Shifting Perspectives: Documentary, Factuality, Poverty Pornography and the Dumagat-Remontados of Sitio Kinabuan: Difference between revisions

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I-Witness is considered to be the Philippines’ longest running news and public affairs documentary program since it first aired on January 18, 1999 in GMA-7.  Through the years, it has featured a lot of compelling stories on poverty, corruption, and culture. With the network’s tagline of Serbisyong Totoo (True Service), I-Witness has established their branding of factuality in the stories they present to their audience.  On April 3, 2013, I-Witness aired the documentary Rattan sa Pusod ng Sierra Madre which featured the Dumagat-Remontados of Sierra Madre in Tanay, Rizal as they gathered rattan for a living.
I-Witness is considered to be the Philippines’ longest running news and public affairs documentary program since it first aired on January 18, 1999 in GMA-7.  Through the years, it has featured a lot of compelling stories on poverty, corruption, and culture. With the network’s tagline of Serbisyong Totoo (True Service), I-Witness has established their branding of factuality in the stories they present to their audience.  On April 3, 2013, I-Witness aired the documentary Rattan sa Pusod ng Sierra Madre which featured the Dumagat-Remontados of Sierra Madre in Tanay, Rizal as they gathered rattan for a living.
This research analysed the reception of the Dumagat-Remontados upon watching themselves as subjects in the aforementioned documentary.
This research analysed the reception of the Dumagat-Remontados upon watching themselves as subjects in the aforementioned documentary.
The Reception Theory of David Morley (1992/1999) was used as a guide in gathering and analysing the responses of the Dumagat-Remontados, and the critique of Annette Hill (2007) on the hybridity of factuality in factual television genres was used in interpreting the redefinition of the Dumagat-Remontados to the factuality in documentaries.
The Reception Theory of David Morley (1992/1999) was used as a guide in gathering and analysing the responses of the Dumagat-Remontados, and the critique of Annette Hill (2007) on the hybridity of factuality in factual television genres was used in interpreting the redefinition of the Dumagat-Remontados to the factuality in documentaries.
This research redefined the factuality in documentaries through the eyes of the often “othered” audience members—the “subjects” of spectatorship.
This research redefined the factuality in documentaries through the eyes of the often “othered” audience members—the “subjects” of spectatorship.


Keywords: Documentary, reception study, hybridity, factuality, poverty pornography
Keywords: Documentary, reception study, hybridity, factuality, poverty pornography
http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2010-34091-De-Guzma#page-1
http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2010-34091-De-Guzma#page-1

Revision as of 07:08, 8 April 2014

SHIFTING PERSPECTIVES: DOCUMENTARY, FACTUALITY, POVERTY PORNOGRAPHY AND THE DUMAGAT-REMONTADOS OF SITIO KINABUAN

I-Witness is considered to be the Philippines’ longest running news and public affairs documentary program since it first aired on January 18, 1999 in GMA-7. Through the years, it has featured a lot of compelling stories on poverty, corruption, and culture. With the network’s tagline of Serbisyong Totoo (True Service), I-Witness has established their branding of factuality in the stories they present to their audience. On April 3, 2013, I-Witness aired the documentary Rattan sa Pusod ng Sierra Madre which featured the Dumagat-Remontados of Sierra Madre in Tanay, Rizal as they gathered rattan for a living. This research analysed the reception of the Dumagat-Remontados upon watching themselves as subjects in the aforementioned documentary. The Reception Theory of David Morley (1992/1999) was used as a guide in gathering and analysing the responses of the Dumagat-Remontados, and the critique of Annette Hill (2007) on the hybridity of factuality in factual television genres was used in interpreting the redefinition of the Dumagat-Remontados to the factuality in documentaries. This research redefined the factuality in documentaries through the eyes of the often “othered” audience members—the “subjects” of spectatorship.

Keywords: Documentary, reception study, hybridity, factuality, poverty pornography http://iskwiki.upd.edu.ph/flipbook/viewer/?fb=2010-34091-De-Guzma#page-1

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