This study examines how beneficiaries of the Department of Social Welfare and Development (DSWD) are represented in the Kwento ng Pag-asa at Pagbabago (KPAP) YouTube video series. It interrogates these representations through the framework of Representational Justice, focusing on the dimensions of agency, dignity, equity, and structural consciousness. Using a qualitative multimodal approach, the study analyzes selected KPAP episodes across narrative, visual, aural, and discursive frames to understand how meaning is constructed and regulated in state-produced digital storytelling. Findings reveal that KPAP operates through a coherent but tightly governed representational system that consistently affirms beneficiary dignity and avoids overtly exploitative portrayals. However, these ethical achievements remain circumscribed within a communicative logic oriented toward program justification and institutional legitimacy. Beneficiary narratives are curated as evidence of state effectiveness, resulting in constrained narrative agency, unequal distribution of voice and authorship, and limited articulation of the structural conditions of poverty. This mode of representation is best characterized as instrumental–legitimizing storytelling, in which stories function not only to humanize beneficiaries but also to validate institutional performance. Within this framework, beneficiaries occupy a dual position as both visible subjects of care and symbolic instruments of state legitimation. While recognition is present, participatory parity remains absent. The study argues that ethical storytelling, when decoupled from equitable narrative participation and structural critique, produces only partial alignment with Representational Justice. It contributes to scholarship on development communication by demonstrating how state-led digital narratives can simultaneously humanize and regulate, offering dignity without full representational autonomy and visibility without structural justice.

This study examines the evolution of FM radio in the Philippines during the early stages of digital integration, focusing on how traditional radio expands through the incorporation of digital platforms. Anchored on media convergence theory, particularly Jenkins’ concept of the flow of content and Negroponte’s model of media convergence, the research employed an exploratory and descriptive qualitative design to document observable changes in radio practice.

Using case studies of three FM radio stations in Metro Manila—Magic 89.9, Monster RX 93.1, and Wish 107.5—the study analyzes how radio-originated material is remediated and distributed across websites, social media platforms, visual platforms, and audio-on-demand streaming service, during a defined observation period in 2021. The findings indicate that digital platforms function as auxiliary infrastructures that extend FM radio beyond its traditional constraints of ephemerality, geographic reach, and linear delivery. Rather than replacing terrestrial broadcasting, these platforms enable the circulation of radio-originated content across multiple digital environments. At the same time, it acquires new characteristics, such as visuality, interactivity, on-demand access, and multi-platform distribution.

The study demonstrates that, within a convergent media environment, the evolution of FM radio is observable through the expanded circulation of radio-originated content across digital platforms, without displacing established broadcast practices.
Jenkins’ concept of the flow-of content and Negroponte’s model of media convergence, the research employed an exploratory and descriptive qualitative design to document

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The study tackles on the dramaturgical aspect of the mockumentary form, concerning the influences in terms of technical and artistic traits make up the of conveying fiction in an unscripted space influenced documentary elements that highlights the importance of technical aspects that make up the form's aesthetics Mockumentary narrative looks into both into technical and comedy that concerns on the concept of “make believe” discourse coming from documentary influences that builds on comedy-verité= mode: spontaneous, mundane qualities emulate the unscripted space; the technical approach of using handheld camera trait brings observational visual language. Incorporating these concepts make up framework's concept on mockumentary form which the study borrows Goffman's dramaturgy where it's believed that human behavior and interactions is seen as a performance that pertains that make up the dramatic composition the mockumentary which deals on performative nature that makes up the concept of observational humor in writing.

This feminist phenomenological study looks at how a Diehard Duterte Supporter or DDS social media influencer makes sense of former President Rodrigo Duterte’s perceived sexist attributes. Guided by the methodological tenets of hermeneutics and critical phenomenology, this study foregrounds not only the lived experiences of the participant in this study – a DDS blogger (as she is often called on social media) but also critically analyzes how she negotiates the complexities of being an influencer and a woman who supports a perceived sexist leader. Theoretically viewed as a mediatized opinion leader, this study critically examines how she emerged as a new political actor during the Duterte administration, capable of shaping conversations about gender and power. Through a one-on-one dialogical conversation between two women, this study offers insights into how the participant’s personal knowledge and encounters with the former president, along with cultural references such as traditional Filipino values, become instrumental in normalizing sexist discourse. By reframing it as paternal authority, familial connection, generational gap and humor, it further reveals how a woman with strong opinion leadership on social media reconciles her personal politics with the populist discourse of the former leader.

In 2018, Baguio City’s local government unit (LGU) approved the Silent Night city ordinance which monitors and penalizes loud sounds and excessive noise from audio speakers, devices, and activities around the city especially in residential neighborhoods and even along the famous Session Road. Taking off from this premise, the study listened in/to Session Road and defined its social production as space (Lefebvre, 1974; 1991) through sound. Using Gilles Deleuze and Felix Guattari’s theory of assemblage and the concepts of folding, desire, striated space, and smooth space (1987; 1993), the study listened in/to Session Road as space in order to organize, interpret, analyze, and discuss the assemblages co-produced in the soundscape, sound cultures, and sound media representations of the famous road. The study discusses how the assemblages of sound define Session Road as a shared public space, an urban space, an economic space, a transitional space, and a space for performance and the performers. All of which reveal notions of power and how power relations are practiced, experienced, and negotiated in Session Road as space at night vis-à-vis the city ordinance. The study argues that the assemblages of sound are co-produced among silence, human and non-human sources of sound, reinforced sound media representations, sonic transgressions, and fantasies of Baguio as a romantic city, colonial hill station, and tourist destination. Moreover, the sound assemblages co-exist in accord with the desires, needs, and demands of urbanization, gentrification, tourism, and modernization as dominant modes of production in the city.