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.

The Korean wave, as a transcultural phenomenon, has introduced changes in socio-cultural standards across the world, including perceptions of gender expression. Pan-East Asian soft masculinity (PEASM) has gained more attention, as it impacts a negotiation in ideals of masculinity and gender performance among global audiences. This audience analysis looked into how Filipino Generation Z K-pop fans interpret PEASM, as portrayed by three third generation K-pop idols: Jimin of BTS, and Jun and Jeonghan of Seventeen. This research investigated how the South Korean kkonminam (flower boy) image interacts with the Filipino macho ideal. Six (6) semi-structured interviews with Filipino Gen Z K-pop fans were conducted. Analysis was guided by Judith Butler’s gender performativity, R.W. Connell’s hegemonic masculinity, and Carolyn Michelle’s Composite Multi-dimensional Model of Audience Reception. Fans recognized the tensions in production and wider resistance to kkonminam while exhibiting counter-hegemonic reading positions. For some, it even served as an avenue for the realization of their queer identity. Ultimately, findings revealed that there is a developing generational shift in favor of more nuanced and equitable representations of masculinity in media.

This study examines the historical and processual evolution of public diplomacy in the Philippines in the context of the South China Sea/West Philippine Sea (SCS/WPS) issue, using mediatization theory as the overarching lens, supported by field and framing theories. This study analyzes multiple layers of abstraction, including socio-political conditions (macro), organizational (meso), and individual (micro) communicative adaptations. The findings suggest that presidential policy frames of the SCS/WPS issue are closely tied to external political alignments. Presidents who leaned toward the U.S. and Japan often invoked sovereignty, security, and the rule of law as core policy frames. In contrast, administrations with strong economic cooperation with China downplayed or silenced territorial claims. The prominence of public opinion frames was event-driven and intensified when media attention on WPS was high. In these moments, presidents reframed the WPS issue from a technical or legal concern into a public opinion frame to justify or advance their policy positions. At the meso-level, the DFA’s communication work evolved through three waves: traditional press relations (1946-1995), digital transition (1995-2014), and structural integration (2014-2022). At the micro-level, not all diplomatic officers respond to media logic in the same way or at the same pace. The study concludes that the mediatization of public diplomacy produces a hybrid practice, or an entanglement of media logic and public diplomacy.