Artificial intelligence is a relatively new form of technology that aims to automate tasks, effectively making work easier to do. This is very much apparent in the field of sports journalism, wherein numerous types of artificial intelligence have risen as a supposed aide to the work of a sports journalist. But with this unfamiliar territory looming for sports media, there then exists a need to find out how sports journalists feel about it.

As such, this study focused on the perception of Filipino sports journalists on the use of artificial intelligence and its many forms in their work. Guided by both the Diffusion of Innovation theory and the Uses and Gratifications theory, it reviewed and analyzed interview answers from seven sports journalists currently in the industry, all about their opinions on AI, its role in their work, and their thoughts on its future in the field.

The findings revealed that Filipino sports journalists generally accept and see the role of AI in the industry, but it has to stay in an assistive role rather than an overtaking one. It helps out in huge chunks of work such as transcription and translation, but journalists say that they draw the line at AI actually doing their work for them.

This study has implications for media organizations looking to integrate artificial intelligence into their work. With this study, they may better analyze the media’s state of knowledge and implement their guidelines on AI in a more appropriate way.

Anchored in three theories: Sellors’ (2007) collective authorship in film, Heath & Isbell’s (2021) principled collaboration, and De Ridder, Dhaenens, and Van Beuwel’s (2011) representational strategies of queer resistance, this study investigated collective authorship within the independent queer films productions of Cinemalaya 2023: Huling Palabas, Iti Mapukpukaw, and Rookie, as facilitated by collaboration and communication toward the manifestation of representational strategies of queer resistance. Through a qualitative case study design with 16 key informant interviews and three textual/film analyses, the study was able to surface that the filmmakers’ motivations, successes, and the challenges they experienced were observed to align with their intentions both at the individual and the collective level, paving the way for the collective authorship of their respective films. Within the process of collective authorship, the filmmakers were also found to collaborate toward goodness as facilitated by communication which were oriented through either dialogue, interests, conflict, consensus, and solutions. Such communications within the collaboration toward collective authorship were observed to inform the manifestation of queer resistance strategies within the scenes and sequences of the films. The findings highlight grounded perspectives about the role collective authorship plays in the production of independent queer films in the Philippines.

This study investigates how University of the Philippines Diliman (UPD) students negotiate their musical identities within Spotify’s digitally mediated environment. Drawing from Goffman’s Self-Presentation Theory, Hogan’s Exhibitional Approach, and the Musical Identities in Action (MIIA) framework, this research explores the interplay between individual agency, platform affordances, and socio-cultural factors. Semi-structured interviews with purposively selected students were analyzed using thematic analysis. Findings show that students actively co-create their musical identities through playlist curation, social sharing, and interactions with algorithmic features. However, cultural values such as pakikisama (social harmony) and hiya (sense of shame) shape their choices, creating tensions between global trends and local traditions. Aligned with Deuze’s media life perspective, Spotify is embedded in students' lives, mediating emotional regulation, social bonding, and identity expression. Students act as co-curators and cultural influencers, shaping their digital spaces to reflect and construct narratives of the self.

Politics and journalism have always been inextricably linked. Given the Iglesia ni Cristo or INC’s bloc voting tradition and its role as a partisan religious organization, there is a need to analyze its influence on democratic processes. This study explored how NET 25, the news media arm of the INC, framed presidential candidates during their coverage of the 2016 and 2022 Philippine presidential elections. Through a combined framework using Herman and Chomsky’s (1988) Propaganda Model and De Vreese’s (2005) Integrated Process Model of Framing, this qualitative research examined YouTube videos of NET 25’s election broadcasts aired from the start of the election period until election day of the particular year to determine the frames and exposure allotted for each candidate. Additionally a semi-structured interview was conducted with a key person in the network to get a glimpse on the editorial decisions and dynamics regarding how and why candidates were presented in certain manners. Findings reveal that NET 25’s coverage mostly favored INC-endorsed candidates, namely Rodrigo Duterte (2016) and Ferdinand Marcos Jr. (2022). Opposition candidates, particularly Leni Robredo, were framed negatively through tactics like red-tagging and disinformation. The study contributes to understanding how partisan religious media influence electoral dynamics by shaping public perceptions through strategic news framing.

Finstas or dump accounts as online intimate spaces may be seen as a strategic response to the pressure of conforming to social norms in front of a broad and vague online audience. Existing finsta research, however, has gathered data from a predominantly female respondent base. As a response, this research aimed to uncover the experiences of the minority of the practice– the male population, by analyzing how male Gen Z college students display their self-presentation in both their primary and secondary Instagram accounts. The analysis primarily focused on the general attitudes, emotions, and motivations, as well as the decision-making, creative, and thought processes of the users on self-presentation and curation online by examining their use, perception, and behavior in this reconfigured platform.

This study found that identities presented in the dump account are almost entirely opposite to their presented identities in the main account. Finstas serve nothing but the interest of its creator, thereby affording these users the freedom to share and document the messy and mundane aspects of their everyday life, allowing them to portray the most authentic self possible online. Such is the stark difference in their main accounts, where there is a constant pressure to look good and presentable. They are compelled to accommodate and account for a broader and vaguer audience, leading them to curate their identities to a more surface level and broad consumption-friendly version of themselves.