and it is pegged as “women’s

fictions”], as well as Philippine narrative and dramatic traditions.”

Although present for a long time, the term is relatively new as it was only introduced

during the 2000s. According to the Oxford English Dictionary, this was coined by Emmanuel

Dela Cruz, one of the writers of the hit Filipino series called ‘Pangako Sa’Yo’ to hype up the

show. Nevertheless, teleserye is a fresh term that encompasses the different Filipino soap

operas. Originating from a soap opera called ‘Gulong ng Palad’ that premiered on a radio

station in 1949. This was later adapted into television that paved the way to the success of

other soap operas. From then on, these television shows would take over different networks,

creating their own plot that allured Filipinos all over the country to tune in and wait for the

upcoming episodes. Some of these shows would go on to still be remembered despite airing a

long time ago, such as ‘Mula sa Puso’ (1997), ‘Got to Believe’ (2013), and the fantasy series

‘Encantadia’ initially aired in 2005 and reproduced in 2016.

On the other hand, the Philippines is not only the home of teleseryes but the country

has been an extension of the Korean series, locally called “Koreanovelas.” Due to

globalization, Filipinos are able to watch and consume media products from South Korea.

The two leading broadcasting companies, Alto Broadcasting System – Chronicle

Broadcasting Network (ABS-CBN) and Global Media Arts (GMA) are both homes of several

South Korean series.

The Filipinos accepted the pleasure of watching foreign shows and its success is

evident to this day. It is reflected by the continuous airing of K-series and their Filipino

adaptations. Situating today, a lot of Filipinos are currently hyping up ‘The Broken Marriage
Vow,’ a Filipino rendition of ‘The World of the Married,’ which originated from South

Korea. Allan “AC” Soriano helped popularize the show. In his Instagram live, AC

impersonated the lead actress, Jodi Sta. Maria, in her iconic “confrontation” scene, coupled

with a remix of the audio of her famous line in the show: “your daughter is sleeping with my

husband”. With this new trend, the show has garnered more viewers as the soap opera

continues to put out more episodes. Despite the trend that was ignited by AC, it is important

to recognize that the show exhibits similarities to teleseryes created locally, which contribute

to the interest of the Filipinos in the series. Hence, this paper aims to evaluate the

contemporary teleserye entitled "The Broken Marriage Vow" in terms of its technicalities,

adaptation, and how its themes, such as affairs and infidelity are a recurring trope in the local

scene.

The Broken Marriage Vow: Dissecting its Technicalities

Upon watching the 31st episode of ‘The Broken Marriage Vow’, we compressed the

technical elements we considered into three — Cinematography, Editing, and Mise-en-Scene.

The first element is the cinematography where we examined two components which

are the composition and camera movements and upon observation, they lack the consistency

of these. In some scenes, they get it right and appropriate; in some scenes, they seem to

forget things to consider for effective storytelling through cinematography. To explain

further, we will discuss each component.

The first component of cinematography is composition. According to StudioBinder,

the shot composition is the way visual elements are arranged in a shot to convey certain

messages like lighting and framing. An example of lack of consistency in lighting is during
the scene of Jill (protagonist), telling her husband, David, that they are to have dinner

somewhere.

[Images via The Broken Marriage Vow, Episode 31 Preview]

There is an obvious difference between Jill and David’s lighting. Both are to highlight

expressions; however, they failed to illuminate David’s. There are times when the lighting is

somewhat consistent, for instance, when Maggie is checking up on Lexy. But the irony in

both scenes is that there are other sources of light. Jill’s and Maggie’s backs are facing lamps,

while Lexy and David are facing them; yet David’s and Lexy’s faces are darker compared to

the other two.

[Images via The Broken Marriage Vow, Episode 31]

The next is where many Filipino dramas, including this, fall short, the framing. When

framing characters, there are things to consider: symmetry, balance, and purpose. One

example of a lack of symmetry is the scene where Jill’s shoulder is cut off while you can see
David’s completely. The purpose of this scene is to show how uneasy they are beside each

other for opposing reasons. It could have been more emphasized, especially with the way

they look in different directions if they shot a mid-shot where you can see both shoulders and

chest areas. The worst part in this scene is when Jill talked, her body is almost cut out of the

frame.

[Images via The Broken Marriage Vow, Episode 31]

Another confusing part is the way they always use hidden character points of view. It

could be that they are aiming for the aesthetic, but it seems like they are being watched by

someone else other than the main and supporting characters themselves. Or perhaps they are

making us feel like we are part of the drama, but the latter purpose is not effective without

establishing it as a purpose from the beginning.

 [Images via The Broken Marriage Vow, Episode 31]

To clarify, they can utilize it for a more dynamic or unique approach to certain

sequences; but, they use it for nearly all of the establishing or full shots, making the series

appear to be a mystery series when it is not. To explain explicitly, there are three examples.

For the first one where the two couples entered the Lucero’s mansion, the shot could be an

aesthetic effect to show the extravagance of their house. But compared to the next two, when

you see in wide shots, there are no other characters besides the ones we usually see. When

Gio opens the door, Dr. Jill and David are already stepping inside the scenario, but the shot

makes it seem like there’s another person when there is none. Then with the shot of Lexy,

there are no other people, not even a helper, besides the ones sitting on the dining table but

made it look like a child is watching them, based on the level of the shot.

Focusing on the camera movements, we can observe that the cameras are shaking

excessively which affects the whole shot. While it is understood that the shakiness of a

camera may indicate a chaotic environment, it is not guaranteed that the same message will

come across every time this technique is used. A good example of effective execution is

Wong Kar Wai’s work in “Chungking Express”, wherein scenes were shot with a handheld

camera that perfectly captured what it’s like to be in an urban environment. People are

everywhere, the streets are bustling with vehicles, and the sidewalks always seem to have just

enough space for the most minuscule of movements. Taking into account the environment

and the storyline, Wong Kar Wai’s usage of a handheld camera and the natural shakiness that

comes along with it fits perfectly into the scene of the movie.
 [Image via Chungking Express: A Love Letter to the Lonely City]

With ‘The World of the Married’, the shaking is incorporated too but in a more

dynamic way. They subtly used the camera’s shakiness and balanced it with stable panning to

other characters or angles. Although they both look dizzying, the South Korean one is more

tolerable than the local one. Rather than adding to the artistry of the overall episode, it just

came out as an accident.

[Image via The Broken Marriage Vow, Episode 31]

[Image via The World of Married, Episode 5]

There are also quick pan shots and too many tracking shots that are a good way to

portray a movement of a character or a good way to see the other characters, but their eyes

could only keep up with certain things. Viewers could be tired of too much movement.
Instead, they could shoot the face or body of the actors in a stable manner to emphasize their

micro-expressions or body language.

Additionally, there is inconsistency in the focus of the shots. There are certain scenes

wherein the characters are out of focus. Although this could be fine if they are going to make

viewers pay attention to other characters’ expressions, they could at least transition it to not

make the one speaking irrelevant if their lines are important. Lastly, you can sometimes see

the crew.

[Image via The Broken Marriage Vow, Episode 31]

Knuckling down to the editing, the viewers are greeted by a recap of the previous

episode. Some things to note are its outdated transitions and overused effect of zooming in on

the characters when something significant happens. These dramatic and excessive use of

zoom-ins combined with pulsing and fading to white effect can also be found throughout the

episodes of ‘FPJ’s Ang Probinsyano’, where even though there was no relevant person to

emphasize, or no specific scene to highlight, the camera still zoomed in to them. This didn’t

go unnoticed by netizens, and this kind of effect would be criticized online multiple times and

receive a significant amount of parodies. The reaction of viewers online should be enough

indication that people have moved past these edits and should adapt to a more updated or

innovative way to show emphasis on a scene even if it’s just a recap. Some things that are

tackled in the composition like the lighting could be edited. Since we had compared it to the
South Korean adaptation, it is not easy to go unnoticed how close the editing and

cinematography of ‘The Broken Marriage Vow’ is to it.

On the other hand, one of the most promising parts of their editing is the title

sequence. First, pictures were being submerged in water, metaphorically teasing the viewers

about how their marriage is getting into deep conflict. Then an overlaying video with lower

opacity of a pair of rings with another being added while showcasing submerging pictures of

Jill and her ring. From her pictures, it transitioned to the photos of David and Lexy with

another overlay video of a robe falling down, telling us about the change in their

relationships. It ends with a shattering before the title card, which also got shattered. It gives

a thrilling impact on the audience.

Next, part of the post-production process is sound editing. In filming, the music score

is important for several reasons, but the commonly known reason is that it sets the tone of the

series. In Michel Chion’s “L’audio-vision: Son et image au cinéma”, he said, “The real

sound, shown in the image, is not to reproduce the sound source but to renew it,” pertaining

to how music could move and give emphasis to the message of a scene. He added, in his

theory, “depending on the movement of sadness, joy, and emotion. music can be directly

involved in the scene, by using the appropriate scale, composition, and rhythm changes.” For

the 31st episode of the series, they chose the background music well. The mood is there’s an

unspeakable tension from the beginning until it escalates to a dramatic tension after the

revelation towards the end. The only concern, as a viewer and listener, is that it becomes

overwhelming. There is background music playing from the beginning to the end, with only a

few pauses. They even add sound effects to unnecessary scenarios. For instance, when the

father thanked Jill for complimenting their house, the sound effect is intense. Although as
viewers, we know Jill is just acting in front of the Lucero family, the Luceros don't know it so

there’s no tension yet unlike how the sound effect suggested. There are also times when they

are just talking, there’s ongoing tension through the music playing. One of the well-suited

parts is when Jill is getting out of the car, and you can see David being anxious. There’s a

piece of unsettling background music playing which is good in making us feel his uneasiness.

[Image via The Broken Marriage Vow, Episode 31]

The last technical element to be discussed is the Mise-en-Scene, a French term that

means “Putting on stage.” Here, we considered the interactions of every element: setting,

actors, props, costumes, framing, movement, and lighting, and how they utilized these

elements to tell us the story they wanted us to perceive through specific scenes. Finally, we

also thought about the interactions of every element: setting, actors, props, costumes,

framing, movement, and lighting for the mise-en-scene. In short, we will criticize how

effective their storytelling is.

With lighting and color grading of the episode, perfectly captured the intensity of

what the episode is about. The color was on the warmer side, but not the gentle and

welcoming kind. It indicated an intense feeling, may it be anger or distress, which was perfect

for a confrontation scene. It added to the good build-up they had going on from the start of

the episode up until the very last minute. It also made other more vibrant colors pop in the

scene, especially the relevant ones like Lexy’s gift to her father.
 [Images via The Broken Marriage Vow, Episode 31]

While the music could sometimes be a little too loud and would keep up with the audio of

those who are talking, it is quickly submerged by the actors’ great acting skills that keep the

viewers on their toes and almost immediately make them forget about it. But there are two

separate instances wherein Dr. Jill looked right at the camera for what can be assumed as an

added effect for intensity, but like the shaky camera work, it does not exactly achieve the goal

they are trying to make, whatever that may be. It felt awkward for the most part and could

potentially ruin the build-up they have created. The portrayal is good, but it lacks a lot of

things.

A good example of a subtle going to intense scene is the Elrond’s Council Meeting in

‘Lord of the Rings: Fellowship of the Ring’. At the beginning of that specific scene, instead of

using a shaking camera movement, they used subtle dolly zoom-ins and outs with static shots

that focused on the micro-expressions and body language of the characters like Elrond’s and

Boromir’s hands and the other members’ shoulders. There’s not much movement, but a

viewer can feel the tension of the upcoming chaos. The shaking camera movements were

only applied when the scene really intensified, and the tension was built up.
 [Image via The Lord of the Ring: Fellowship of the Ring, Elrond Council Meeting Scene]

In addition to that, one thing that hinders many promising series is the lack of going the extra

mile. They are very tight in shooting scenes, unlike South Korean Dramas where there are

different takes for some scenes. There are scenes when it needs to focus on the one speaking,

yet the shot is still on a mid-shot or a full shot without even getting the person they are

addressing in the scenario. Sometimes, it looks like they just used one shot over and over

again.

Lastly, it could be that their time, resources, and budget are not enough during the

shooting because of the pandemic, so we give them the benefit of the doubt. There are a lot of

good scenarios or takes despite their situations; however, we still can’t deny some of the

shortcomings in the production.

Creativity in TV and Film: A Battle Between Money and Quality

 While it is worth noting that the overall fondness of Filipinos for Korean series and

locally-adapted Koreanovelas has immensely affected the artistic preference of local viewers,

it is likewise productive to criticize how these adaptations set limits to the creative liberty of

Filipino filmmakers. It is apparent that a number of locally-adapted Korean shows have left

remarkable remarks to the masses with the likes of ‘Descendants of the Sun’ (2016), ‘My

Love from the Star’ (2017), and ‘Only You’ (2009) which showed great reception and

received outstanding ratings.

With the current TV hit The Broken Marriage Vow (2022), there has been an online

uproar about whether K-dramas are truly deserving of Philippine versions because the

wealthy list of locally produced Koreanovelas reveal that Filipino filmmakers are lacking

originality, artistry, and innovative competencies. True enough that the local versions allow

creators to enhance the plot and incorporate more themes, this still neglects the criterion of

originality and authenticity of the local show industry. Not to undermine our ingenuity, it is

only because the Philippine show market is saturated with absurd character portrayals,

impractical recurring tropes, and pathetic repeating plots. There can be no justification for the

domination of unsatisfactory and frequently poorly produced shows.

This is elementary economics—more demand, less supply; less in a sense that the

networks and producers just lessened the production costs and conceitedly supplying of less

quality shows! In fact, there is a diverse population of creatives in the country—the show

business just complacently and carelessly, yet carefully, decides to not venture into

showcasing Filipino’s inventiveness in the film and show industry. This indeed exposes how

the Philippine TV market has been abused by the capitalistic intention of the networks to

broadcast low-quality on-screen projects.

 Upon further evaluation, there is certainly room for enhancements. The previously

stated online clamor for high-quality shows is brought about by the digital connectedness of

the audiences. Feedback is instantly supplied now that the Internet has been extremely

advantageous to both the producers and viewers. This then should pave the way for the

forthcoming endeavors of show networks to genuinely consider such a petition and risk

investing in better machinery, venturing into benchmarking, and incentivizing their creative

departments to be able to deliver outstanding shows.

In fairness to some small production firms, they are catering to the public’s appeal to

supply shows that are innovative and are considered in the local Filipino context—sociology,

anthropology, etc. and correspond to relevant issue s also. We have observed that there has

been an influx of limited series with the likes of ‘Gaya sa Pelikula’ (2020). There is an

understandable reason as to why the younger audiences are yearning for more ingenious

shows that perhaps might have a fresh take on a more sensible plot, finer casting, and much

substantial storytelling—an elevated overall appeal.

But then again, it will always be about money over quality. It might take years or even

decades before the show industry might realize how left behind the Philippines has become in

terms of showcasing high-quality shows. But there still lies an optimism among an

‘artistically demanding’ audience that there soon will be an abundance of programs that are

regarded to be the creative ones.

The Fetishization of Marital Infidelity, Cheating, and Adultery

in Philippine Media

In connection with the constant adaptation of other dramas and recycling of tropes,

themes, and plots in Filipino teleseryes, marital infidelity and adultery are some of the most

popular and overused themes in the Philippine media. According to the American

Psychological Association Dictionary of Psychology (n.d.), infidelity is “the situation in

which one partner in a marriage or intimate relationship becomes sexually or emotionally

involved with a person other than the partner’s spouse or girlfriend or boyfriend”. It is often

referred to as “cheating” and it is mostly associated with a myriad of activities like sexual

intercourse, betrayal of trust, and others. Thornton and Nagurney (2011) cited the sociologist

Alfred Kinsley and his classification of infidelity which are the sexual and emotional

infidelities. In the Philippine context, we have what we call the kabit or querida system.

Marianette Alano (1994) listed terms such as pakikiapid, pangangalunyag, pangangaliwa,

and many others that would describe infidelity in a Filipino way. Alano also asserted that the

effects of the querida system are very pervasive and that almost every Filipino has been

affected by this phenomenon directly or indirectly.

Although the topic is highly sensitive and sometimes denied of its existence, it is a

surprise that these scenarios are somewhat glorified and fetishized by the Philippine media

for their constant portrayals and representation on-screen. We usually hear stories of broken

families and marriages due to an individual’s thirst for romance or other reasons in

connection to cheating. According to the research of Mendoza and Recuya (2016), infidelity

has always been an “ingredient” in Filipino films, and we have seen its proliferation in recent

years. In fact, the term ‘kabitserye’ is coined for these types of genres of TV shows.

Surprisingly, kabitseryes are still performing well in their premieres in the mainstream media.
PEP Ph, one of the leading entertainment portals in the country, listed 10 kabitseryes and

their ratings on-air (Anarcon, 2020). GMA’s version of ‘Temptation of Wife’ scored a rating

of 27.9 percent in its final episode. On the other hand, the controversial drama ‘My

Husband’s Lover’ garnered a score of 25.3 percent, beating its rival show ‘Bukas na Lang

Kita Mamahalin’ with only 14.9 percent rating from AGB. With this data alone, we can

safely say that Filipinos are engaged in dramas with themes of adultery and infidelity. Musni-

Tagaytay et. al. (2016) affirmed that the media opens the audiences to a new perspective of

the world through disputable human stories. Why then do these themes click with the Filipino

audiences and how do these dramas affect the general public?

We must take note that the mass media is a very potent tool for it can cause change in

an individual’s behavior and way of reasoning. Arias (2019) affirmed that media has indeed

the power to influence individual beliefs, attitudes, and behaviors. George Gerbner’s

Cultivation theory states that “Over time, repeated exposure to media cultivated the belief

that the messages conveyed by the media apply to the real world. As people’s perceptions are

shaped by media exposure, their beliefs, values, and attitudes are shaped as well” (Vinney,

2019). Musni-Tagaytay et. al. (2016) applied Gerbner’s theory to understand another

kabitserye entitled ‘The Legal Wife’. By doing the same, we can say that the lives of Jill (Jodi

Sta. Maria), David (Zanjoe Marudo), and Lexy (Sue Ramirez) are relatable to some Filipina

women who have experienced a similar situation. The participating women in their research

shared their fears in entering into new relationships and marriage because they thought that

their lives would end like an infidelity-themed drama. They also opened up about violent

confrontations with their husband’s mistresses if they ever commit to an extramarital

relationship. As we can see, these types of drama may give a new outlook on married life,

romance, and lust. The relatability of these themes and media content is one of the many
reasons why Filipinos are hooked on these types of dramas. It reflects various social realities,

and it mirrors real-life situations that are observable in the Filipino culture. Ramos (2019)

said that since the audiences can relate to these stories, it is natural for them to feel

emotionally involved and sympathetic. She added that “watching how the plot unfolds also

helps viewers reflect on lessons and learn tips that can be applied to their situation” (Ramos,

2019). In connection to this, the mass media has also been trying to exploit our emotions as

audiences. Carballo (2014) asserted that these types of teleseryes may evoke different kinds

of emotions and they may portray relatable topics. Since these stories can be relatable to the

public, producers take advantage to create dramas that may take our interests and “play” our

emotions.

Stereotyping is also prevalent in teleseryes, and the one that is usually depicted in

these dramas are stereotypes about the original missus and the inamorata. Usually, the

housewife or the legal wife is often depicted as someone plain, unsophisticated, and is

typically the one who suffers due to his spouse’s thirst for romance and lust. The mistress on

the other hand is the “Alta” type of woman who is portrayed as a beautiful woman and quite

seductive (Musni-Tagaytay et. al, 2016). Men are also stereotyped as someone who has an

uncontrollable attraction and desire. He cannot resist seduction and temptation because of an

existing mindset that men have their “needs.”. It is close to the judgment that the only reason

a man keeps a woman is because of sexual intimacy and beauty and can be flaunted like a

prized possession. Mendoza and Recuya (2016) cited research on marital infidelity and its

findings show that there is an observable difference when gender is in question. Men do not

feel ashamed when committing to an extramarital affair for it is a symbol of their manhood.

Women, on the other hand, are being lambasted and criticized because it is unusual in the

Filipino culture when women commit an affair. This scenario is also seen in a different
episode ‘The Broken Marriage Vow’. Women are the ones taking all the deep emotional

damage, blame, and responsibility.

There is a little bit of progress, however, when it comes to stereotyping in the

Philippine media. The female protagonist (Jill) is poised to be a competent and independent

woman. She is educated, successful, brave, beautiful, and financially stable, and yet, her

husband still showed flagrant boldness to be involved in an extramarital affair. The

representation is a good beginning and perhaps, may prove that infidelity happens behind the

woman’s back because it is a choice regardless of her physical appearance, financial status,

professional prowess, or even the current state of mind of the cheating partner. This may also

debunk the existing notion that a Filipino woman, in particular, is expected to be self-

restraining and serve as a “moral mother” who ought to be a model of chastity and a

forgiving martyr in case of husband infidelity (Aguilar, 1989 as cited in Pizzaro & Gaspay-

Fernandez, 2015).

Films or teleseryes are very much shaping people’s understanding of reality,

especially the young minds. The most fictional or exaggerated soap operas portray reality on

some level and thus, there is a strong need for children to be supervised as this may have

serious implications for adolescents’ perceptions of the world. According to Molina (2008),

parents watching TV with their children is not equivalent to proper viewing guidance.

Children need explanations and answers about queries and scenes, and this is far different

from the mere presence of parents while watching. These dramas perpetuate stereotypes and

present illicit scenes; hence, strong, and more vigilant parental guidance needs to be

considered. Programs classified as ‘SPG’ (Strict Parental Guidance) may contain more adult

topics and themes, which is not advisable for children to watch except under the vigilant
guidance and presence of a parent or adult (Cortez, Hitchon, & Dicolen, n.d.). Aside from

this, it should be imperative for parents to expound that infidelity should not be glorified and

will never be the right thing to do even though it gains so much attention from many. Adak

(2004) as cited in Ivrendi and Ozdemir (2010) children’s imitation of positive or negative

behaviors is affected by the type of programs they watch. Thus, children need to be strongly

guided while viewing these types of content to make them understand every scenario in the

show.

Showcasing High Quality On-screen Projects: The Vision Forward

Although we have seen progress in the Philippine media, this does not erase the fact

that the Philippine soap operas have always had the same plotline over the decades; the long-

standing stereotypes and objectification of women in extramarital affairs are still deeply

embedded in the minds of Filipinos. We’re all supporting local drama series but how will the

Philippine media grow if we lack socially relevant, mentally stimulating, and artistically

lacking shows?
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