Exploring Young Men Gender Constructions - The Asian Media ...

Kasari-sarian ng Kalalakihan (The Multiplicity of Manhood):
Exploring Young Men’s Gender Constructions
And Their Serial Drama Connections
By
Brian S. Bantugan
U.P. College of Mass Communication
and
St. Paul University Manila
Mass Communication Program

The Philippines saw a resurgence of serial dramas in national television in the
early 1990’s. The first soap opera to gain wide mass appeal after more than ten years of
dry spell was “Mara Clara.” The story reveals two adolescent girls in a twist of fate. A
poor girl, Mara, discovers that she is an adopted child and begins to look for her real
parents. Clara, a rich heiress, also finds out that she is adopted and that Mara is the
legitimate child. Realizing that Mara can take away everything that she has, Clara does
everything to hide the truth – kept by a missing diary. The program lasted years. Women,
young and old, saw the lead characters and actresses grow up before their eyes. But also
did a lot of soon-to-be-men. But Mara Clara was only one of the many serial dramas the
boys grew up with. They also watched “Esperanza” (Hope) and “Mula sa Puso” (From
the Heart), now classic serial dramas whose main actresses have now become premiere
stars in Philippine entertainment. Growing up to adolescence they watched second
generation drama serials, most of which were driven by female protagonists, and all
backed up by a dominantly female cast. “Pangako sa ‘Yo” (My Promise to You),
“Sana’y Wala Nang Wakas” (Hoping There’s No End), “Basta’t Kasama Kita” (As Long
as We’re Together), “Recuerdo de Amor” (Memories of Love), “Kay Tagal Kang
Hinintay” (Long Have I Waited For You) and “Marina” (Marina, The Mermaid) – love
stories all – captured the hearts of the now new male media professionals who graduated
from private sectarian, private non-sectarian and public higher education institutions in
Metro Manila.
But that’s not the complete picture. Some of them also watched American Drama
series like “L.A. Law”, a legal drama; “Picket Fences”, a police drama; “Boston Public”

and “Felicity”, school dramas; “Wonder Years”, a family drama; “Buffy” and
“Charmed”, supernatural dramas; and “Robotech”, a science fiction cartoon serial. More
recently, Argentina gave them “Monica Brava” (Monica The Brave), South Korea
delivered “Irene” (The Mermaid) and Cantonese China sold the phenomenal “Meteor
Garden”. The Filipino-dubbed Spanish, South Korean and Chinese serial dramas continue
to invade Philippine airwaves and serial dramas continue to fill Philippine primetime
programming with more and more soap operas. But for most people in the academe and
research, there was only the female audience for such programs. “Kasari-sarian ng
Kalalakihan (The Multiplicity of Manhood): Exploring Young Men’s Gender
Constructions and Their Serial Drama Connections” was able to recognize that research
work has been limited in its study of the genre as much as it has been limited in its
assumption, if not knowledge, of television audiences, especially in a society such as the
Philippines. The connection between male audiences and serial dramas lies deeper
than a desire for entertainment. It lies at the very core of a man’s being – in the
union of his mind and heart - in his gender - which society helps construct.
This pursuit to determine the breadth and depth of connections between the
gender constructions of male serial drama viewers and the serial drama they prefer and
consume, involved male college students from three types of higher educational
institutions, enrolled in mass communication courses and recommended by their
academic heads and peers. Mass Communication students were sought since their
storytelling capacities may point to future directions in television narratives should they
successfully penetrate the television industry after graduation. Using a qualitative

esearch design that combined a short survey on each participant’s sexual experiences
and/or preferences, brainstorming and collective narrative creation activity and in-depth
participant interview, the investigation hoped to gain access to rich and multi-layered
narratives that can indirectly and/or directly reveal their gender constructions and their
interactions with particular serial dramas they watched from childhood until the time of
the investigation. Using reception and textual analysis, their narratives were sorted and
classified within a unified sex-gender system framework in mind. The framework
integrated one’s sex, sexual activity and/or preference using the Kinsey Seven-Point
Scale, gender identification in the BSMRI Median Split Gender Identification Categories
and personality traits of the Revised NEO Personality Theory with the assumption that
human beings strive for a paradigm consistency to help them cope more effectively and
efficiently as integrated persons with situations that call for a strength in conviction and
psycho-emotional stability.
Figure 1. Sex-Gender Complicite
(Bantugan, 2005)
Figure 2. Sex-Gender Continuum
Measures (Bantugan, 2005)

Likewise, knowing that narrative creation is both a personal and social experience
often influenced by one’s media exposure, the research established the “Co-determinant
Narrative Reference Analysis Design” or CoNRAD as a tool that can help verify
consistencies in and among personal and collective narratives which is crucial in
determining the connections that lay inherent in the serial drama viewership of young
men. What gender constructions link viewers and programs, viewers and characters and
viewers with fellow viewers, if any How connected are the gender links These two
questions fueled the inquiry.

The results confirmed that connections between viewer and program or vertical
connections, viewer and character or vertizontal connections and viewer and fellow
viewer or horizontal connections exist. The fact that most of the participants were
exclusive-heterosexuals disproved the notion that only men who have tendencies
towards non-exclusive heterosexuality are the most predisposed to serial dramas.
Exclusively-heterosexual or otherwise, the male participants are connected to serial
dramas they watched at different levels, except for one in 30 who was generally
unconnected to fictional narratives on television. At the lowest connection level with
serial dramas, are those with limited exposure but having no intention of paying attention
to them. A notch higher in vertical connection are those with limited exposure with the
genre but having significant interest with the more unconventional ones. A little more
vertically connected are those with limited viewing but a growing interest in the story,
cliffhangers, lead or suffering characters and artists in any type of serial drama. Another
type of vertical connection appears in a participant who keeps himself open to any type of
serial dramas despite his limitations in viewing opportunities. A stronger connection is
made manifest by those who have clear attachments to a particular serial drama and
transcend any viewing limitation. Finally, the strongest connection appears in a
participant whose personal engagement in every episode of a particular serial drama is
regular and intense.

All non-exclusive heterosexuals established a clear although varied vertical
connectedness with the genre. On the other hand, the exclusive heterosexuals outnumber
the former in terms of serial and series drama viewership. And yet, those who prefer
series dramas (once-a-week) – mostly American in origin – are those who claim
exclusive heterosexuality or exclusive homosexuality (or those at the poles of the Kinsey
scale). Such viewers have sustained viewership despite longer gaps between episodes.
Those who are in between the Kinsey poles or having varying incidence of heterosexual
and homosexual experiences constitute more the mostly locally and non-American made
serial (or daily installment) drama viewers. Although exceptions exist, there seems to be
a correlation between American series dramas and Kinsey pole viewers and local and
non-American made serial dramas and Kinsey non-pole viewers. Does it in any way
mean that Filipino, Asian or Latin American serial dramas establish more
connections with viewers with variant sexual preferences Inversely, do viewers
with variant sexual preferences connect more with non-American serial narratives
New entry points for investigation now emerge. Despite these questions, however, it
was clear that most of them gave more attention to narrative format than
relationship, character traits or values found in the serial dramas they watched –
revealing a high stimulation from and significant concern for how a narrative is
told.
The investigation related to vertizontal or viewer-character connections,
meanwhile, showed that, except for one of them who identified with a masculine female
character, they all connected with male characters whose ages are within the adolescence

and middle adulthood range. The highly conscientious, moderately extraverted and open
and mildly neurotic and agreeable participants reveal a detached viewing style that is
driven by strength in deliberation. However, deliberation is more enduring or immediate
in the area of narrative format than personal aspects like character traits, values or
relationships which are more attached to women viewers or characters. Have the past
and current series and serial dramas viewed by the participants represented men
enough, enough to make them lead characters and not mere support to women
actresses, so that male viewers are more easily drawn to personal aspects rather
than technicalities in narratives While the programs cited by the participants
clearly indicate NO as the answer, it has yet to be strengthened with experiences of
more male viewer informants. The fact remains, though, that females as lead
characters in series and serial dramas do not discourage male viewers to view the
genre and seek identification with other characters who are primarily extraverted in
terms of assertiveness, and conscientious in dutifulness and deliberation. In effect,
while the vertizontal connection of series and serial dramas with the male
participants is founded initially on the sex, and correlated to a limited extent to the
sexual preference, of the character they identify with, the personality traits of
characters which the viewers also possess strengthen it and the vertical connections,
as well.
The participants, being highly individuated and varying in their viewing
preferences and recall, lack a community built upon a common series or serial drama.
The individuation is influenced significantly by family members and situations, personal

needs, and high deliberation on narrative format. If any, possible horizontal connection
could be established more at the categories of series or serial dramas or local or foreign
serialized dramas. The participants’ composite narratives, however, revealed a narrative
community built on themes revolving around the male social condition. The isolation of
men was expressed as emotional separation from a life-companion, detachment from
one’s past or origin, rejection from one’s roots and the gap between the real and ideal in
one’s life. Faulty fatherhood, told in the person of a dependent husband, deceptive,
destructive and spoiler fathers and an absentee image in narratives, also drove the
conflicts or problems in the composite narratives. Minimized motherhood was also a
distinct theme in the composites that manifested as mothers suddenly disappear or die,
supporting female characters are not made wives or mothers and limit themselves to mere
objects of desire of lead male characters and lead female characters are rendered unable
to consummate a relationship due to psychological incapacity. Finally, enlightenment was
also a central theme that provided the redeeming value in the composites. As lead male
characters accept their sexual orientation and those of others, recognize and share their
emotional resources, follow their desire to stay connected with their past, fight the
establishment and those that claim power over persons, make moral decisions, and heal
themselves to heal their children, they express the desire of the participants for a more
integrated existence built on resolution of situations that affect them the most. In this
case, male composite narrative creation revolves around issues which may not
directly involve the creators but are still considered relevant to the building of a
more meaningful and peaceful life and a struggle to resolve them. Do past and
present series and serial dramas which the participants have and currently watch

eflect the same desire Some participants affirm. But all of them show through
their composite narratives that most of those they have viewed or watched have not
placed their problems centerstage. Given the chance, a male community of
storytellers will.
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