Department of Sociology

College of Social Sciences and Philosophy

University of the Philippines Diliman

Kabitserye: An analysis of Marital Infidelity in Filipino Films

and Television Soap Operas from 1970-2015

A Research Prospectus for Sociology 101 under Prof. Hannah Glimpse

Nario:
General Sociology

By:
Mendoza, Grazianne-Geneve V.
Recuya, Andreah Yvonne P.

I. Background of the Study

Marital infidelity is not at all a new construct to contend with and
continues to transcend spatial, temporal and even cultural boundaries. A
thorough investigation of infidelity in different countries led Druckerman
(2007) to conclude that despite its different meanings to particular groups
of people, infidelity is a worldwide phenomenon. Despite being a
predominantly Catholic society that upholds the sanctity of marriage and
the family (Quirino and Sarile 1997), the Philippines is no exception.
Solomon and Teagno (2006:17) defined infidelity as "any action taken
by a partner in a committed love relationship that violates the agreement
of sexual and/or emotional exclusivity. The querida system, as it is
referred to in the Philippines, is a double standard that is lenient on males
straying from their marriages to exercise their masculinity regardless of
socioeconomic status (Roces and Roces 2009:111). In contrast, Mendez et
al. (1984:185) explain that married women who commit such acts are not
only frowned upon, but even suffer condemnation for it. The task of saving
a failing marriage corroded by infidelity therefore falls upon the hands of
the wife. In her grief, she berates herself and questions why despite
everything she has done, her husband still found her wanting. However,
while there is no monopoly of infidelity in any social and economic
position, middle-class women endure its consequences much more than
their counterparts from the upper and lower classes of society. For the
latter, marital infidelity is but one of the crosses they must bear in their
daily wretchedness and have not the time to ponder the whys and
wherefores of their marital fate.
The prevalence of infidelity in the Philippine society is reflected by the
different terms to account for it (De Vera 1976) such as pakikiapid,
paglalaro sa apoy, pamamangka sa dalawang ilog, pagsusunong ng uling,
pangangaliwa, pagkulasisi. Kabit or querida is used to refer to the
mistress. Meanwhile, sumakabilang-bahay has been recently used to refer
(e.g. WWJDph 2013) to the husband who has left his family in favor of his
lover.

After conducting a study among high school students from broken

families, Meily (1976) found that marital dissolution was mainly attributed
to infidelity of the father. Conversely, Deano (1985) investigated the
attitudes of Filipino wives regarding divorce using a nationwide survey.
While majority of the respondents believed that under no circumstances
could divorce be justified, a significantly large proportion of the
participants agreed that both the wife and husband have the right to
divorce his or her unfaithful spouse.
Marital infidelity directly attacks the backbone of society, and its
impact on the husband and wife leaves a bitter aftertaste, nullifying the
sweetness of forever they once vowed to each other (Kleine 2007). It is
therefore surprising to see its proliferation in various forms of Filipino
media, television shows or teleseryes in particular. In recent years, many
informal reports have cited reasons why these shows cater to the Filipino
audience such as evocation of emotions and portrayal of relatable daily
occurrences (Carballo 2014) and depiction of inescapable hopeless
marriages due to Philippine laws and social conventions (Ortuoste
2014).
Meanwhile, infidelity has always been a potent ingredient in Filipino
films. An informal analysis conducted by an online magazine (Spot.ph
2012) enumerated 10 types of movie mistresses: Gliza de Castro as the
accidental kabit in My Neighbors Wife (2011), Vilma Santos as the
technical kabit in Relasyon (1982), Sharon Cuneta as the convenience
kabit in Dapat ka Bang Mahalin? (1984) and the righteous kabit in Una
Kang Naging Akin (1991), Maricel Soriano as the martyr kabit in A Love
Story (2007), Glydel Mercado as the material girl kabit in Mister Mo,
Lover Ko (1999), Anne Curtis as the high society kabit in No Other
Woman (2011), Dina Bonnevie as the heavy baggage kabit in
Gumapang Ka sa Lusak (1990), Bea Alonzo as the daddy issues kabit in
The Mistress (2012), and Lorna Tolentino as the squatter kabit in Mano
Po 2: My Home (2003).
The subject of infidelity in Filipino films and teleserye, while intriguing
to laypersons, has rarely become a topic of interest for major researches

and scrutinized under the rigors of academic study. As an important

aspect of Filipino culture, they must not be overlooked (Aquino 2014). The
present study aims to bridge this gap in knowledge.
II. Research Questions
To guide us in understanding how infidelity is perceived in the Philippine
setting through films and television shows, this study aims to answer the
following questions:
1. What are the similarities and differences in the portrayal of the wife, the
husband and the paramour in Filipino films and television shows from
1970 to 2015?
2. How do the characters perform in different situations (e.g. at home,
workplace, with friends) and how does it compare when they are alone
together (i.e., the wife and the husband, the cheating spouse and the
affair partner)?
3. What are the motives that drive the cheating spouse to be unfaithful?
What of the affair partner?
4. Who holds the power in either relationship? Who controls or determines
the course of the relationship?
5. How are they perceived by the supporting characters once they learn of
the affair?
III. Research Objectives
As one of the state apparatuses that creates an impact on the public
sphere, media reflects the trends and current situations in the society. In
Roland Tolentinos Paano Magbasa ng Textong Media at Lipunan, he
mentioned that media is more extensive than any kind of ideological state
apparatuses since more time are devoted to it by

its audience. Thus,

media also has the ability to influence audiences beliefs, opinions,

preferences, products services and movements. In relation to that, the
observable pattern of increasing media content on infidelity becomes
more rampant in the industry. Thus, it drives the researchers to study the
factors and issues revolving infidelity themed media programs.
In line with the main goal of understanding the realities these media
outlets try to depict, the following are the listed objectives aimed to
answered by this study.

1. To differentiate medias portrayal of

the characters of the husband,the

wife and the mistress of each decade starting from the 70s up to present.
2. To observe the changes in how the characters act in the different spheres
of their relationship with others and with their partners.
3. To identify the factors that stimulate the act of infidelity from the
members of the marriage
4. To be able to recognize the character who has the controlling power in the
course of the relationships?
5. To describe how the supporting casts perceive these characters once they
got involved in the issue.
IV. Brief Review of Related Literature
Attempts have been made to understand how infidelity is perceived in
the Philippine context (De Vera 1976). The concept has never been easy to
study because those involved shy away from openly talking about it, much
less admit that they have been engaged extramarital affairs. Because of
this, the researcher opted to use an unobtrusive methodology derived
from Sikolohiyang Pilipino, particularly pakikipagkwentuhan or storytelling.
To aid in the flow of the conversation, De Vera used Filipino cinema as her
take-off point. While television had yet to reach the small town of
Fundado, Labo in Camarines Norte when the study was conducted, the
people nonetheless had access to films. According to her, married life,
sexual relationships and infidelity were common themes in movies during
this time so it was not difficult to bring the conversation to her desired
route without inciting suspicion from her participants. When the concept of
infidelity was addressed this way, the people easily discussed it among
themselves for they were free to voice out their opinions without fear of
judgment from their peers. Her findings indicated that the people of
Fundado generally deemed infidelity as dirty and wrong that goes
against the teachings of the Catholic Church. However, there is a stark
difference when the question of gender is involved. Men do not feel
ashamed of being in extramarital affairs because it serves as a testimony
to their manhood. Furthermore, men who are not caught cheating are
idolized by their peers who feel sorry for his family. Among the reasons for
infidelity of men include a renewal of ones youth, lack of children, plain

temptation, or even peer pressure (tuksuhan o kantyawan). Women, on

the other hand, are heavily scorned and told that their souls will be
condemned to burn in hell. They are often driven to cheat on their
husbands as an act of revenge for having an affair in the first place.
Sometimes, it is also due to financial incapacities, as well as loneliness
from being apart from her husband.
De Veras study is important as it shows the power of mass media,
particularly films, in tackling issues that are not always easily dealt with in
society. This first aspect of the proposed study aims to discover the power
of movies and television shows, other forms of mass media. The second
aspect is how these movies and shows revolving around marital infidelity
portray the cheating spouse and his or her lover and how the other people
in their lives (i.e. the supporting characters) perceive them after learning
of the affair.
On the other hand, Gonzales (2003) proposed to tackle infidelity
primarily as a gender issue. In his literature review, he analyzed the
unfaithfulness of the Filipino male vis-a-vis education, migration and the
nature of marriage. Furthermore, he fleshed out the resiliency of the
Filipina wife amidst spousal infidelity. His proposal is also entrenched in
religious values.
With regard to mistresses, Bautista's (cited in Go 1993) survey of one
hundred single queridas, aged 21-30, in Metro Manila showed that the
main reasons they chose to be mistresses were financial dependency and
reciprocated love. About 69% of the female participants came from large
proletariat families. Sixty-eight per cent attained some level of college
education while 69% worked at low-paying jobs. On the contrary, most of
their married lovers enjoy high occupational status, being in executive,
and managerial positions. Majority (about three-fourths) of them still live
with their wives; the rest cohabit with their mistresses. Most of the
respondents agree that their lives changed for the better. Forty-five per
cent conveyed their happiness though 28% admitted feeling guilty.
Ultimately, however, most of these women (71%) have no intention of
terminating the relationship.

Studies concerning how Filipino media portrays the issue of infidelity

the relationship between media and infidelity in the Philippine context are
limited. Panuncillon and Lozada (2014) proposed to determine the effects
of exposure to "telenovelas of infidelity on audience's views towards
marriage" due to its influx in Filipino media. This is primarily influenced by
the liberal ending of the soap opera, The Legal Wife (2014) wherein the
wife decides to part with her husband rather than save her marriage and
keep her family intact. This contradicts the definition of marriage as stated
in the Family Code of the Philippines, which states that "as an inviolable
social institution; a special contract of permanent union between a man
and a woman" (cited in Panuncillon and Lozada 2014). As a foundation to
their study, the researchers used Gerbner's Cultivation Theory and
Sternberg's Triangular Theory of Love. They chose the residents of Old San
Isidro, Buhangin District, Davao City as their population of interest and
randomly selected among them to participate in the study. They were to
construct a questionnaire with a Likert Response scale to gauge the
opinions of the respondents. It is unknown whether or not the proposed
study was carried out.
In another study, de Guia (2012) explored infidelity in the Filipino
context by analyzing the dialogue used in two fairly recent films that
revolved around the themeA Love Story (2007) and No Other Woman
(2011). Particularly, he focused on the metaphors used to describe the
wife, husband and mistress in describing the relationship of the married
couple before and after the affair was committed and determining how
these three persona are depicted by Filipino media. He concluded that
marital infidelity, far from being considered as a relationship, actually
instigates the destruction of another. Furthermore, it is essentially "a
competition between the wife and the mistress over the husband." The
wife, though initially gentle and submissive, will not hesitate to wage a
war to win her husband back. On the other hand, the other woman sees
the liaison as a game and offers the husband a new and invigorating
experience. While he is shown to be a valued property or a prize to be won

to both women, the husband ultimately holds the power to end the battle
by choosing who he wishes to continue his relationship with.
Since the previous study only focused on two recent Filipino films, it
failed to take into account how the presentation of infidelity has evolved
throughout the years, which will be the scope of the present study.
Moreover, de Guia restricted his analysis to movies and did not include
television programs, which have become more available to wider
audiences with the increase in ownership of televisions in urban and rural
areas (Periabras 2014).
V. Theoretical Background and Framework
To examine how the wife, husband, and the paramour are depicted in
the chosen films and teleseryes, we will apply Erving Goffmans
impression management. This theory is grounded on the assumption that
individuals act in such a way that would make them likeable to others, but
because people may see past through his faade, he finds that he must
learn to manipulate reality to maintain the charade (Ritzer 2011:376). It
gives a person the liberty to construct a new, but not necessarily
improved version of him or herself. Essentially, impression management
is an act presenting a favorable public image of oneself so that others will
form positive judgments (Newman, cited in Norris 2011).
True to his dramaturgical approach, Goffman introduces the idea of
front stage and back stage that allow people to carry on with their day-today activities (Kivisto and Pittman 2001:280). What is done in the front
stage is for the benefit of a particular audience (Kivisto and Pittman
2001:280), essentially, a performance, the activity of an individual which
occurs during a period marked by his continuous presence before a
particular set of observers and which has some influence on the
observers (Goffman 1959:22). While people portray different roles every
day, the audiences are able to define the situation based on the nature of
the front, which includes setting, appearance and manner (Goffman
1959:22-24). To portray his role effectively, the actor must employ signs
that will dramatically highlight and portray confirmatory facts that might
remain unapparent or obscure or what Goffman termed as dramatic

realization (Goffman 1959:30). There must also be idealization wherein he

must act as if his present role is the most important, using cues from
previously constructed ideals (Goffman 1959:34). He adds a personal
touch to establish or support the rapport between himself and his
spectators (Goffman 1959:50). However, when he misrepresents a role,
where there are matters about his activities he cannot openly disclose due
to false impressions, he risks destroying his relationship (Goffman
1959:63). For though his deceit only constitute a fragment of his entire
routine, his anxiousness of being caught will betray him (Goffman
1959:64). And anyway, the efficacy of ones performance in convincing his
audience depends in part on his own conviction of his ability to perform
(Kivisto and Pittman 2001:283).
Meanwhile, the backstage offers protection to the performer (Kivisto
and Pittman 2001:281). Away from prying eyes, he is free to do what he
wishes without having to be vigilant of his ability to play a role (Kivisto and
Pittman 2001:281).
On the substantive part of the study, male domination is described by
Pierre Bourdieu as an illustration of symbolic violence which is exercised
upon a social agent with his or her complicity (Bourdieu and Wacquant
1992:167). As a form of power, symbolic violence cloaks itself in invisibility
and masquerades as being inherent in nature (Bourdieu and Thompson
1991:23). This phenomenon, which Bourdieu calls misrecognition, is made
possible by the actors themselvesboth the dominator and the dominated
(Bourdieu and Wacquant 1992:167). But before anything else, there must
be complicity. That is, the subjugated must be equipped with the habitus
or dispositions that would allow him or her to be aware of the acts of
violence being committed but not perceive them as a form of dominance
(Calhoun, LiPuma and Postone 1993:172). In choosing to deny the
existence of oppression, symbolic violence is legitimized, and it cannot
exist outside of this perverse paradox.
Females unknowingly perpetuate the despotic power structure of male
domination

through

two

ways

(Bourdieu

2001:38):

through

their

acceptance of imposed limits embodied in bodily emotions such as

shame, humiliation, timidity, anxiety and guilt or through passions and

sentiments such as love, admiration, and respect. These emotions are
intensified tenfold when expressed physically (e.g. blushing, stuttering,
clumsiness, trembling anger or impotent rage).
A woman is treated as an object under the constant scrutiny of the
male gaze (Bourdieu 2001:66). She smiles warmly, listens patiently, loves
deeply and submits willingly. She strives to be the embodiment of her sex,
to be feminine in every sense, not knowing that it is man who dictates
what she ought to be. She not only orients her actions accordingly, but
also obsesses over her physique, leading to bodily insecurity. This
symbolic dependence of women to others (both males and other females)
eventually encompasses her entire being, which drives her to crave
attention, to please and to expect a great deal from love. She behaves
inasmuch as to seek validation from others about her worth as a woman.
According to Bourdieu (2001:67), "needing the gaze of others to constitute
themselves, they are continuously oriented in their practice by the
anticipated evaluation of the price that their bodily appearance. Her
honor is delimited to her virginity and fidelity, and thus can only be
defended or lost (Bourdieu 2001:52).
Despite male domination, Bourdieu (2001:52) argues that male
privilege is also a trap since males have to constantly prove their
masculinity to themselves and to their fellow males. Manliness is
manifested in the ability to exercise ones strength, in sexual or social
reproduction and violence. When opportunity presents itself, a man will
not hesitate to chase after that which will further his power. Essentially, to
be a man is to construct oneself in front of and for other men and against
femininity, in a kind of fear of the female (Bourdieu 2001:53).
Thus, Bourdieus framework may be used to explain the motives and
actions, as explained by their habitus, of the three main characters, as
well as the dynamics of their relationships.
VI. Methodology
This study will employ content analysis, which is often used to resolve
what, why and how data, and their common patterns, are searched for.

Through a consistent set of codes, text would be organized based on

similar content (Heikkil & Ekman, cited in Cho and Lee 2014:6). This is in
line with our proposed research questions since our primary objective is to
determine the similarities and differences in the portrayal of the husband,
wife and affair partner over the years. Content analysis also allows
researchers to study man-made social artifacts that reflect the society
from which it emerged (Brooklyn College n.d.).
For this study, the social artifacts to be investigated are visual forms of
media, particularly, Filipino films and television soap operas produced and
aired over the past four decades (1970 to 2015). The sample will be
selected from the movies and soap operas with the the theme of marital
infidelity in the narrative. The focus of the study will be limited to the films
and teleserye themselves. Anything external to their projected reality such
as the impact on audiences, whether or not they reflect the sentiments of
the people, advertising, and commercial success will not fall under its
scope. In addition, they will be analyzed as they are presented, without
taking into account the aesthetic sensibilities and technicalities utilized,
cinematography and mise en scene[1], for instance.
The sampling method used in previous studies concerning content
analysis of films and television shows are as follows:
1. Selecting from top-grossing films about the desired topic (Oropeza 2011;
Bell, Berger et. al. 2005; Smith et. al. 1999)
2. Visiting movie rental stores (Owen 2012; Himes and Thompson 2007)
3. 1Looking through television guides (Himes and Thompson 2007)
4. Searching through online databases such as Internet Movie Database
(Wolfrom 2010; Oropeza 2011; Owen 2012; Himes and Thompson 2007;
Hammer 2008).
For the purposes of the present study, we will use a combination of the
listed methods so the sample will be representative of the population
1[1] "staging a scene through the artful arrangement of actors, scenery,

lighting, and props" (Prammaggiore and Wallis 2008:88)[2]one that has

not been consummated

involved. However, searching through English-based movie databases may

not generate all possible results. Websites of local television networks may
be scanned to obtain a list of past and present soap operas produced. If
feasible, we may also contact the National Film Archives of the Philippines
and the ABS-CBN Film Archives to aid in our endeavor. Keywords to be
used for searching will include infidelity, adultery, mistress, and the
like.
Content analysis requires researchers to first agree on a) a common
set of dimensions, and b) specific definitions of the kinds of evidence
sought. Only when this is done may the objects be judged. The content to
be coded depends on the researcher's study, provided that a set of
categories is developed and a set of explicit rules for coding is employed
(Brooklyn College n.d.).
Sutherland and Fetley (2010) delineate how films are to be analyzed
using the sociological lens by identifying four themes: (a) identity of the
individuals, (b) interaction between the characters, (c) inequality among
the characters and (d) social institutions. Through the analysis of these
elements, "sociologists can use films as social texts."
Following this, possible categories may include genre (e.g. drama,
comedy,

suspense

or

combination

of

these),

demographic

characteristics (sex, age, socioeconomic status, and occupation), type of

affair (emotional[2] or sexual), and type of family (with or without children,
presence of extended family), motivations for infidelity, reaction of spouse
(denial, rage), reaction of other people involved (e.g. children, parents,
friends), resolution (e.g. mending the family, choosing the affair partner,
termination of both relationships).

The chosen films and soap operas will be watched in full to determine
how the affair changed the lives of the characters involved. While viewing,
we will jot down notes aided by our final categories.
VII. Ethical Concerns

Since most of the media platforms on dramatic materials are

fictionalized by their writers and directors, the researchers must be
cautious of the possible sensationalized media text used as exaggerated
methods to further grasp their audience viewership. The fictionalized
contents of the samples may also become threats on the accuracy of the
results as met by the research objectives.
The actors representing the characters involved may also be
subjects to ethical concerns with regards to their associations with their
roles. Difficulties in separating the moral and overall portrayal of their
characters in these media platforms and their off-screen personalities may
arise. The researchers must be able to conquer the full separation of the
actors and their portrayed characters in the analysis of the issues involved
in the study.
Discriminatory effects
As mentioned earlier, infidelity is often associated to the act of
committing a crime as it contest the sacredness of marriage. However, the
research should be clear in all its subsequent parts on its aim that is not
envisioned to condemn the act of infidelity and adultery. The study should
remain objective in describing the personalities and characters involved to
avoid confusion of its intentions. Clarity of the research objectives should
be implemented to avoid the discrimination it may lead to the characters
who participates in extra marital affairs.
Conflict of Interest in sample collection
Several factors may affect the choice of samples for the study.
Although the same number of samples will be collected from each decade,
the personal interests of the researchers on their choice of study materials
is subject to some biases. In line with this, the researchers should maintain
the diversity and stratification of its chosen study materials without its
foremost considerations of availability, media platform duration, and
actors playing such roles

.
VIII. Reflections
Basing on Max Webers value-relevance in the formulation of a
research topic (Ritzer 2011:122), this proposal was inspired by everyday
conversations with real people. Questions such as: Bakit wala nang
nagtatagal na relasyon ngayon? [Why do relationships never seem to
last anymore?]. Bakit ang dami nang nangangabit ngayon? [Why do
people cheat nowadays?]

were raised. As an answer, someone said,

Normal na yan ngayon. Nakikita kasi sa TV eh. [It has become normal
because people see it on TV.] Since its inception, it has underwent
several transformations. Initially, it was supposed to focus on how the
portrayal of infidelity on visual media affects morality. Eventually, we
decided to concentrate on the worlds depicted in the films and teleseryes
themselves.
The task of searching for related literature was not easy. Though
international researches about infidelity in general are aplenty, there is a
scarcity of it in the Filipino context, even more so when media is already
involved. Despite this, the increase in infidelity-themed films and
teleseryes on primetime is well-documented in unscholarly writings. Such
is also the case even outside the Philippines. It is unfortunate that popular
media has been taken for granted in its role in explaining social reality,
especially something as heavy as infidelity. Furthermore, analyzing the
evolution the depiction of infidelity in films and television shows tells us
not only how media evolves, but how society changes as well, due in part
to the fact that media ultimately reflects the society it comes from.

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