This dissertation discusses the phenomenon of the growing popularity of K-pop beyond South Korea and the intensity of fandom passion consistently attached to it. The expansion of fandom participation to include activism and civic imagination creates a larger layer of idol influence and fan power that needs to be examined on a scholarly level. With the total experience being mediated and almost exclusively performed in social media, the question regarding how Filipino women fans of K-pop groups negotiate fan identity, self-presentation, and activism is presented as the centerpiece of this research. Through the use of narrative inquiry, nine members of Philippine fan communities of three of the biggest K-pop groups shared their individual, group, and collective fan experiences and their usage of social fan platforms. Fan identity and self-presentation are the initial points of discussion, leading to the realization of transnational activism.

This thesis is a creative production project that aims to produce an educational Interactive Documentary (I-doc) about Shaider, a former Child in Conflict with the Law (CICL). A CICL refers to a child who is alleged as, accused of, or adjudged as, having committed an offense under Philippine laws (RA 9344, Chapter 1, SEC. 4, 2006). Shaider was a minor who was framed as a drug and murder suspect during the infamous war on drugs campaign that started in 2016. Almost five years of his life were spent in the jail, the Department of Social Welfare and Development (DSWD) center, and the Bahay Pag-asa to pay for the sins he did not commit. In 2020, his social worker encouraged him to plead guilty even if he is innocent to fast track the resolution of his drug case. In 2021, the court dismissed his murder case due to insufficient evidence. Mundo ni Shaider is comprised of twenty (20) webpages containing thirteen (13) videos that will unveil the untold story of Shaider as a CICL. The creative project will be based on the research gap that will be identified in the review of related literature on mainstream media CICL representations. Through an interactive educational and awareness campaign about the plight of a CICL crafted through a non-linear rhizomatic storytelling, the I-doc presents ways that aim to address the gap in representation of the CICL as well as amplify the best practices observed in existing mainstream media representations.

RuPaul’s Drag Race Philippines (RPDR PH) is the Philippine edition of the popular reality television series RuPaul’s Drag Race (RPDR). In the show, drag queens participate in elimination-style challenges to win the top title. Given the history of drag in the country, it is interesting to see how RPDR PH engages its viewers at the entertainment level and as another platform for representing local drag culture. This study analyzed viewer reception on the presentation of drag in RPDR PH through Schrøder’s (2000) Multidimensional Model of Mass Media Reception. This study utilized a phenomenography research method, which is used to interrogate the way people experience a particular phenomenon. Twelve informants served as research participants. Results revealed that the informants had an overwhelmingly positive view on the show’s presentation of drag through its pageantry and glamor. For the informants, the show can be a stepping-stone to inclusivity and visibility for queer talent and performers. However, the viewers acknowledged that drag queens in the RPDR franchise adhere to certain drag tropes, dubbed the RuPaul Prototype. While informants expressed a desire for more representation of different drag styles, they were not deterred from watching RPDR PH in favor of its contributions to LGBTQ+ representation.

Community-Based Disaster Risk Management (CBDRM) initiatives have strong roots in Philippine society because of the country’s natural vulnerability to disasters, the Filipinos’ culture of community cooperation known as bayanihan, and a history of Filipino social movement propelled by frustration toward bad governance (Victoria, 2003). It is the endeavor of this research to simultaneously promote and understand CBDRM by establishing a normative theory about it that is grounded in empirical investigation. Informed by the metatheoretical and methodological framework of Grounded Practical Theory (GPT), we have analyzed CBDRM advocacy work through a non-government organization at the forefront of CBDRM advocacy in the country, the Center for Disaster Preparedness Foundation, Inc. (CDP). We have employed Action Implicative Discourse Analysis (AIDA) to evince the problems, techniques, and ideals of CBDRM advocacy work through the Innovation Academy’s National Learning Event (NLE). In the main, we outlined the three levels of the grounded practical theory of CBDRM advocacy work as a communicative practice: (1) the arduous journey toward sustainability and institutionalization (problem level), (2) the discourses of strategy as the impetus for CBDRM advocacy work (technical level), and (3) the necessity for a paradigm shift in disaster risk management (philosophical level).

Food vlogging is a popular way of showcasing passion for food. Filipino food vloggers are individuals who create and share video content to share their knowledge, skills, and experiences with different recipes or restaurants. This study primarily focused on describing the content production of good taste through the most viewed featured Filipino dishes of Ninong Ry, Vanjo Merano, and Marvin Agustin. The Remediation Theory of Bolter and Gruisin (2000) was administered as a theoretical anchor for identifying their representational strategies. The remediation of good taste was also explored through a textual analysis while using the indicators of visualized materiality and perceived multisensory imagery. Reception analysis was also conducted through focus group discussions among the followers of the three Filipino food vloggers. The participants shared their personal experiences of trying to cook the featured Filipino dish through the frames of analysis in the consumer culture theory by Ahola (2005). The study discovered that through multiple representations of Ninong Ry, Vanjo Merano, and Marvin Agustin’s authentic selves, they were able to remediate the good taste of Filipino dishes. Likewise, the remediation of good taste transpires to the followers’ personal experiences from cooking the featured Filipino dishes of Filipino vloggers.