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DR. YANGA’S COLLEGES, INC.
Neo-Millennials’ preferences on K-Dramas over F- Teleseryes: Its Impact to Philippine Telenovela Industry
CHAPTER 1
THE PROBLEM AND ITS BACKGROUND
Introduction
Innovations on technology of business and professional communication had
changed for the various years. But for some inexplicable reason, Television (TV) remains
to be the main attraction in each unit of the society. Despite the lack of research and
dispersion of ideas with regards to concepts, viewing rate remains increasing over the
past decades (Gerbner, Gross, Morgan, & Signorielli, 1986).
Relevantly, based on the study of Chang, Khang, Jeong, Chung, & Nam (2013),
TV is every household’s medium of storytelling and communications. Particularly,
Telenovela industry primarily competes with the TV news. But telenovelas had been
deserted of scholastic studies given that majority of researchers focuses on improving the
film industry and other aspects of TV, as more programs are focused on disseminating
information regarding a country’s economy.
Meanwhile, United States of America (USA) released Netflix and HBO in order
to set higher standards to the viewers, causing TV networks to invest more for
improvements, making it a risky and costly business as a service sector (Screen Australia,
2016).
TV networks are also averse to risk in employing new talents, productions and
crew due to the pressure in the succession of the program. In line with this, a higher
DR. YANGA’S COLLEGES, INC. 2
standard set of networks for producing high-quality telenovela is attractive in the global
market.
Specifically, in the scene of the Philippine Telenovela industry, TV networks
mainly focus on marketing their telenovelas in the international market. They had been
keen in the rate of viewership, as the TV companies’ survival is dependent on it
(Pasadilla & Lantin, 2005).
Additionally, based on an earlier work of Camus (2015), ABS-CBN (Alto
Broadcasting System-Chronicle Broadcasting Network) and GMA (Greater Manila Area)
are considered as the two leading networks competing on producing telenovelas on
Philippine TV. Teleseryes which refers to the serialized telenovelas or dramas are most
common in the country. In fact, Filipino Teleseryes were gaining popularity in Asian
countries, particularly in Indonesia. The Department of Trade and Industry's (DTI)
Export Marketing Bureau also affirmed that teleseryes is one of the arising exports under
the creative service of the Philippines.
However, Filipino Teleseryes is still not as successful as other telenovela
industries among Asian countries. Based on an article featured by the DramaFever (Z,
2017), there is no Filipino Teleserye included on their “Weekly Top 10 Asian Dramas for
the year”, while almost all of the spots were claimed by Korean Dramas which is also
known as K-Dramas.
Moreover, Hanguk (Korean) Drama had swept off the global market following the
worldwide trend of Hallyu 한류 (Korean) Wave in early 2000’s. This wave refers to the
increasing popularity of South Korean entertainment and culture in the country. The
wave paved way for K-Dramas to have broader viewers on different continents including
Asia, North and South America and some parts of Europe which made them compete to
the leading audiovisual sector of America (Oh, 2013).
With this, Filipinos are one of the nationalities known for its solid support to
Hallyu wave. In fact, according to JBM (2017), ABS-CBN which is dubbed as the
“Home of Asianovelas” in the country acquired rights of seven K-Dramas in the present
year, enabling them to dub it in Filipino version and airs it on their network. However,
this decreases the opportunities for local teleseryes to be produced and to be shown on
the national TV.
Hence, the researchers who are in their 12th grade in Accountancy Business
Management (ABM) strand were highly motivated to determine the factors affecting the
viewership preferences of Neo-Millennials between Korean Dramas and Filipino
Teleseryes. At the same time, the researchers wanted to evaluate the impact of these
preferences on the Philippine Telenovela Industry. Interestingly, the outcomes of the
study will help and guide the researchers in their future career as entrepreneurs in the
corporate world.
Theoretical Framework
Cultural Proximity Theory
Joseph Straubhaar developed the Cultural Proximity Theory in 1991. Cultural
Proximity refers to audience’s preference for local products based on one’s own culture
or the most similar possible culture (Straubhaar, as cited by Ksiazek & Webster, 2008).
The fact that people rather refer to home-made products has often been called a longing
for “cultural proximity” (Straubhaar, as cited by Trepte, 2008).
The theory is used to describe the audience’s viewing habits and motives on
watching media content (Straubhaar, as cited by Trepte, 2008). TV audiences seek local
media products because of its traditional and identifiable cultural content. If the local
media fails to fulfill their satisfaction, the audience would prefer media products from
other countries with the most similar and proximate contents specifically in terms of
geography, culture and language (Straubhaar, as cited by Alanzalon, 2011).
Straubhaar’s Cultural Proximity Theory (as cited by Trepte, 2008) is dynamic
based on the audiences’ identification of the following cultural offerings:
a. Linguistic– Language used, Acting Skills of Actors/Actresses
b. Visual- Dependence on Actors/Actresses, Technical Completeness
c. Cultural Capital– Completeness of Plot, Incorporation of Cultural Content,
Length of Story Development, Official Sound Track (OST)
d. Values - Theme, Emotional Appeal
The audiences’ sense of proximity may vary, depending on their exposure and
identification of the cultural offerings mentioned above. There are circumstances wherein
exposure to the media comes before selection of content. But most of the time, selection
of the texts occurs first, guided by their sense of cultural proximity (Straubhaar, as cited
by Alanzalon, 2011).
This is the case with the Korean Wave in Asia. Most of Hallyu researches utilized
Straubhaar’s Cultural Proximity Theory in order to explain the popularity of K-Dramas in
East Asia. These studies proved how Cultural Proximity Theory accounts for the
popularity of media content from one country to another in the means of hybridization of
culture and localization of foreign content.
In this current research endeavor, the researchers attempted to translate
Straubhaar’s Theory as a basis for determining the viewership preferences of Neo-
Millennials on Korean Dramas over Filipino Teleseryes. In the same way, through the
utilization of this theory, the researchers aimed to further understand how Filipinos would
likely patronize foreign media content particularly K-Dramas over local Teleseryes and
its impact to the Philippine Telenovela Industry.
Industry Life Cycle
Figure 1.1. Industry Life Cycle (Shradhaseksaria, 2014)

Industries, like products, also contain various stages dictating the strategies and
the primary procedures that are needed for its continuous upward slope. These can be
observed through the Industry Life Cycle. This theory was primarily proposed in the year
1975, which serves as the framework to determine the attacks and strategies tantamount
to the level of the industry. This cycle constitutes Introduction, Growth, Maturity and
Decline Stages (Cusumano, Kahl, & Suarez, 2006).
Significantly, Introduction Stage is delineated as the starting point of an industry
which focuses on establishing awareness regarding the existence of the said industry.
This stage is apt in development of products and penetration of markets. Introduction
stage involves execution of intensive strategies with regards to promotion, pricing and
distribution because the industry is still not that established at this stage.
On the other hand, Growth Stage is defined as the stage with a rapid increase in
sales and profit due to growing demand. In line with this, strategies in this stage are
composed of improving the service and products being offered by the industry. Seeking
investments and attention of a larger audience in order to continue the upward slope of
the Industry Life Cycle is also a must (NIBusiness.Co.Uk, 2017).
Meanwhile, Maturity Stage is observed when there is an observable decrease in
sales and profit due to saturation. This is caused by the numerous number of growing
competitions, leading for the market to change its industry. Strengthening the industry
with advanced research and innovations on strategies may lead to growth. Conversely, if
the industry lacks strategies to improve its status, then, it is probable to that it may reach
Decline Stage where sale and profit erode, leading to an industry with worst case
scenarios. (NIBusiness.Co.Uk, 2017)
Relevantly, the Industry Life Cycle serves as a crucial tool in determining the
impact of Neo-Millennials’ viewership preferences between Korean Dramas and Filipino
Teleseryes. Specifically, the status of Philippine Telenovela Industry and its significant
connection to Korean Drama Industry was tackled with the use of this cycle.
Conceptual Paradigm
Language
Linguistic
Acting Skills of
Actors/Actresses
Dependence on P
Actors/Actresses
Visual R
Technical
Completeness E Introductory
Korean Stage
F Dramas Impact to
Completeness of the
Plot E Philippine Growth
Stage
Length of Story
R Filipino
Telenovela
Industry
Teleseryes
Development
E Maturity
Cultural Stage
Capital
Incorporation of N
Cultural Content
C
Official Sound
Track (OST) E
Theme
S
Values
Emotional
Appeal
Figure 1.2. Conceptual Paradigm

The figure above illustrates the conceptual element of Straubhaar’s Cultural
Proximity on media content. The following are the four major cultural offerings which
affect the audience’s decision in consuming media content: Linguistic, Visual, Cultural
Capital and Values.
In this case, the researchers utilized the four cultural offerings in order to
determine Neo-Millennials’ viewership preferences when it comes to telenovelas, which
primarily caters audience’s overall preference and impacts the Philippine Telenovela
Industry.
The Linguistic offering includes the Language utilized in communicating the
media, particularly telenovela on the viewers. Additionally, delivery of the
Actors’/Actresses’ lines aiming to portray the message of his/her character through
Acting skills is also incorporated in this cultural offering.
Meanwhile, the Visual offering pertains to everything in a telenovela that the
audience perceive using their sense of sight. It includes Dependence on Actors/Actresses,
wherein the viewers highly give importance on the Actors’/Actresses’ physical
appearances in the telenovela particularly their style of hair, dress, make-up and fashion.
On the other hand, Technical Completeness contributes as well on the visual of a
telenovela. It refers to the application of technological advancement including, but not
limited to camera angles, sound effects, cinematography and lighting which significantly
contributes to the visual quality of the telenovela produced.
Moreover, the Cultural Capital which is the third cultural offering is regarding the
cultural knowledge, references and issues tackled by a telenovela. Currently, the Cultural
Capital is about the Completeness of Plot pertaining to how the story is unique yet
completely told. Writers and producers discovered new ways to differentiate their plot
from the usual in order to make it interesting. Additionally, Incorporation of Cultural
Content pertains to the glimpse of certain culture included in some telenovela’s scenes,
like how Filipino children show respect to the elders through pagmamano and how
Koreans often bow as a sign of greetings and respect to others. In the same way, Length
of Story Development is incorporated in this offering, referring to how long the story
develops. Meanwhile, the Official Sound Track (OST) of a telenovela is the music and
song which adds flavor to its story. Likewise, its genre reflects the culture of the country
it originates from.
Consequently, the last cultural offering is Values which refers to the telenovela’s
Theme. The story’s subject may emphasize the topics of religion, gender roles, sexual
imagery and others. This Theme will serve as the moral that the viewers will realize in
the story. Emotional Appeal is also incorporated in the Values offering which is
responsible for drawing and moving the viewers’ emotions, enabling to intensify the
story and its Theme.
Through obtaining and fulfilling all of these offerings based on Cultural
Proximity Theory in the means of a telenovela, viewers may reach overall preference.
Neo-Millennials’ viewership preferences may vary between Korean Dramas or Filipino
Teleseryes. This is possible as audience seek local media because of its cultural content.
However, if the local media are not able to cater their satisfaction, the audience would
look for and prefer media products from other countries with the most similar content
(Straubhaar, as cited by Alanzalon, 2011).

After determining which kinds of telenovelas are more preferred by Neo-
Millennials, the researchers utilized the gathered data from the surveys in order to explore
its impact on the Philippine Telenovela Industry. The researchers studied its impact on
the country’s Industry Life Cycle specifically its Introductory Stage tackling the period of
slow sales growth for Korean Dramas in Philippine Telenovela Industry, Growth Stage
pertaining to the period of rapid market acceptance for Korean Dramas in Philippine
Telenovela Industry and Maturity Stage referring to period of slowdown in sales growth
for Filipino Teleseryes in the Philippines. This was understood through conducting a
semi-structured interview including, but not limited to TV production and/or Korean
Wave expert.
Statement of the Problem
This study aims to determine the viewership preferences of Neo-Millennials on
watching Korean Dramas over Filipino Teleseryes, and to explore its impact on
Philippine Telenovela Industry.
Specifically, it seeks to answer the following questions:
1. What is the participant’s profile as to:
1.1.Sex
1.2.Drama Consumption
2. What is the degree of influence of the following elements of telenovela reflecting
the viewership preferences of Neo-Millennials on both Korean Dramas and
Filipino Teleseryes:
2.1.Language
2.2.Acting Skills of Actors/Actresses
2.3.Dependence on Actors/Actresses
2.4.Technical Completeness
2.5.Completeness of Plot
2.6.Incorporation of Cultural Content
2.7.Length of Story Development
2.8.Official Sound Tracks (OST)
2.9.Theme
2.10. Emotional Appeal
3. Is there a significant concordance among the ranking of telenovela’s elements
aligned with Neo-Millennials viewership preferences?
4. Is there a significant interaction on the viewership preferences of Neo-Millennials
between Korean Dramas and Filipino Teleseryes in terms of:
4.1.Linguistic
4.2.Visual
4.3.Cultural Capital
4.4.Values
5. Is there a significant difference between Neo-Millennials’ viewership preferences
on both Korean Dramas and Filipino Teleseryes in terms of being:
5.1.Male
5.2.Female
6. Is there a significant interaction between Neo-Millennials’ sex and their
viewership preferences in terms of:
6.1.Korean Dramas
6.2.Filipino Teleseryes
7. How does the viewership preferences of Neo-Millennials between Korean
Dramas and Filipino Teleseryes create an impact to the Philippine Telenovela
Industry in terms of its:
7.1.Introductory Stage
7.2.Growth Stage
7.3.Maturity Stage
Hypothesis
H0=There is no significant concordance among the ranking of telenovela’s elements
aligned with Neo-Millennials viewership preferences
H0=There is no interaction between the Cultural Proximity and Types of Telenovela

H0=There is no significant difference between Neo-Millennials’ viewership preferences
on both Korean Dramas and Filipino Teleseryes with their Sex
H0=There is no significant interaction between Neo-Millennials’ Sex and their viewership
preferences in Korean Dramas and Filipino Teleseryes
Scope and Limitations
This descriptive-comparative-exploratory study primarily focuses on determining
the elements influencing Neo-Millennials’ preferences on watching Korean Dramas over
Filipino Teleseryes and its impact on the Philippine Telenovela Industry. This study
aimed to assess their viewership preferences in terms of Linguistic, Visual, Cultural
Capital and Values. It also illustrated the impact of the said preferences to the nation’s
Telenovela Industry.
Meanwhile, the researchers utilized two research techniques in gathering data- the
survey type of research in order to acquire the necessary information from the
participants and semi-structured conversational interview in order to assess the impact of
the viewership preferences to the Philippine Telenovela Industry. Relevantly, the
participants of the study for the survey were 230 Neo-Millennials who are studying in
Bocaue, Bulacan while a Hallyu Wave and TV Production professor was the study’s
participant for the interview.

Significance of the Study
This study would be highly beneficial for the following:
To Korean Producers and Entertainment Companies
The study may be used as the basis for Korean producers and entertainment
companies to fully recognize the Philippines’ strong potential as a market for their
telenovelas and products. This would also be more beneficial to K-Drama Filipino
viewers who demand easier access to Korean products and telenovelas. Additionally,
communication with Korea is beneficial to the Philippines because this will pave a way to
strengthen its relationship with Korea.
To the Local Television (TV) Networks
The study can be utilized by the TV Networks specifically ABS-CBN and GMA
as a baseline data, to nationally evaluate and collect information from the Filipinos
regarding their viewership preferences on a Teleserye, respectively. Moreover,
environmental scanning which pertains to the process of gathering, analyzing, and
dispensing information for strategic purposes is significant to this kind of industry, in
order to ensure its development and sustainability. With this, an environmental analysis
may contribute to these networks to select the best decision, aiming to obtain their
customer’s satisfaction.
To the Teleseryes’ Crews
The study will allow the Teleseryes’ Crews specifically the director, producer and
director of photography to determine viewership preferences and to deeper understand its

impact on the country’s Telenovela Industry. The findings could strengthen and
contribute to the studies on the appreciation of Filipinos to foreign media content.
Particularly, it aims to emphasize that innovation with the combination of risk and
creativity in a business is a vital tool for growth. If Telenovela Industry continuously airs
recycled series alone, viewers may possibly reach consumers’ oversaturation and will
tend to look for foreign telenovelas which will satisfactorily cater their wants and
expectations. Relevantly, the study aims to serve as an eye-opener for them to produce
more creative concepts, qualities of screenplays, unique articulation of plots and
innovative technicalities, aiming to achieve profitability as a consequence alone of
creating superior customer value. The findings may be a basis for them to create
strategies targeting K-Drama viewers as potential audience. The local media may also use
the findings to recognize the factors that attract Filipino viewers to K-Dramas content and
use these strategies to improve the local media content.
To the Filipino Viewers
As a viewer, the study will allow them to be aware and be knowledgeable
regarding the factors which affect their decision of viewership. This might also pave way
for them to critically watch and evaluate these factors in the telenovelas that they will
watch.
To the Accountancy, Business and Management (ABM) Students
As future marketers and business practitioners, the research outcomes will serve
as contributory factors in enhancing one’s understanding regarding the marketing of
different situations. It will also help the students to think critically, young as they are, on
how to be successful entrepreneurs someday, aiming to determine the needs, wants and
interests of a target market, and to deliver their desired satisfactions more effectively and
efficiently than competitors in a way that preserves or enhances the consumer’s and the
society’s well-being.
To future studies
The study will be beneficial to the future studies. Particularly, this study can be
used for referencing purposes regarding viewership preferences between local over
foreign telenovelas.
Definition of Terms
The following terms shall be understood in context with the study. The
researchers provided this section in order to elucidate the meaning of various terms in
relation to the current research endeavor:
Acting skills of Actors/Actresses- the ability of an Actor/Actress to portray his/ her role
excellently
Completeness of Plot- the unique yet completeness of events’ sequence or storyline in
telenovelas
Cultural Capital– the third main cultural offering stated in the Cultural Proximity Theory
pertaining to the story’s cultural message in terms of Plot’s Completeness, story’s
Cultural Content, Story Development Pacing and Soundtracks

Dependence on Stars- attractive and/or popular artists who have role in acting for a
telenovela
Emotional Appeal- ability of a telenovela to move and draw emotions from its viewers
Growth Stage- a period of rapid market acceptance for Korean Dramas in Philippine
Telenovela Industry
Incorporation of Cultural Content- the included culture of any nationality in a telenovela
Introductory Stage- a period of slow sales growth for Korean Dramas in Philippine
Telenovela Industry, as these are introduced in the market
Korean “Hangkuk” Drama- refers to the telenovelas made in South Korea
Length of Story Development- pertains to the time on how fasts or slows the events which
transpire in a telenovela
Linguistic– the first main cultural offering stated in the Cultural Proximity Theory
pertaining to the Language used in media content and the Acting Skills of
Actors/Actresses presented in the story
Maturity Stage- a period of slowdown in sales growth for Filipino Teleseryes in the
Philippines
Official Sound Track (OST)- the official music or song which is played as a
representation of a telenovela
Technical Completeness- utilization of proper equipment, editing skills and technologies
for a telenovela’s quality

Theme- the subject of a telenovela’s story
Telenovela- refers to the serialized dramas
Teleserye- Filipino term for locally-made telenovelas
Values– the third main cultural offerings stated in the Cultural Proximity Theory
pertaining to the overall Theme of the story and its Emotional Appeal which reflects the
values and message it wants to rely upon the audience
Visual- the second main cultural offerings stated in the Cultural Proximity Theory which
includes Dependence on Actors/Actresses pertaining to the physical appearances of stars
including their make-up, hair and clothing style, and the Technical Completeness of the
media content including the camera angles, editing, sound effects and cinematography
Review of Related Literature
TELENOVELA INDUSTRY
A. Brief Historical Background
Telenovelas have become a significant part of numerous viewers all over the
world. Relevantly, the popularity of telenovela dominates the television industry locally
and internationally. Telenovela was derived from Spanish word which is also known as
soap operas (Oxford Dictionary Online, n.d.). Globally, the history of soap operas can be
traced back to the 1800s when novels particularly Dickens appeared in newspapers in
serialized formats. It began on radio and later, entered television as “serialized daytime
dramas which were broadcast daily” (Kielwasser & Wolf, as cited by Anita, 2014 &
Hoque, 2015).
Particularly in the Philippines, telenovelas are initially referred as soap operas.
Soap operas pertain to stories told over an extended period, with different characters
being featured at different times. Its name is rooted to the reason that soap manufacturers
including Procter and Gamble, Colgate-Palmolive, and Lever Brothers were the show’s
sponsors (Kontranowski, 2017).
Meanwhile, soap operas in the country were later known in the form
of Teleseryes. Teleserye is a television’s form of melodramatic serialized fiction. It is
rooted from two words mainly “tele”, which is short for “television” and “serye”, a
Filipino term for “series”. Presently, Teleserye is used as the generic term for most
Filipino soap operas on TV (Philippine Encyclopedia, 2010).
The said term was introduced in 2000 when Philippine TV network ABS-
CBN made a milestone move through airing its first official form of Teleserye, Pangako
Sa 'Yo. This paves way to set standards for the present production of Teleseryes in the
country (Philippine Encyclopedia, 2010).
Relevantly, this telenovela form became a big hit locally and even internationally.
Because of this phenomenon, subsequent soap operas shown on Philippine TV have
regularly come to be referred as Teleserye (Philippine Encyclopedia, 2010).

B. The Nature of Telenovelas
B.1. Kinds of Telenovelas
The kinds of telenovelas are classified according to the art that it predominates
and the kind of life that it reflects. Additionally, Garcia’s and Masigan’s 2001 research
study stated that there are 10 different kinds of telenovelas.
First (1) is Action Pictures which deals with, but not limited to adventure,
detectives and Kung Fu. Next (2) is Social Telenovelas which deals with the relationship
of man towards its fellowmen. (3) Historical Telenovelas which narrates historical
events. However, this kind of telenovela does not necessarily reflect the exact attitude of
what really happened, instead, it depicts a present reality on the basis of historical events.
(4) Psychological Telenovelas tackles introspection, representational type and profound
analysis of character on the basis of reactions and passions. (5) Religious Telenovelas
emphasizes religious history and dramatic situations involving moral and spiritual values.
(6) Theatrical Telenovelas includes theatrical techniques in the story. (7) Documentary
Telenovelas incorporates important educational opportunities and attempts to tell true and
accurate stories regarding real-life situations and real people. (8) Factual Telenovelas
presents ideas and information precisely, using pictures and sounds to clarify meanings in
ways superior to and different from the usual illustrated lectures. (9) The next kind is not
created solely to seek entertainment, but instead, Comedy also has more profound aim
which is to create a good telenovela. (10) And lastly, Dramatic Telenovelas portrays real-
life events and situations with regards to the lives of people.

Locally in the Philippines, Teleseryes share some characteristics and have similar
roots with classical soap operas and telenovelas. However, Teleseryes evolved with its
own unique characteristics, often working as a reflection of Filipinos’ social realism.
These attract a broad audience which crosses age and gender lines, and they command
the highest advertising rates in Philippine TV. These may last anywhere from three
months to a year, or even longer, depending on its ratings (Philippine Encyclopedia,
2010).
Other forms of Philippine telenovelas are serials and anthologies, which are
usually shown on a weekly basis. These telenovelas are also intended to air at a finite
number of episodes, depending on the ratings as well (Philippine Encyclopedia, 2010).
B.2. Parts of Telenovelas
In order to fully understand a telenovela, one must initially appreciate its parts.
Hence, according to Iwuchukwu (2008), the following are the four parts of telenovela.
First is the Imitation, regarded as the basic and most essential element which
pertains to telenovela reflecting real life situations. Next is Plot, pertaining to the events’
sequence which forms the telenovela’s story as a whole. It is subsequently followed by
Action and Dialogue which refers to how the characters act and deliver their lines as they
present the telenovela’s story.
EFFECTIVE TELENOVELA INDUSTRY MARKETING
According to Mohammadian and Mabibi (2012), there are four P’s needed to be
tackled in a Telenovela industry in order to market a series.

The first P stands for Product which basically refers to the telenovela series. It is
mainly for experiential consumption as this series are being patronized by the viewers
with the primary reason of attaining one’s pleasure alone, rather than fulfilling
physiological need. Meanwhile, viewers tend to perceive a telenovela series’ quality base
on its product variables which include the following factors.
First is the Director, who is in-charge of telenovela series’ overall artistic
completion. They have more indirect effect on viewers: good directors make good
movies, good movies create positive word of mouth, and positive word of mouth will
increase sales.
Next is the Producer, who is the telenovela’s business project leader. They are
contractually responsible for the completion of the telenovela in terms of setting finance,
location, time constraints and for estimating its commercial success.
One of the most important variables is the Actors, which is an indication of a
telenovela’s quality. In fact, there is a positive relationship between the presence of a
famous star in a telenovela and its sales. Meanwhile, strong reputation and recognition
from critics including nominations and awards may pave way for Teleseryes to be
patronized by the viewers.
Film budget which signifies that large production budget could also be taken as a
signal of higher quality and greater viewer rating’s popularity.
Relevantly, Genre is also one of the variables that are needed to look at. In line
with this, the marketers must constantly consider the audience’s genre preferences.
The last variable for Product is the Nomination and award-winning achievements,
which states that telenovela’s achievement can have a positive and significant impact on
sales and post-award revenues.
Meanwhile, the second P stands for Promotion which is defined as the
communication with individuals, groups and organizations in order to motivate them
towards patronizing telenovelas. Promotion includes the following channels:
The first and the least expensive form of promotion is Word of mouth which
refers to the informal communication between viewers concerning positive or negative
viewing experiences with regards to telenovelas. Greater awareness tends to generate
greater sales. The role of Word of mouth is to influence consumer’s attitude.
Next is a Telenovela review, consisting of critics, newspapers’, television
stations’ and other media’s employee who screen newly released telenovelas in order to
provide subjective views regarding the telenovela for the public’s information. This
contributes in consumers’ decisions because their judgments serve as product previews,
making them one of the first links in the diffusion of information about the telenovela.
Additionally, their professional status strengthens their credibility. Hence, positive
reviews may increase sales.
Consequently, Telenovela posters and trailers which represent an extract of the
telenovela and its main attraction through inculcating visual information about its plot,
stars and titles is the last promotional channel. Exciting and intriguing posters and trailers
may attract people to watch the telenovela.

On the other hand, the third P is the Price pertaining to the telenovela’s price
level. This should be sufficiently low yet may represent good value to audience. In the
same way, it should allow a service provider to achieve its financial objectives. In
telenovelas, they earn through the following:
First is through Copyright and International Property (IP) which is earning
revenue through licensing and format fees. The telenovela will get “format fees” for the
rights to air the program in other countries. Meanwhile, if a previously produced version
of the show is sold to other platforms such as Netflix, the telenovela will earn through
licensing the produced programs to the platform’s broadcasters. Relevantly, Network
Channels do not normally produce most of the telenovela. Thus, the telenovela earns as
TV networks pay to get the airing rights of the telenovela series.
Main Show which pertains to how producers are responsible for creating money
through different elements included in a telenovela is also a way to gain profit. There are
product placements, wherein the telenovela indirectly advertises a certain product.
Moreover, the fourth P which stands for Place of Distribution refers to the
medium and electronic equipment that the viewers utilize to access and watch
telenovelas. This includes, but not limited to TV, mobile phones, computers and laptops.
EXPECTATIONS AND SATISFACTION ON TELENOVELAS
Customers play a vital role in the existence of each company. A company must,
therefore, scrutinize the needs, wants and expectations of each customer to be able to
arrive in specific strategies and designs on how they will gratify their customers (Agbor,
2011).
Customer expectation is defined as the perceived anticipations of customers based
on the prior information that leads to a person’s prediction of products and services
performance. It is directly comparative to the amount of satisfaction of customers
towards the received service and product. Evaluation can result to repeat purchase and
customer loyalty. Conversely, unmet satisfaction can lead to customer deflection and
change of brand (Almsalam, 2014).
According to the study of Institute of Marketing and Polls, the expectation in TV
Industry may vary depending on the viewers’ demographical status including gender, age
and frequency status and network availability (Almsalam, 2014).
In relation, as a form of TV art, Telenovela must illustrate various aspects such as
styling, cinematography, content, and artistic beauty in order to continuously cater
viewer’s satisfaction. Telenovela should also evidently communicate the message it
desires to express. Consequently, it should include creative filming and shooting,
aesthetics in terms of rhythm and story’s flow, exquisite organization and structure of the
entire telenovela (Garcia & Masigan, 2001).
Moreover, there are also expectations when it comes to the technically perceived
quality of the viewers. In fact, the emergence of Netflix and HBO positioned higher
viewer expectation in terms of its quality (Screen Australia, 2016).

In this regard, TV remains to be the main attraction in each household. The
continuous offering of viewer’s satisfaction is what construct the industry. Additionally,
Telenovelas which often show lack of concept disbursement still receive non-stop
support, because of its primary contribution to the daily entertainment of viewers
(Gerbner, Gross, Morgan & Signorielli, 1986).
KOREAN “HALLYU” WAVE
The rising prominence of Korean Culture all around the world is called Korean
Wave (Yu as cited by Magtortor, 2013). The Korean Wave, also known as Hallyu wave,
refers to the popularity of Korean entertainment products, including but not limited to,
film, television, telenovela, pop music (K-Pop) and online games. The wave started in the
late 1990s, which swept across East Asia in the early 2000s and continues its global
visibility in the United States, Latin America, Middle East and parts of Europe (Oh,
2013).
According to Korea Creative Content Agency (as cited by Oh, 2013), there has
been a gradual increase in number of exports and at the same time, decrease in imports of
South Korean TV programs as of 1998 until 2010.
With this, Korean wave results in widespread of Korean mainstream society in the
particular manifestation of K-Dramas. In fact, the wave reached the Philippines with the
initial Korean telenovelas aired locally in 2003 (Santa Maria, 2012).

Since the Winter Sonata in 2002 and Jewel in the Place in 2003 were aired and
become sensations, more than five hundred K-Dramas have been exported into the East
Asian market, earning dollars during the past decades. The proportion of telenovelas has
continuously increased and Korean exports dominated the TV content. The expanding
exports urged the South Korean government to set K-Dramas as the nation’s primary new
export product.
Telenovelas have virtually dominated the domestic broadcasting industry in
Korea. Relevantly, the combination of growing global and domestic market has
reconfigured the Telenovela Industry of South Korea. Relevantly, Korea Creative
Content Agency in 2010 (as cited by Oh, 2013) stated that Japan with 53.90% had the
most number of imported Korean TV content globally, while the Philippines was in the
6th place with 2.70%.
KOREAN DRAMAS AND ITS IMPACT TO FILIPINO VIEWERS
According to Alanzalon (2011), the expanding popularity of K-Dramas influences
the viewers through these following aspects.
First is through Information, which is classified as a basic need of the audience,
because viewers seek to find out about the immediate surroundings, society and world in
consuming media. The viewers acquire knowledge and comprehension in order to
understand the telenovela. In this way, the telenovela satisfies their needs for information
through fulfilling their interest and curiosity.

Meanwhile, Filipino views became exposed not only to the story in the telenovela
but to the knowledge and learning regarding South Korea as well. One of the most basic
knowledge inculcated in K-Dramas is the Korean culture and traditions (Alanzalon,
2011).
Another impact is through Personal Identity which McQuail (as cited by
Alanzalon, 2011) stated that the viewers repeatedly consume media to seek for their
personal identity. This involves “finding reinforcement for personal values” and
“personal models of behavior”, through the actors portraying the characters in the
telenovela. Upon watching media content, the audience gains insights and personal
reflections about themselves.
In connection, the viewers’ pursuit of their personal identities may result in the
changes in their habits and desires depending on what the telenovela’s story wants to
convey. In fact, Korean soap operas “are expressions of the expansion of the lower
middle class,” making the view of urban scenes of Seoul depicts a dream and aspiration
for Filipino viewers to witness Korea (Flores, as cited by Santa Maria, 2012).
On the other hand, the main impact and reason of watching K-Drama to Filipinos
is for Entertainment as media primarily exists as a medium of entertainment. According
to McQuail, Blumler, & Brown (as cited by Alanzalon, 2011) telenovelas contribute to
people’s diversion from problems and routines. In fact, K-Dramas are utilized for
relaxation and aesthetic enjoyment by the Filipinos (Alanzalon, 2011).

Synthesis
Telenovela is a significant part of one’s life as it plays a huge contribution to the
daily entertainment and learning immersion of each individual. There are different kinds
of telenovelas which are differentiated based on the message and theme it wants to
convey. Relevantly, there are four parts of telenovela including imitation, plot, action and
dialogue. These classifications are vital in order to further understand and appreciate
telenovelas.
Meanwhile, there are 4P’s for an effective Telenovela Industry Marketing. These
include Products, Place, Promotion and Place of Distribution. These marketing tools can
serve as a guide in the comparison between Korean Dramas over Filipino Teleseryes.
Consequently, the producers shall scrutinize the needs, wants and expectations of
the viewers to achieve satisfaction from them. The telenovela series which will be offered
shall meet and surpass the customers’ expectation. Additionally, customers’ satisfaction
may vary from their demographical status and expectation in terms of styling,
cinematography, content, artistic beauty, the message it desires to express, creative
shooting and aesthetics such as rhythm and flow of the story.
Locally in the Philippines, a form of telenovela known as Teleserye becomes a
big hit. Hence, subsequent soap operas shown on Philippine TV have regularly come to
be referred as Teleserye, which pertains to serialized melodramatic fiction.
However, the popularity of Korean entertainment products through Korean
(Hallyu-한류) Wave greatly influences the country’s Telenovela Industry particularly. Of

these, Korean mainstream society is greatly observed through the manifestation of K-
Dramas. Locally in the Philippines as well, the wave reached the country with the initial
Korean telenovelas aired in 2003.
Moreover, Filipinos’ interests in K-Dramas impact them in terms of immersion
based on the telenovela’s information, reflection of personal identity and source of
entertainment.
CHAPTER 2
RESEARCH METHODS
This chapter elucidates the methods that were used to answer the research
questions in the previous chapter. Moreover, this chapter explicates the research
approach, selection of participants, the research instrument used, the method of obtaining
data and ethical considerations.
Research Design
In accumulating enough data, the researchers have utilized a two-phase process.
The first phase involves the identification of the Neo-Millennials’ viewership
preferences. Furthermore, this phase also identified the telenovela that they more prefer:
between Korean Dramas and Filipino Teleseryes. With these, the researchers utilized a
survey questionnaire for data gathering. Thus, the quantitative descriptive-comparative
design of research was established. Quantitative research is primarily concerned with
analyzing numerical data and other quantifiable information, with the application of
different statistical methods, in aid to produce substantiated research result (Bacon-
Shone, 2015). Meanwhile, descriptive type of research in its nature seeks to describe and
document situation on how it naturally occurs (Research Methodology, n.d.). In this case,
the study aims to define the different elements of telenovela which influence Neo-
Millennials’ viewership preferences. On the other hand, comparative type of research
aims to compare and analyze the similarities and differences between two variables in an
attempt to better understand both groups (Richardson, n.d.). In this case, the study
compares the two telenovelas namely Korean Dramas and Filipino Teleseryes and how
they are significantly similar and different in terms of (1) Linguistic: Language and
Acting Skills of Actors/Actresses, (2) Visual: Dependence on Actors/Actresses and
Technical Completeness, (3) Cultural Capital: Completeness of Plot, Incorporation of
Cultural Content, Length of Story Development and Official Sound Tracks (OST) and (4)
Visual: Theme and Emotional Appeal.
Consequently, the second phase involved is the identification of implications
entailed by the participants’ preferences on Philippine Telenovela Industry. In this phase,
the researchers utilized semi-structured interview to an expert in the field of TV
production and Hallyu Wave. Thus, the qualitative exploratory approach was considered.
Qualitative research facilitates in-depth analysis of non-numerical data (Bacon-Shone,
2015). Hence, this approach is chiefly concerned with creating inferences based on the
perspective of the informants. Relevantly, exploratory research design’s goal is to find
out how possible it is to conduct a research study on a certain topic (Baraceros, 2016).
This approach is about discovering ideas which will pave a way to conduct further
research studies. Using exploratory research as another type of design in this study, the
researchers sought to explore a new angle on the informants’ ideas and views regarding
the impact of Neo-Millennials’ viewership preferences on Philippine Telenovela Industry
specifically in terms of Introductory, Growth and Maturity Stages.
Research Locale
The researchers chose the locale of the study base on the research focus,
concerning the nature of the questions and the concentration of a number of possible
participants within the specific area. Considering the first phase of the research study, the
researchers distributed 230 survey questionnaires on two randomly-chosen schools in
Bocaue, Bulacan specifically Dr. Yanga's Colleges, Inc. in Wakas and Integrated School
of Montessori in Igulot. The researchers presumed that the students within the mentioned
schools are the most appropriate participants, as their age group is mostly affiliated with
the Neo-Millennials generation.
Meanwhile, Ateneo de Manila University in Quezon City was the research locale
for the second phase of the study. The professor in the said university, whose expertise is
aligned with TV production and Hallyu Wave, was interviewed by the researchers.
Research Participants
In this study, the researchers utilized random sampling through draw lots of two
out of seven schools in Bocaue, Bulacan. In the same way, the researchers distributed 230
survey questionnaires to Neo-Millennials particularly Junior (Grade 7-10) and Senior
(Grade 11-12) High school students, ranging from the age of 12 to 19 years old.
Relevantly, the researchers chose students who are both watching Korean Dramas and
Filipino Teleseryes as the study’s participants. This is to ensure more data reliability and
fairness in evaluating the participants’ viewpoints.
On the other hand, the researchers interviewed an expert in the field of TV
production and Hallyu Wave in the country. The researchers used purposive sampling in
this instance, as there are limited numbers of people who have expertise in the topic being
researched. The informant for the interview was chosen based on the researchers’
judgment, on who they think, would be an apt source of data regarding Neo-Millennials’
viewership preferences and its impact on the Philippine Telenovela Industry.
Research Instruments
The research aims to determine the Neo-Millennials’ viewership preferences on
Korean Dramas over Filipino Teleseryes, and its impact on the Philippine Telenovela
Industry. In order to acquire sufficient data on the study at hand, the researchers utilized
two instruments.
The first instrument is the survey questionnaire which was used to measure the
viewership preferences of Neo-Millennials on watching Korean Dramas and Filipino
Teleseryes. It was divided into three parts. The first part was the identification of the
participant’s profile. Name, sex and the duration of time spent in a day on watching
telenovelas were included in this part. The next part was the questionnaire proper which
consists of the elements in a telenovela derived from the four cultural offerings in
Straubhaar’s Cultural Proximity Theory particularly Linguistic, Visual, Cultural Capital
and Values. The participants are required to rank the elements from most and least
influential, depending on the degree of influence which affects their decision on watching
a telenovela. This said part of the questionnaire desires to determine the elements of
telenovela which mostly and lastly affect the viewership preferences of Neo-Millennials.
Consequently, the last part was structured using the Likert-scale which measures the level
of viewership preference that the participants had obtained for each situation, signifying
the elements ranked on the first part. The Likert-scale method is a response scale
primarily used in questionnaires, wherein respondents are asked to indicate their level of
agreement with a given statement through the use of an ordinal scale (Bertram, n.d.).
Likert-scale for the study’s questionnaire is apt to measure opinions and perceptions of
the participants. These are the four-point response scale used in the questionnaire:
4 - Extremely Satisfactory
3 - Very Satisfactory
2- Slightly Satisfactory
1 - Not Satisfactory
The researchers also provided both English and Filipino language versions of
these questionnaires, for the participants to further understand the survey’s content
In order to ensure that the instrument which will be used in the study is a good
questionnaire, the tool underwent discrimination, validity and reliability tests. From the
researcher’s point of view, they ensure that the questionnaire was able to distinguish the
participants who prefer Korean Dramas to Filipino Teleseryes, or vice versa based on
their numerical scores with the appropriate construct being measured. The researchers
utilized Face Validity, wherein the questionnaire has been reviewed by ten untrained
individuals from Junior and Senior High school to see whether they think the items in the
survey are understandable. The tool also underwent Content Validity, wherein four
reviewers who are experts in the field of TV production validated the survey’s contents.
Table 2.1. Content Validity Results of the Survey Questionnaire

Validator Expertise Content Validity
Maeda Santos • TV Production Staff 0.91
Teddy Teodoro • Media and Public Communications 0.82
Head of Taal, Bocaue
• Drama Instructor
Niña Candazo • Bachelors of Mass Communication 0.93
Graduate
Gilbert Jacob Que • Hallyu Wave and Korean Drama 0.95
Professor at Ateneo de Manila
University
With the following Content Validity’s results, the researchers were able to ensure
that the tool contains everything it should and does not include anything that it should
not. Relevantly, the researchers concluded that the survey tool which will be used as an
instrument is valid, free from biased and apt with the research topic.
Consequently, the researchers used Reliability Tests particularly Test-Retest,
wherein the tool was pilot tested to ten participants twice, yet at two different points in
time. This allows researchers to observe how stable their responses are. Here are the Test-
Retest Reliability results of the questionnaire:
Table 2.2. Test-Retest Reliability Results of the Survey Questionnaire

Test-Retest Scores
Ranking 0. 8903
Korean Dramas 0. 7226
Filipino Teleseryes 0.7412
Average: 0.7847
Interpretation: HIGH POSITIVE CORRELATION
With the given Test-Retest Reliability Results, the researchers concluded that the
survey tool will be able to give consistent data from the participants. Additionally,
Internal Consistency Reliability specifically Cronbach’s Alpha Coefficient was also
utilized, which reflects on how well the different items in the tool complement each other
in their measurement.
Table 2.3. Cronbach’s Alpha Results of the Survey Questionnaire

Variable Name Items Cronbach’s Alpha Interpretation
Linguistic 6 0.712 ACCEPTABLE
Visual 8 0.716 ACCEPTABLE
Cultural Capital 14 0.740 ACCEPTABLE
Values 6 0.723 ACCEPTABLE
With the following Cronbach’s Alpha results, the researchers concluded that the
survey questionnaire is reliable- a further proof that the survey questionnaire will be able
to give consistent results.
Meanwhile, in order to gather relevant insights regarding the impact of Neo-
Millennials viewership preferences to Philippine Telenovela Industry, the researchers
used a semi-structural interview as the second research instrument. A semi-structured
conversational interview is appropriate to further understand and evaluate the information
from the informants, as it is not limited to a set of questions presented in a structured
interview. The researchers complied with their guide questions. However, they asked
secondary questions if necessary, to allow new ideas to be brought up in the interview.
During the interview, the researchers asked questions that are relevant to the
needed information. Additionally, record method was also used to determine and to
capture the precise information, through a cellular phone recorder in the interview.
The researchers used the following guide questions for the interview:
1. What are the factors that producers do consider when creating a telenovela?
2. Based on the initial data, Acting Skills of Actors/Actresses is the 1st influential
element of telenovela that viewers consider. How important it is to consider the
said element in a telenovela. What is the difference of the said element between
Korean Dramas and Filipino Teleseryes?
3. Based on the initial data, Plot is the 2nd influential element of telenovela that
viewers consider. How important it is to consider the said element in a telenovela.
What is the difference of the said element between Korean Dramas and Filipino
Teleseryes?
4. Based on the initial data, Dependence on Actors/Actresses is the 3rd influential
5. Based on the initial data, Theme is the 4th influential element of telenovela that
Teleseryes?
6. Based on the initial data, Emotional Appeal is the 5th influential element of
telenovela that viewers consider. How important it is to consider the said element
in a telenovela. What is the difference of the said element between Korean
Dramas and Filipino Teleseryes?

7. Based on the initial data, Official Sound Tracks (OST) is the 6th influential
8. Based on the initial data, Incorporation of Cultural Content is the 7th influential
9. Based on the initial data, Language is the 8th influential element of telenovela that
Teleseryes?
10. Based on the initial data, Technical Completeness is the 9th influential element of
telenovela that viewers consider. How important it is to consider the said element
in a telenovela. What is the difference of the said element between Korean
Dramas and Filipino Teleseryes?
11. Based on the initial data, Length of Story Development is the 10th influential
12. What is the significant role of telenovela in a specific country?
13. When or how exactly Korean Drama trend particularly Korean Dramas Wave
started?
14. What is the effect of Korean Dramas popularity to the Teleseryes that the
Philippine Telenovela Industry is currently offering to its viewers?
15. What do you think are the solutions to further improve Filipino Teleseryes?
Additionally, the researchers looked for other sources of information which were
related and needed to add more depth to the analysis of data. However, some of that
information became necessary depending on the data gathered in the interview. These
sources include, but are not limited to reports, articles and peer-reviewed journals.
Data Gathering Procedure
Formulation of
Discrimination Test-Retest
Survey
and Face Validity Reliability Test
Questionnaire
Settlement of Issuance of Intent

Cronbach's intents for and Consent for
Alpha Coefficient randomly the informants
selected schools
Distribution of Statistical
Survey Treatment of Interview
Questionnaires Data
Discussion and
Data Analysis
Findings
Figure 2.1. Data Gathering Procedure

Figure 2.1 shows the data gathering processes involved step by step. The
researchers utilized every means possible to gather and collect important data for the
study.
For the quantitative part of the study, the researchers formulated a survey
questionnaire which was used as the tool to gather data from 230 participants. Prior to
survey proper, the tool underwent several tests including Discrimination and Face
Validity. Secondly, the researchers formally ask for the permission of people whose
expertizes are aligned with TV production through a letter of intent, for them to validate
the questionnaire. Next, the questionnaire has been validated after the researchers made a
formal agreement with the validators. To ensure reliability, the tool was pilot tested to ten
students for the Test-Retest reliability. Then, Cronbach's Alpha Coefficient was utilized
to measure the internal consistency reliability of the tool. Afterwards, the researchers
secured letter of intents to the randomly chosen schools in Bocaue specifically Dr.
Yanga's Colleges, Inc. and Integrated School of Montessori for the data gathering. At the
same time, the researchers initially issued permission through Letter of Consent and
Intent, to the person who is in the field of TV production and Hallyu Wave as the
qualitative study’s potential informant. Thereafter, the researchers disseminated the
survey questionnaires to the different grade levels from Junior to Senior High school in
the said schools. Specifically, the questionnaires were given to those participants who
were watching both Korean Dramas and Filipino Teleseryes. Each member was assigned
to various classrooms to give instructions and to aid the participants in answering the
survey. As soon as the data was acquired, the researchers applied the statistical treatment
and proper data analysis. Meanwhile, after gathering the viewership preferences of Neo-
Millennials, the researchers sought to explore its impact on Philippine Telenovela
Industry. The researchers conducted the semi-structural interview wherein the informant
is a professor in Ateneo de Manila University who shared numerous insights regarding
the research topic. Afterwards, data analysis was performed after sufficient amount of
data were already acquired. Finally, the findings and discussion became part of the
research paper as results and conclusion.
Statistical Treatment of Data
Arranging and analyzing raw data after its collection is needed to further
understand and gather conclusions from the entire collected data. It is necessary to have
suitable statistical treatments which will depend on how the researchers gathered their
data.
Since the researchers have two types of survey particularly the ranking
measurement and a Likert 4-point scale, they also utilized four different types of
statistical treatment to analyze their raw data.
The first statistical treatment utilized was descriptive statistics technique for the
gathered data regarding the profile of the participants specifically Sex and Drama
Consumption. Also, this treatment was applicable to the first part of the survey tool. The
data were tabulated and frequencies were expressed.
Relevantly, the descriptive statistics treatment is appropriate with the first part of
the study tool which was the ranking part. There are ten elements in a telenovela given
under Linguistic, Visual, Cultural Capital and Values cultural offerings. These were
ranked from 1 to10 based on how influential a specific element is, for the participants in
watching Korean Dramas and Filipino Teleseryes, respectively.
Meanwhile, the researchers utilized Kendall’s Coefficient of Concordance. This is
used to measure the agreement between the values given. It assesses the statistical
agreement based on the ranks of data (Statistics How To, n.d.A). Through this, the
researchers are able to determine the degree of agreement among the Neo-Millennials
participants regarding their ranking on the elements of telenovela which is considered as
the most influential in their viewership preferences.
The next treatment is the Analysis of Variance (ANOVA) which was executed in
order to compare the mean differences between groups that have been split into two
independent variables called factors. Specifically, Two-Way ANOVA was used in the
study which aims to understand if there is a significant interaction between the two
independent variables on the dependent variable (De Jesus, 2017). In this case, the study
looks for certain interactions between the types of telenovela specifically Korean Dramas
and Filipino Teleseryes with the cultural offerings and elements of the telenovela. It will
serve as the basis on how the two Telenovela Industries vary to one another.
Additionally, the said treatment was utilized in order to determine if there is an
interaction between types of telenovela and the Drama Consumption.
Moreover, Post-Hoc tests were done which consist of looking at the results of
Two-Way ANOVA for more particular patterns that are not specified in it. It is concerned
with finding the significant difference between subgroups of a sampled population which
would otherwise remain undetected and undiscovered after the ANOVA statistical
method. Specifically, the study utilized the Tukey’s Test which aims to figure which
groups have a significant difference to another group. This Post Hoc Test uses the Honest
Significant Difference (HSD), a number that represents the distance between groups, to
compare every means with every other mean (Statistics How To, n.d.B).
Relevantly, Independent (Unpaired) t-Test was also included in the study. This
test compares mean scores on the same variable across two different populations. In this
regard, Independent t-Test aims to measure if there is a significant difference between the
means of sex with regards to their viewership preferences on both Korean Dramas and
Filipino Teleseryes.
Moreover, the researchers used the wide-ranging system of Statistical Package for
the Social Sciences (SPSS) and Microsoft Office Excel. Through the use of this software,
the researchers were able to integrate the data treatment of descriptive techniques,
Kendall’s Coefficient of Concordance, Two-factor ANOVA, Tukey HSD and
Independent sample t-Test efficiently and accurately.
Ethical Considerations
Throughout the study time-frame, it is significant that the researchers observed
proper ethical considerations. The researchers utilized questionnaire which underwent
validation and reliability tests. Additionally, the participants were given free will on their
participation in the data gathering process of this research. At the same time, the
researchers have gained intent and consent firsthand before proceeding to the survey
proper and interviews. Once these have been established, the assurance of confidentiality
regarding identity and accumulated data were given to the body of participants. These
treatments were both applicable to the data gathering procedures conducted on both Neo-
Millennials students and TV production professional. Other ethical considerations that
the researchers observed and practiced in this study were (1) justice, as fairness are
observed in dealing with data; (2) beneficence, as this study will provide advantageous
results to both group of participants and (3) non-maleficence, as this study will bring no
harm to the participants.

CHAPTER 3
RESULTS AND DISCUSSION
Asserting results and its discussion is a crucial component of a research endeavor
that will deal with the analysis and affirmation of the results shown in the first part of the
paper. The data gathered will be scrutinized to find the associates and differences as to
how Filipino Neo-Millennials prefer the viewership of a particular telenovela.
Phase I: Quantitative-Viewership Preferences and Comparison between Korean
Dramas and Filipino Teleseryes
Male Female
22.60%
77.40%
Figure 3.1. Participants’ Profile according to Sex
Demographics are the determinants of independent characteristics of the
participants that are imposed to give information based on their preferences and how able
they are to represent the population.

Figure 3.1 illustrates the distribution of participants’ sex who watch both Korean
Dramas and Filipino Teleseryes. Largely constituted the participants are females with a
number of 178 which comprise the 77.4% of the whole population. Meanwhile, the
remaining 22.6% was occupied by the male with 52 participants. Preferences of media
vary on each sex. Hence, a fewer number of male who watches telenovelas is not a
revelation, since most of them are commonly focusing on the physical row. Meanwhile,
women prefer less aggressive movements including fashion, beauty and emotional
gratification (Banerjee et al., 2008).
Korean Dramas and Filipino Teleseryes primarily showcase emotional contents
and contemporary scenarios which depicts how ideal life can be. This is more likely the
reason why the majority of the participants are females. Additionally, Teleseryes
specifically Telenovela Industry is commonly associated with a female-viewer-attracted
industry (Ni, n.d.). This gratification allows women who are more exposed to home
chores to be attracted to telenovelas, while men choose to focus on sports channels and
the likes.
The enjoyment that a viewer seeks through mass media is a determinant of its
social and psychological needs. Moreover, approaches of various media are based on
personality factors, particularly sex (Banerjee et. al., 2008).

0-1 hour 2-3 hours 4-5 hours 6-more hours
13%
25.2%
36.10%
25.7%
Figure 3.2. Participants’ Profile according to Drama Consumption
Figure 3.2 showcases the Drama Consumption distribution of the 230 participants
in the study. Drama Consumption pertains to the rate of hours that the participants
consume daily in watching telenovelas. Among the four dramas consumption ranges
given; 2 to 3 hours of watching telenovelas obtained the most number of frequencies at
83 which comprise 36.10% of the population. This primarily indicates that most of the
participants commonly allotted a moderate amount of time for telenovelas. Conforming
to Zenith Optomedia (as cited by Karaian, 2015), an individual spent an average of 490
minutes in consuming media daily. Furthermore, TV remains dominant since it is
reported that 3 hours of the total media consumption was used in watching TV.
On the other hand, 59 participants consumed 4 to 5 hours of their time for
telenovelas which occupied 25.7% of the population. This was followed by 58
participants consuming 6 or more hours of their time in watching telenovelas,
constituting for 25.2%. Since the majority of telenovelas are aired on TV and there is
wide availability of downloadable telenovelas which lasts for an hour and more, this
increases people’s consumption of telenovelas specifically when they are enticed to
further watch its additional episodes.
In line with this, 0 to 1 hour of time allotment for telenovelas got the least number
at 30 with the acquired percentage of 13%. This is mainly because an episode of
telenovela commonly lasts for more than an hour, which tends to increases viewers’
consumption of telenovelas (as cited by Karaian, 2015).
Table 3.1. Descriptive statistics for the Ranking of Elements of Telenovela
Standard
Rank Elements Weighted Mean
Deviation
1 Acting Skills of Actors/Actresses 4.45 2.546
2 Completeness of Plot 4.49 2.721
3 Dependence on Actors/Actresses 4.57 3.240
4 Theme 4.85 2.994
5 Emotional Appeal 5.15 2.573
6 Official Sound Tracks (OST) 5.97 2.581
7 Incorporation of Cultural Content 6.19 2.447
8 Language 6.23 3.117
9 Technical Completeness 6.33 2.703
10 Length of Story Development 6.8 2.418
Table 3.1 shows the statistics of ordinal data which assesses how crucial a specific
element of the telenovela is, in the viewership preferences of Filipino Neo-Millennials.
Based on the survey analysis, Acting Skills of Actors/Actresses got the lowest value of
central tendency with 4.45 mean, signifying that it is the most influential element that
Neo-Millennials vitally considers in watching a telenovela. Moreover, it has a standard
deviation of 2.546 which affirms that the mentioned element obtained small variation
with regards to the divergence of means among each participant. This primarily signifies
that there is a consistency in the answers of the participants with regards to the Acting
Skills as being the most influential element. Relevantly, the findings reflect that a
telenovela relies heavily on how the actors and actresses deliver their characters and how
competent they are to convey their emotions and messages to their audiences.
Meanwhile, it is indeed a process of learning and acquiring desired skills in order
to master the art of acting. In fact, there are existing works and exercises to further
sharpen an actor’s understanding on how to properly execute the lines literally and
contextually, on how to be in touch to other actors and on how to excellently
communicate the telenovela to the audience (Gillet, 2014). Consequently, magnificent
acting skills of actors and actresses in a telenovela effectively get hold of viewers’
attention, as characterization primarily serves as the mirror of any telenovela series. This
is validated by the statement below:
“…the performance aspect also…malamang is the first thing we see and syempre
if the acting was not good it will not be effective…” (Que, personal
communication, September 19, 2017)
(…the performance aspect is also the first thing we see; and of course, if the
acting was not good, it will not be effective...)
A TV Production and Hallyu Wave Professor Gilbert Jacob Que emphasized the
fact that acting is definitely a huge element which carries the entire telenovela. Hence, if
the actors and actresses who are addressed to portray the role do not effectively give
justice to the characters that they are portraying and do not relay the message of the
characters they depict; it will not be a compelling telenovela at all.

On the other hand, Completeness of Plot obtained the second lowest measure of
central tendency with 4.49 as its mean. Thus, it implies that Plot is the second most
influential element that entices Neo-Millennials to watch a particular telenovela. In line
with this, it has the standard deviation of 2.721 which confirms that Plot has diminutive
value of variation among the answer of the participants.
The Plot is a series of events which composes conflicts and literal happenings,
proving or disproving a theme (McCord, 2016). Meanwhile, Aristotle defined Plot as the
"soul of a tragedy”, because tragedy is not primarily about human, but regarding of action
and life; as life consists in action. Additionally, he affirmed that the Plot is the underlying
principle of a tragedy since it is the very soul of it. Therefore, Plot gives meaning, vigor
and vitality to a telenovela (De, n.d.). On the other hand, Completeness of Plot pertains to
the significance of tragedy in order to create an effective sequence and storyline.
In the same way, the Plot assumes “a beginning that promises further action, a
middle that presumes both previous and succeeding action and an end that requires
preceding events but no further action.” The end of a telenovela should reach an
inevitable and logical conclusion. This kind of artistic arrangement and logical link-up
ensures consistency, harmony and coherence in the Plot of a tragedy (De, n.d.).
Likewise, Aristotle’s concept of Plot can be further understood through Freytag’s
pyramid. Freytag’s pyramid obtains different stages including Exposition, Inciting
Incident, Rising Action, Climax, Falling Action and Dénouement. The diagram is some
different points created, in order to have an easier understanding of how a story develops
without confusing the agents on how its story flows (Cadwallader & Mazzeno, n.d.).
In this case, thoroughly maintaining a consistent connection despite different
transitions in telenovelas is essential, in order to influence Filipino viewers to keep
watching it. This will also allow them to fervently look out for the next episodes, leading
to an increase in a telenovela’s viewership rates.
Meanwhile, the third influential element is attained by the Dependence on
Actors/Actresses with 4.57 as its mean. It also has 3.240 standard deviation which asserts
that the data set is quite farther away from the mean. This means that there is a higher
variation in terms of the participants’ answers, unlike the previous elements tackled.
Viewership preferences of Filipino Neo-Millennials highly consider the actors
and actresses who will star in a particular telenovela. Apart from the actual acting skills
of stars, viewers tend to promptly look forward to the line-up of the characters on
telenovelas specifically the lead ones. This is more likely the reason why most of the stars
commonly possess good features, excellent sense of fashion and attractive personality
which contributes in attracting the audience’s attention and interest (Bacon, 2016). In the
same way, characters mostly serve as an inspiration for the viewers, leading them to
adapt trends including but not limited to fashion and lifestyles.
Relevantly, the actors and actresses in telenovelas initially dictate the viewership
preference of the audience. The popularity and credentials of the leading stars in the
telenovela contribute to the viewers’ decision to watch it. Most of the time, female
audience watch various telenovelas because they root for their favorite stars’ appearances
in it (Correa, n.d.).
Furthermore, the prominence of having actors and actresses with wide based of
fandom influences a telenovela in order to achieve a top-notched rating. Enormous
number of actors’ and actresses’ fandom contributes to higher consumption of telenovela.
Its popularity is further widespread through communication in the means of feedbacks
through social networking sites, boosting its ratings and sales (Bacon, 2016).
Concurrently, Theme obtains a 4.85 mean indicating that it is the fourth most
influential element for viewers in a telenovela. At the same time, it has a standard
deviation of 2.994 which confirms that there is a minimal variation in the ranking of this
element among the participants.
Furthermore, the Theme stands as the driving intention and center of the story,
bringing a sense of values in a telenovela (McCord, 2016). It is the message that the
writer is trying to get across to the audience which, when effectively communicated, will
emotionally and analytically satisfy them (Scott, 2012).
Theme is the instrument which paves way in order to deliver morals. In line with
this, exhibiting excellent and wise choices of theme draw connection with the audience
and tend to win their interest in watching telenovela.
Relevantly, Theme serves as the axis where the whole series revolves, as it
sustains the capacity of the story to continue creating connection and emotional impact to
its audience (Renee, 2016).
In connection, Emotional Appeal which is dependent on the story’s Theme is rank
as the fifth influential element with a mean of 5.15 and standard deviation of 2.573. Its
standard deviation is a good implication that there is a low value of variations in the
ranking of the said element of telenovela. The viewers are able to relate to what the
characters in the telenovela feel, through emotionally evoking sensations that the
telenovela tries to deliver (Porter, 2014).
Accordingly, character's emotions are effective means to connect with the
audience. It enables the telenovela to build sincere and deep interaction with the viewers,
since the intense emotion of the actors and actresses throughout the scene allows them to
feel the storyline (Alderson, n.d.).
Moreover, writers also have significant roles with regards to providing emotional
impact to the viewers. Scriptwriters are expected to build the foundation of the
telenovela, through providing stories which can directly impact depending on context of
the situation.
On the other hand, the sixth most influential element of a telenovela based on the
survey is the Official Sound Track (OST) with a mean and standard deviation of 5.97 and
2.581, respectively. At its core, the integration of different OST in telenovela acts as an
essential translation tool to express the challenges and depth of emotion felt by the
characters in the story that cannot somehow be literally translated into words. The “soul-
baring language of music” is inculcated to a great extent in telenovela, in order for
viewers to access the telenovela’s story they may find difficult to fully understand
(Murasakimi, 2017).
The best thing about OST is that they serve a variety of different purposes ranging
from romantic to melancholic songs and the likes. Hence, they are created in vastly
different musical styles, with a wide variety of artists brought together each time (Beanie,
2017). However, certain telenovela needs to ensure that the music which will be used
appropriately matches the scenes (Wentz, 2014).
OST further strengthen the viewership preferences of audience in a telenovela, as
it helps them in engaging feelings while witnessing the story. Without these songs, the
telenovela’s scenarios would have been way less powerful (Beanie, 2017).
Telenovela has unfailingly been part of the viewers' lives ever since. It has been a
medium of entertainment and leisure with the various stories it offers to the audiences.
Alongside its entertainment value, telenovela represents a country's culture as well. Thus,
Incorporation of Cultural Content is considered to be the seventh influential element of
telenovela, with a mean and standard deviation of 6.19 and 2.447. With this, it can be
observed that there is a minimal difference among the variation of answers of the
participants, as reflected by the standard deviation. Cultural Content refers to the identity
and individuality of a country’s certain cultures inculcated in telenovelas. Telenovela
reflects the country’s culture, whereas the culture reflects the country’s identity. Hence,
telenovelas crucially reflect the country’s identity.
Conforming to Trepte (2008), Cultural Content is vital in a telenovela because it
is something that the audience would relate to. In line with this, it is essential to evaluate
the inculcation of culture to telenovelas because when this element is not met, viewers
will tend to search for another telenovela which obtains the most proximate culture they
have in order to satisfy their needs, wants and expectations.

In addition, infusing cultures in telenovelas will contribute in educating people
through raising awareness of the existing or even non-existing rich cultures that each
country has. This allows audience to be positively enlightened regarding the beliefs and
cultures reflecting the country where the telenovela originates from.
On the other hand, Language used in a telenovela acquired the third highest mean
at 6.23 and standard deviation at 3.117. Through its standard deviation, the researchers
assert that there was observable variation to the answers of the participants with regards
to this element. It means that the answers of the participants regarding Language are quite
different from one another. Meanwhile, the ranking of Language implies that viewers
somehow do not take into thorough consideration the said element in watching
telenovelas.
Language takes a vital part as center of communication, when it comes to society
and flow of media in international market. It is widely accepted that language occupies a
prominent place in discussions of national identity. In the same way, this commonly
varies in different countries. Hence, telenovelas may have diverse language utilization.
This is due to the reason that local TV and radios are used to promote the development of
the official language of a country (Zeinalabedini, 2014).
However, Language seems to not be a hindrance anymore for various nationalities
to go beyond watching local telenovelas alone. This is mainly because of the existence of
subtitles. Moreover, it was proven by various studies that watching films and telenovelas
which contain subtitles are link to better reading and comprehension skills of the viewers
(Sabouri & Zahrobi, 2015).

Meanwhile, Technical Completeness is the second element that got the highest
mean with 6.33, making this land at the ninth rank in terms of influential elements of
telenovela. Additionally, the mentioned element has a standard deviation of 2.703 which
is a good indicator that there is only a minimal variation in the participants’ answers. The
survey analysis proves that the viewers do not primarily consider this element in
watching telenovelas. Technical Completeness includes, but not limited to
cinematography, completeness of technological devices and editing skills which adds
vibrancy to the telenovelas. This is emphasized to be a significant telenovela element.
However, several viewers do not commonly give importance to Technical Completeness
in telenovelas as reflected in this statement:
“…the technical aspect…we usually ignore kasi when we watch we sulking the
moment …kasi we are so used to…but not all the people are observing the
technical… pag-swip ng camera ganyan…Kasi not everybody is a technical major
anyway, they in-ignore…” (Que, personal communication, September 19, 2017)
(The technical aspect is usually being ignored when we are sulking the moment
because we are not used to…but not all people are observing the technical…the
sudden swift of camera…Because not everybody is a technical major anyway,
they ignore…)
Mr. Que pronounced that the camera framing brings profound meanings and
interpretations, as good acting will not be carried out without proper timing, camera and
editing techniques of the production set. This is further confirmed by this statement:
“It is not just the acting but also the way the camera in terms the series ahh the
way the camera frames…” (Que, personal communication, September 19, 2017)
(It is not just the acting but also the way the camera, in terms the series ahh the
way the camera frames…)
However, this is often ignored by majority of the viewers since they have
insufficient knowledge regarding the technical aspects of a TV series. Viewers’ focal
point is commonly on satisfying their gratification rather than observing and criticizing
other aspects of telenovela (Ruggiero, 2000). They are oblivious that what makes
scenarios more striking is the way the camera captures the moments.
“Kasi kaya we feel…alam na sometimes people says magiging filmmakers

because it is so easy, but it is not. A lot of things are…are needed to film nice. You
just cannot take a camera or a phone camera and make a movie but malamang
you can…but…it will not be top-notched…” (Que, personal communication,
September 19, 2017)
(Because we feel that sometimes people says I want to be filmmakers because it is
so easy, but it is not. A lot of things are…needed to film nice. You just cannot
take a camera or a phone camera and make a movie but sure, you can… but… it
will not be top-notched…)
Furthermore, stereotypes regarding filmmaking often arise as the majority of the
viewers seem to think that one can utilize typical cameras and phones in producing
telenovelas. On the contrary, TV productions need to have a wide array of equipment that
is constantly being updated. These include but not limited to 1080p Canon T3i DSLR,
Steadicam Scout, PeWee Dolly, Avid Media Composer 6.5 and Adobe Premiere Pro CS6
(Westphal College of Media Arts & Design, n.d.).
Length of Story Development is the least influential element which viewers look
at when watching a telenovela. This obtains a mean of 6.80 which is the highest among
the 10 elements given, whereas its standard deviation of 2.418 indicates that there is a
minimal variation in the answers of the participants. The result primarily signifies that
longevity will not basically hinder a telenovela’s success if it shows exemplar theme and
flow of the story.
However, the producers and directors need to consider the viewership preferences
of audience regarding the rate of the story. Most of the time, Filipinos specifically Neo-
Millennials get disinterested easily. Thus, they prefer direct to the point programs rather
than watching telenovela that frequently prolongs the agony.
This strengthens the fact that there are negative effects in making telenovela long
overdue. However, if the storyline is well-planned by the producers, it will be possible
that longevity will not hinder the triumph of a telenovela.
In line with this, stars on films are commonly matched up to stars on telenovelas.
However, it is proven that telenovela stars create more familiarity to the viewers because
of the length of appearance they had in each episode. Since penetrating the stars’ career
through telenovela is considered to be the peak of an artist line of business, long period of
telenovela’s airing can be a platform for actors and actresses to enhance their skills in
acting (Heritage, 2013).
Table 3.2. Kendall’s Coefficient of Concordance for Elements of Telenovela

Kendall’s Coefficient of Concordance
X2 W p-value Interpretation
174.4973123 0.084298218 7.12805E-33 Reject the H0
The table aims to determine the degree of association among the ranks of the
elements of a telenovela, which was assigned by the participants in the previous table.
The size of the coefficient of concordance (W) is 0.084298218, which indicates that there
is a strong concordance among the participants in terms of ranking the influential
telenovela’s elements based on their viewership preferences.
Media consumers’ decisions may vary depending on their needs, wants and
expectations. In fact, the Uses and Gratifications Theory (as cited by Bartsch & Viehoff,
2010) states that “people’s media consumption patterns are intended actions on the part
of viewers.” Relevantly, media consumption has a wide range of uses and emotional
gratifications (Ruggiero, 2000). These primarily affirm that audiences do not always
choose to watch a specific telenovela for the same reasons. Therefore, the analysis
confirms a good result, indicating that Neo-Millennials have a strong agreement with
their response to the ranking despite their diverse purposes on why they watch and what
they look for a telenovela.
On the other hand, it is validated that there is a significant agreement between the
participants on the ranking. Since the computed p-value is 7.12805E-33 is greater than
0.5, the Null Hypothesis was rejected. Moreover, the researchers safely conclude that a
significant agreement exists among the participants’ ranking of the influential elements
that they considered in watching a telenovela. With this, it is evident that at least an
element in a telenovela is rank significantly higher than the other, affirming the ordinal
data of the most and least influential elements in the viewership preferences of Filipino
Neo-Millennials.
Table 3.3. ANOVA for the Interaction of the Types of Telenovela and Cultural Proximity
Tests of Between-Subjects Effects

Dependent Variable: Viewership Preferences
Source F Sig. Interpretation
Types of Telenovela 169.332 .000
Cultural Proximity 4.850 .002
Types of Telenovela * Cultural 25.963 .000 Reject the H0
Proximity
Table 3.3 illustrates the interaction of the four cultural offerings aligned with the
Cultural Proximity Theory and the two types of telenovela through Analysis of Variance
(ANOVA). Cultural Proximity pertains to the theory which seeks to understand the
audience’s viewing habits and motives on watching media content. Subsequently, the
theory specifies audience’s identification based on four cultural offerings mainly
Language, Visual, Cultural Capital and Values. Meanwhile, the types of telenovela
pertain to classification between Korean Dramas and Filipino Teleseryes.
The first factor which is the Types of Telenovela indicates that there is a
significant difference between the Korean Dramas and Filipino Teleseryes to the overall
mean length of Neo-Millennials’ viewership preferences. This is affirmed by its
significant level at .000 which is lower than .05 standard p-value. This is translated to the
idea that the length of viewership preferences of Neo-Millennials varies between Korean
Dramas and Filipino Teleseryes.
Viewership preferences of an audience are widely diverse. This is supported by
the Uses and Gratifications Theory developed by Elihu Katz and Jay Blumler. The said
theory postulated that audience is conceived as active because they consume media for its
different gratifications accompanied by those uses. In line with this, the viewers’ goal in
watching media is to satisfy their needs (as cited by Alanzalon, 2011). Individual
differences brought varying viewership preferences and nature of entertainment
preferences. Moreover, it appears that people mainly seek out specific content because it
can provide a sense of identity or companionship (Rentfrow, Goldberg, & Zilca, 2012).
However, since viewers are deemed to be “goal-directed in its media-use”, they tend to
differently consume various types of telenovelas even if these originate from foreign
countries, as long as their satisfaction will be meet (as cited by Alanzalon, 2011).
On the other hand, a significant difference can be also observed between the
cultural offerings and overall mean length of viewership preferences, stated on the second
factor which is the Cultural Proximity. This is proven by its F-value at 4.850 and
significant level at .002. In this case, the mean lengths of viewership preferences of Neo-
Millennials differ among the four cultural offerings stated.
Cultural Proximity Theory which was initiated by Straubhaar primarily studies the
globalization of TV. The theory asserts that cultural proximities are dynamic based on the
audiences’ identification of the inculcated cultural offerings particularly Linguistic,
Visual, Cultural Capital and Values in media (as cited by Alanzalon, 2011).
Relevantly, the audiences’ sense of proximity may vary depending on their
exposure and identification of the media’s cultural offerings. Sometimes, exposure to the
media comes before selection of content. However, selection of the media mostly occurs
first, guided by their sense of cultural proximity. This theory accounts for the popularity
of media content from one country to another, as viewership preferences from one viewer
from another differ as well (as cited by Alanzalon, 2011).
Generally, the table states that the Null Hypothesis was rejected. Hence, it affirms
that there is a significant interaction between the types of telenovelas and Cultural
Proximity. This can be inferred through its p-value at .000. In this case, the researchers
realized that there is a connection between Korean Dramas and Filipino Teleseryes with
the cultural offerings namely Linguistic, Visual, Cultural Capital and Values of the
Cultural Proximity Theory.
Subsequently, the mentioned cultural offerings can further be classified into 10
Elements of Telenovela. Linguistic which is the first cultural offering obtains two
elements of telenovela including the kind of Language which is directly used by the
characters in the story. Additionally, the characterization specifically the Acting skills of
Actors/Actresses is incorporated in this offering.
On the other hand, the second cultural offering is Visual which refers to
everything in a telenovela that the audience perceive using their sense of sight. It includes
Dependence on Stars, wherein the viewers highly give importance on the
actors’/actresses’ physical appearances. In the same way, Technical Completeness
contributes as well on the Visual of a telenovela. It refers to the application of
technological advancement including, but not limited to camera angles, sound effects,
cinematography and lighting which significantly contributes to the visual quality of the
telenovela produced.
Moreover, Cultural Capital is the third cultural offering which is about the
cultural knowledge and references tackled by a telenovela. Currently, it is regarding the
Completeness of Plot pertaining to how the story is unique yet completely told.
Additionally, reception of Cultural Content is also included, pertaining to incorporation
of culture in some telenovelas. Relevantly, Length of Story Development referring to
how long the story airs belongs to this offering. Meanwhile, Official Sound Track (OST)
of a telenovela is the music and song which adds flavor to its story.
In terms of the last Cultural Proximity, Values refers to the telenovela’s Theme.
The story’s subject may emphasize the topics which will reflect the moral that the
viewers will realize in the story. Emotional Appeal is also incorporated in the Values
offering, which draws and moves the viewers’ emotions, enabling to intensify the story
and its Theme.
It is revealed that there is a significant connection between the types of telenovela
and Cultural Proximity. It is translated to the idea that Neo-Millennials’ viewership
preferences may vary between Korean Dramas and Filipino Teleseryes, depending on the
satisfaction that they achieved from each cultural offering and the elements of telenovela
under it. This asserts that if a viewer is not satisfied with a specific cultural offering and
the elements of either Korean Dramas or Filipino Teleseryes, then, the viewership
preference will be low. Conversely, if a viewer is satisfied with the cultural offering and
the elements of either Korean Dramas or Filipino Teleseryes, then, the viewership
preference will be high.

Cultural Proximity Theory affirms that viewers prefer local media content
because of its traditional and identifiable content. However, if a local media fails to
deliver the viewers’ needs, the audience would seek to prefer TV content with the most
familiar texts from other countries (as cited by Alanzalon, 2011). Therefore, the
viewership preferences of Filipino Neo-Millennials may shift depending on how a
telenovela’s cultural offerings would satisfy their needs, wants and expectations.
Once the perceived telenovela characteristics and cultural offerings are satisfied,
media dependency is activated. Additionally, once dependency is activated, the audience
would be more involved in the media content (as cited by Alanzalon, 2011). Hence, the
initiative in linking need of gratification and media choice lies with the viewers.
Table 3.4. Tukey HSD for the Interaction of the Types of Telenovelas and Cultural
Offerings
Multiple Comparisons
Viewership Preference
Tukey HSD
(I) Cultural Proximity (J) Cultural Proximity Sig. Interpretation
Linguistic Visual .851 No Significant Difference
Cultural Capital .002 Significant Difference
Values .257 No Significant Difference
Visual Cultural Capital .026 No Significant Difference
Values .733 No Significant Difference
Cultural Capital Values .286 No Significant Difference
Post Hoc Tests was executed in order to observe the population means which
obtain significant difference with one another. In this case, Tukey HSD was utilized to
determine which cultural offering has a significant difference with one another. Table
3.4. reveals that the cultural offering Linguistic and Cultural Capital has a significant
difference, as its p-value at .002 is lower than the .005 significant level.
Linguistic and Cultural Capital both refers to integrated patterns of human
behavior (American Speech Language-Hearing Association, n.d.). However, Linguistic
includes language, thoughts, communications and actions. Meanwhile, Cultural Capital
ranges from customs, beliefs, values, and institutions of racial, ethnic, religion.
Specifically, the elements of telenovela incorporated with Linguistic are
Language and Acting Skills of Actors/Actresses. On the other hand, Cultural Capital
includes Completeness of Plot, Incorporation of Cultural Content, Length of Story
Development and Official Soundtracks (OST). Since Linguistic and Cultural Capital has
a significant difference with one another, then, the elements of telenovela under these
cultural offerings obtain significant difference with one another as well.
The difference of Language to the Plot can be compared to the divergence of the
script to plot. A plot is the course of the story that is made up of a series of incidents. It is
the storyline which gradually unfolds and has unexpected means. On the other hand, a
script serves as the blueprint of the telenovela being proposed. It is more detailed that
can be divided into scenes. It contains names of characters, action, dialogues and settings
of the story (Kumar, 2013).
The difference of Language to the Plot can be compared to the divergence of
script to plot. A plot is the course of story that is made up of a series of incidents. It is the
storyline which gradually unfolds and has unexpected means. On the other hand, a script
serves as the blueprint of the telenovela being proposed. It is more detailed that can be
divided into scenes. It contains names of characters, action, dialogues and settings of the
story (Kumar, 2013).
Additionally, it can be inferred that Language and Incorporation of Cultural
Content have a significant difference with one another. Language structure primarily
determines the utilization of language, whereas Cultural Content contributes in
identifying culture and the way on how one will use language (Elmes, 2013).
Furthermore, language determines the way in which speakers of that language adopts
worldview through communication with the common language. Meanwhile, the Culture
of people finds reflection in the Language they employ. And since they value certain
things and perform them in a certain way, they come to use their language in ways that
will reflect what they value and what they do (as cited by Elmes, 2013).
Meanwhile, it can be realized that there is a significant difference between
Language and the Length of Story Development. Length of Story Development refers to
the span of time that a telenovela was aired. On the other hand, Language is a part of
one’s culture pertaining to the method of human communication which is used in the
dialogue, in order to effectively deliver the story to its viewers. Nevertheless, the length
of the story should be localized and aligned depending on the characteristics and
language of the target viewers. For instance, if the viewers are more comfortable with
long-running series, it would be appropriate to create telenovelas with more dialogues,
leading to longer Length of Story Development. Meanwhile, if viewers in a specific
market want telenovela with concise and straightforward episodes, then it is apt for the
producers to create telenovelas with shorter dialogues leading to shorter Length of Story
Development.
Moreover, the difference in Language and Official Sound Track (OST) is
somehow connected in poetry and song. Language in a poem deliberately takes place in
the context of silence and interaction. On the other hand, creating song lyrics takes place
in the context of deliberate musical information including melody, rhythm,
instrumentation, quality of singer’s voice and the recording aspect. Without all that
musical information, lyrics will not function well, as it was intentionally designed that
way. The manner of the environment’s condition affecting the construction of words both
literally and musically is primarily the differences between Language and OST
(Zapruder, 2012).
On the other hand, Acting Skills of Actors/Actresses which is under Linguistic
has a significant difference with Completeness of Plot which is under Cultural Capital.
Acting Skills of characters and the completeness of Plot has a significant difference, as a
story’s progression may either depend on the characterization or the plot. A character-
driven story pertains to the story being dependent on the characters. If there are even
small changes, the dynamic of the whole story might change. This is mainly because the
character is the one who creates the actions and incidents, which drives the story to
progress. Meanwhile, a plot-driven story is one where the plot defines who a character is.
If a character was removed in the telenovela, tiny details of a story would change.
Nevertheless, it does not cause the structure of the entire story to collapse (McGregor,
2014).
Moreover, Acting Skills can be significantly differentiated from Cultural Content.
The Acting Skills pertains to how the character portrays their role in the story, whereas
the Cultural Content is the idea regarding a specific culture that is incorporated to a
storyline and at the same time, to the characterization of the stars. Hence, giving the
characterization, a specific ethnic background can add depth. The beliefs and
expectations of any ethnic group help to define the range of possibilities available to the
plot and the characterization which is organic rather than contrived stories, leading for the
viewers to relate more with the story and characters (Horowitz, n.d.).
Relevantly, Acting Skills is different from the Length of Story Development.
The Acting Skills is the vehicle of the story enabling it to be alive, whereas the Length
pertains to how long the telenovela airs. Story arcs are the result of the Acting Skills. The
“over-arching storylines” is the story’s sequence of what is happening to the characters in
a TV series. Moreover, Story-arcs may be divided into sub-arcs of a certain episode. It is
more likely the highlight scenario in each episode of a telenovela. Hence, the longer the
Acting Skills, the Length of Story Development will be longer as well, leading to more
Story-arcs (TV Tropes, n.d.).
Consequently, Acting Skills together with Official Sound Tracks (OST) are
elements which have a significant difference with one another. These elements are
different because Acting Skills is the characters’ portrayal in the telenovela proper while
the OST is one which supports their characterization. This is mainly because there is
some OST which can save poor characterization in a telenovela. Soundtracks contribute
to engaging the viewers, if the Acting Skills of the Actors/Actresses in the story may fail
to do so (Beanie, 2017).
Cultural and Linguistic is a set of congruent behaviors, attitudes, and policies that
come together in a system enabling effective work in cross-cultural situations (American

Speech Language-Hearing Association, n.d.). In this regard, these two cultural offerings
may influence audience’s viewership preferences. Hence, telenovelas should be
responsive to Linguistic and respectful to Culture of the audience.
Table 3.5. Descriptive Statistics for Cultural Proximity and Types of Telenovela
Cultural Proximity Mean
Korean Dramas Filipino Teleseryes
Language 3.1885 3.1246
Visual 3.4902 2.7522
Cultural Capital 3.1065 2.8907
Values 3.3727 2.7797
Figure 3.3. Interaction Plots for the Interaction of the Types of Telenovela and
Cultural Offerings
In order to further understand the interaction of the two main factors mentioned
(Types of Telenovelas and Cultural Proximity), the figure specifically illustrates the
significant interaction which exists between the two factors. As a general statement,
Korean Dramas obtained higher viewership preferences than Filipino Teleseryes among
all the four cultural offerings specifically Linguistic, Visual, Cultural Capital and Values.
Through this, it can be inferred that Neo-Millennials would likely patronize familiar
foreign media content particularly Korean Dramas over local Teleseryes as the local
media somehow fails to fulfil their needs and wants. Filipinos would not look for foreign
telenovelas if only the existence of Filipino Teleseryes would have actualized their
expectations. This is aligned with Straubhaar’s Cultural Proximity Theory.
Consequently, viewers are consuming media because of their needs that are being
provided more by one media than another (Alanzalon, 2011). Hence, elements of
telenovela serve as determinants for these needs; leading to the determination of what
types of telenovela does Neo-Millennials prefer more.
With regards to the specific interaction, there is a minimal gap between Korean
Dramas and Filipino Teleseryes in terms of the Linguistic offering. Nevertheless, Korean
Dramas got higher mean length than Filipino Teleseryes with 3.1885 and 3.1246,
signifying that the participants preferred to watch Korean Dramas more than Filipino
Teleseryes in terms of Linguistic. Meanwhile, Filipino Teleseryes obtains the highest
mean length of viewership preferences on the Linguistic among the four cultural
offerings. This is mainly because, under this offering, Language and Acting Skills of
Actors/Actresses are the elements of telenovela which are included.

The Language used in the telenovela is indicated as the eighth influential element
in the viewership preferences of Neo-Millennials on the descriptive statistics. The
difference in Language is primarily due to the diversity in the native language that each
country has. Relevantly, the existence of telenovelas significantly becomes part of a
country’s identity where it is created. In fact, the expanding exports of Korean Dramas
urged the South Korean government to set this as the nation’s primary new export
product (Santa Maria, 2012). Therefore, the choice of media language in many ways
relates to the identity process, wherein it is not only a consequence of a person’s
background but also a vehicle for one’s identity maintenance (Zeinalabedini, 2014). In
this case, this is mainly the reason why Filipino Teleseryes has highest viewership
preferences in Linguistic than the other cultural offerings. Since Filipino Teleseryes
basically utilize Filipino as its standard language which is also the native language in the
country, this allows Neo-Millennials to better understand the story in Teleseryes.
Filipinos’ identity is observed through the utilization of their native language in daily
communication and at the same time, it is the common language used in local Teleseryes.
Hence, they tend to choose local media as they will further understand its content through
the local media language it uses.
On the other hand, the utilization of English subtitles also eased the difficulty of
Neo-Millennials in watching Korean Dramas. The said telenovela’s Language is
originally portrayed by the Actors and Actresses in Hangul which is the native language
of Korea. Nevertheless, the Korean Dramas have English subtitles for other nationalities
including Filipinos, in order for them to understand the content of Korean Dramas as
well. With this, Language is primarily not a hindrance anymore for Filipinos to watch
Korean Dramas, as most of them are proficient in English. In fact, according to a survey
of an international education company which is Education First (EF), the Philippines
ranked 13th as one of the countries with the best non-native English speakers worldwide
(as cited by Philippine Primer, 2016). Additionally, 70% of the Philippine population is
fluent in English, making the country one of the largest English-speaking countries in the
world (Hernandez, 2015).
Another element of the Linguistic cultural offering is the Acting Skills of
Actors/Actresses. Based on the descriptive analysis, Acting Skills of Actors/Actresses is
constructed to be the most influential element that Filipino Neo-Millennials consider
when watching a particular telenovela. Hence, it is indeed an advantage for Korean
Dramas to obtain more viewership preferences than Filipino Teleseryes in the Linguistic,
which affirms that Koreans are able to give the top element a great importance for the
viewers.
Prominent actors who are presently known in the industry where they move have
undergone numerous hardships and training in order to have the capability to portray
characters for various telenovela projects. In line with this, they are also trained in
dancing, acting, singing and presenting which have an additional impact to the overall
quality of entertainment that is being produced in a particular country (Bevan, 2012).
With that said, in the Philippines for instance, Marian Rivera who is a Spanish-
Filipino actress known and named as the Primetime Queen in Filipino Teleseryes stated
that physical and healthy lifestyle is as crucial as the skills that she acquired on her
career. Feedbacks about her also prove how important versatility is to every actors and
actress that chosen the field of acting (Marcelo, 2014).
Otherwise, Korean Drama Industry is known with regards to immense training
and preparation of artists before their appearance to the public. This made the Koreans
popular about having the doll-like actors and actresses who undergo numerous years of
training their skills.
In addition, Korea already mastered the production of artists with specialized
training under different companies including S.M. Entertainment and YG Entertainment
which launch award-winning actors and actresses in Korea (Bevan, 2012).
Meanwhile, Acting Skills of Actors and Actresses between Korean Dramas and
Filipino Teleseryes may be seen as subjective as reflected by this statement:
“…I think it depends talaga kasi there are some good Korean actors and some
are horrible Korean actors. In the Philippines, there are some good Filipino
actors and some horrible Filipino actors…” (Que, personal communication,
September 19, 2017)
(I think it depends because there are some good Korean actors and some are
horrible Korean actors. In the Philippines, there are some good Filipino actors and
some horrible Filipino actors…)
With regards to the Korean Dramas, the acting skills of the stars are basically
refreshing and appealing as it is magnificent how they can do telenovelas yet at the same
time, infuse some sense of humor in most of its scenarios. This is quite different from the
brand of acting that Filipino viewers know from Filipino actors (Santa Maria, 2012).
On the other hand, the stars in Filipino Teleseryes seem to be frequently shouting
and enunciating every syllable of their dialogue. They seldom speak at a reasonable
volume, although they are communicating with someone who is just a few inches away
(Bayabos 2014).
Consequently, characterization of stars in Filipino Teleseryes is quite insufficient.
For instance, even when Kim Chiu is playing a bottom-class girl, she still has rebonded
hair, killer brows and rosy cheeks. In the same way, Coco Martin’s hair would always
look salon-fresh, even after a vicious swordfight (Bayabos 2014).
As the market for Telenovela production is too competitive, there is a wide range
of choices on telenovela for Filipino viewers. In connection, since if local media is not
able to satisfy the Filipino viewers’ needs, wants and expectations, the audience would
prefer media products from other countries in order to fulfill their satisfaction
(Straubhaar, as cited by Alanzalon, 2011). This is mainly the reason why Filipino Neo-
Millennials prefer Korean Dramas more than Filipino Teleseryes in terms of the
Linguistic offering.
On the other hand, the second cultural offering is Visual which is observed to
obtain the highest gap in the viewership preferences between Korean Dramas and
Filipino Teleseryes. In this case, Korean Dramas at 3.4902 still got a higher mean of
viewership preferences than Filipino Teleseryes at 2.7522. This implies that Filipino
Neo-Millennials prefers Korean Dramas more than Filipino Teleseryes, as this telenovela
satisfies them more in terms of the Visual cultural offering. In the same way, Korean
Dramas got higher viewership preferences in Visual among the four cultural offerings.
This is primarily because the elements of telenovela included in this offering are
Dependence on Actors/Actresses which is considered as the third most influential
element and Technical Completeness which is the ninth influential element. The
mentioned elements are what the Korean Dramas are the best at execution.
With regards to the Dependence on Actors/Actresses, most Korean Dramas are
patronized more by Neo-Millennials because of various Korean stars which starred in the
said telenovela. They are truly attractive and good looking whether on screen or real life.
They are indeed swoon-worthy. Additionally, Korean stars’ sense of fashion shines
beautifully on-screen (M2.0 Communication, n.d.). In terms of makeup, Korean Drama
stars’ looks are on point, enabling them to execute their look and beauty well, aligned
with the characters in the telenovela. Meanwhile, Filipino Teleseryes commonly
showcase stars that can look a little pageant-like with wrong colors and dominate blushes
(Aimtuluv, 2017).
Relevantly, Korean Dramas are played by different artists and different leads no
matter what love team they belong to in the past. Through this method, the characters
discover a natural chemistry most of the time (Barcelon, n.d.). On the other hand, Filipino
Teleseryes are commonly starred by the same actors and actresses with the same love
teams and leads for several years. Filipino viewers also have immense determination and
passion when it comes to supporting their love team. They can also be easily swept by the
newest trend or gimmicks that caught their attention. This is why different TV companies
focus on their pairings with wide fandom as it leads to higher ratings (Sison, 2015). In
line with this, the perceived viewing habits of Filipinos are the major reasons why
Filipino Teleseryes continuously manufactured and played by the same Filipino idols, as
reflected by this statement:
“We are too embracing the love team culture kasi… the Filipinos consumed the
time of media… for kumbaga one is for escapism, dahil compared to other country,
maraming mahihirap dito lalo na this day…” (Que, personal communication,
September 19, 2017)
(We are too embracing the love team culture because Filipinos primarily consumed
media for escapism, because compared to other country; there are presently more
poor people here…)
Filipino viewers tend to watch telenovelas in order to spend some time to escape
reality and forget the struggles they are currently facing. They are empathic and are able
to relate their self with the protagonist, especially on the romantic and happy scenarios in
the telenovela. This is affirmed by this statement:
“…the Korean Jagiya ni Heart Evangelista ganong ganon tayo mag-consume ng

media…she watches all the series ni Xander parang kahit series lang yun, a part of
her wishes from it, she believes it's real na... she wants to have a fantasy na sana
may mag-propose sakin dito, sana may mag-piggy back sakin rin dito, ganito,
ganyan, ganito. Syempre, we feel it to be true I think from me ahh, from me gusto
nila na makita ng mga tao ang love team at sila, kasi they want everything to be
real…” (Que, personal communication, September 19, 2017)
(…the Korean Jagiya of Heart Evangelista exactly reflects how we [Filipinos]
consume media. She watches all the TV series starring Xander, wherein a part of her
wishes for these series to be real. She has fantasies hoping that someone would also
propose to her, someone would offer a piggyback ride to her and others. Of course,
we feel it to be true, for me, because the audience wants love team to be real…)
However, since Filipino love teams appear in various Teleseryes and rarely
change partners, numerous Filipino viewers tend to become tired of viewing the same
couples in Filipino Teleseryes. Conversely, Korean love teams are usually never
repeated. Thus, the viewers do not get bored easily with these telenovelas (Bacon, 2016).
Moreover, Technical Completeness belongs to the Visual cultural offering as well.
In terms of this element, Neo-Millennials are more satisfied with the lightings, effects,
cinematography, camera angles and other technical aspects in Korean Dramas more than
in Filipino Teleseryes.
Framing the vital parts in making the scenes more appealing to the emotions of the
viewers and provide subtle moments is to frame the scenes effectively (Kibin, n.d.). In
fact, framing includes focusing on the moments rather than a particular topic, whereas
media focuses on scenes that encompass great intensity of reaction when presented to the
audience which may influence their reaction upon processing the information.
Chad Perkins (2017) emphasize that framing is the arrangement of elements
including actors and actresses, scenery and set design in order to better captured by the
camera. Conversely, framing is deemed to be unnoticeable on the final output of
telenovela. However, it provides an essential part of the telenovela as it serves as the
visual storyteller.
Likewise, framing which belongs to a telenovela’s cinematography is one of the
factors that are often noticed on Korean Dramas. The detailed output of the scenes attacks
the visual aspect such as lightings and emotional imagery which entices the viewers to
watch Korean Dramas.
For instance, Winter Sonata showcased great symbolism with regards to the scene
of the two Snowmen. Viewers were able to give deeper meaning to that specific moment
as reflected in this statement:

“The fans actually say na the moment pinag-kiss yung snowman yun yung first kiss
nila and their actual kiss you see is their second kiss yun daw the moment na super
binigyan na importance or symbolism ganyan ganyan.” (Que, personal
(The fans actually say that the moment that the two snowmen kissed is considered
as the first kiss of the characters and their actual kiss, you see, is their second kiss
that is the moment that they really gave importance to symbolism and such.)
Relevantly, production teams of Korean Dramas spare efforts in their craft. From
the location to the set-up and to the cinematography, they ensure that their shots come out
beautifully on the screen. This is affirmed by the Korean Drama Series Scarlet Heart
Ryeo’s and Goblin’s cinematography (M2.0 Communication, n.d.). Korean Dramas are
filmed cleanly and appealing to the eyes of their audience. Some of the telenovelas got
the fans wanting to take a picture of each scene because of the amazing cinematographic
skill (Barcelon, n.d.). Relevantly, these breathtaking scenic spots promote the beauty and
magnificence of Korea (Gancayco, 2011).
Meanwhile, Filipino Teleseryes needs improvement in terms of its effects in
creating sounds and explosions for it to be somewhat realistic (Aimtuluv, 2017). The
edge of Korean Dramas in terms of more excellent telenovela technicalities over Filipino
Teleseryes is confirmed by this statement:
“… yung mga Koreans kasi magaling sila mag-capture ng moment, so yung wrist
grab na yun if you see in public you will not see as romantic so diba… what it need
romantic is well, yes, obviously the way actors look, the way the way the actors
deliver the lines, malamang part yun…as part ng performance aspect but was also
important that the people usually don’t realize… the camera itself and yung special
effects…” (Que, personal communication, September 19, 2017)
(…Koreans are exemplary in capturing moments, so a wristgrab you normally see
in public may not be romantic. What makes it romantic is obviously the way the
actors look or deliver the lines, as part of the performance aspect. But what most
people do not realize… is the importance of camera itself and special effects…)
The cinematography of Korean Dramas is effective and technically polished, as
they are excellent in capturing the perfect scenarios for their plot. On the contrary, the
Filipino Teleseryes are in the improvement stage in terms of telenovela technicalities as
reflected in this statement:
“… I think the Philippines is not yet advanced in terms of the technology…syempre

the things that we are using are not at par. I think this they’re slowly learning from
the Korean so we have to have a better series now and movies as well. If you look
at Encantadia now, we are not as good pa rin, pero very nice na rin compared to
the 2005…” (Que, personal communication, September 19, 2017)
(…I think the Philippines is not yet advanced in terms of technology… as the
equipment that we are using are not at par. I think this they are slowly learning
from Korean, so we are able to presently produce more series and movies as well. If
you look at Encantadia now, we are still not as good, but it is nice and improved
than in 2005…)
Moreover, Cultural Capital is the third cultural offering which also has a more
blatant gap than Linguistic, with regards to the mean lengths of viewership preferences
between Korean Dramas and Filipino Teleseryes. This offering is regarding the
Completeness of Plot, Incorporation of Cultural Content, Length of Story Development
and Official Sound Track (OST) of a telenovela.
Furthermore, Completeness of Plot is ranked as the second most influential element
in the descriptive analysis. The stories of Korean Dramas are interesting, well-toned and
well-scripted. Hence, the primary reason why Filipinos are so enamored
with Korean Dramas is the storytelling. University of the Philippines (UP) professor
Florinda Mateo noted that “it is not as much about the plot, but the way stories are told"
(as cited by Santa Maria, 2012). This is validated by this statement:

“The Koreans kasi, what we are observed, that they are good storytellers, they are
not afraid to diba, go beyond…” (Que, personal communication, September 19,
2017)
(The Koreans, from what we observed, they are good storytellers, they are not
afraid to go beyond…)
Conversely, Filipino Teleseryes revolves around recycled storylines. Commonly,
in order for its story to seem fresh, they mashed up various fantasy shows (Cinemalaya as
cited by Lasic, 2016). Filipino Teleseryes has “larger-than-life” plot. The plot will always
involve forbidden love (rich versus poor, extra-marital affairs), family conflict (fighting
over business matters, inheritances) and even social disorder (a corrupt, murderous,
authority figure abusing the rights of a minority). There is always a grand scale, a
revenge or redemption and has to switch babies in the hospital nursery (Bayabos, 2014).
In line with this, the Filipino Teleseryes’ synopsis often revolves around a super rich
person who loves a dirt-poor person; a poor orphan is actually rich; or a husband has a
mistress (Aimtuluv, 2017). The plain plots are affirmed by this statement:
“In the Philippines kasi... yes locally contextualize, parang ganun yung nga na
relatable, na laging may nanay na-nakadaster…pero the content itself parang
ano medyo plain...” (Que, personal communication, September 19, 2017)
(In the Philippines, yes [Filipino Teleseryes] are locally contextualized, it is
relatable, there is always a mother who wears a daster…but the content itself is
quite plain…)
At the same time, Filipino producers are somehow afraid of taking risks in order to
explore and create new stories. This is affirmed by this statement:
“Kasi, I feel we are too close minded, we are afraid going out a formula kasi we
feel na kapag pumatok sa takilya kelangan oo iibahin lang natin yung love team.
Oo iibahin lang natin yung love team at iibahin lang natin yung nanay diba?”
(Que, personal communication, September 19, 2017)
(However, I feel we are too close minded, we are afraid of going out of a formula
since we feel that when it is top-notched, it is a need that we will only change the
love team. Yes, we will just change the love team and even the mother, right?)
Meanwhile, Philippine Telenovela industry is slowly improving as reflected in this
statement:
“…we are improving, we are slowly trying to go out in comfort zone… very, very
slowly but then very, very carefully and I think we are entering in new world
ganon or aged ganun…” (Que, personal communication, September 19, 2017)
(…we are improving, we are slowly trying to go out in comfort zone… very,
very, slowly. But then, very, very, carefully and I think we are entering in new
world or aged…)
Filipino Teleseryes are slowly adopting a “strong storyline” (David, 2012). Its
storyline which is formerly quite predictable is presently starting to be innovative and
magnificent. Filipino viewers are being satisfied more by the plots of Filipino Teleseryes
as this telenovela continuously adapt revolutionary ideas and better storytelling which is
quite new to Filipino viewers (David, 2012).
Another element of telenovela under Cultural Capital is the Incorporation of
Cultural Content which is indicated as the seventh influential element that viewers look
for in a telenovela. Watching telenovelas let one absorb information regarding various
culture (Bacon, 2016). Korean Dramas commonly showcase the country’s culture,
traditions and interesting history in most instances line in the telenovela Princess Hours.
In line with this, the grandest palace in Seoul, the Gyeongbokgung Palace which is
renowned as the “Versailles of Asia” is also a prominent film and telenovela locations
(Gancayco, 2011). Relevantly, Korean Dramas subtly promote Korean products through
the manner on how the characters used it. This is affirmed by the growing popularity of
Korean cuisine including kimchi, bulgogi, japchae (noodles), bibimbap and soju which
are commonly seen in their telenovelas.
Moreover, there is an observable upsurge of popularity and sales for other Korean
products ranging from cars to smartphones and slim TVs to cameras. The said
circumstance can be referred as “international reputation” (Flores, as cited by Santa
Maria, 2012). This pertains to the over-all favorable image of Korea due to the Korean
Dramas rage, leading for Korean export products to be regarded as “prestige goods and
status symbols” (as cited by David, 2012).
This phenomenon reflects a “commodification of cultural products” which led to
the creation of a “transnational culture”, wherein differences transcends national
boundaries and finds elements in common with fans in every corner of the world (David,
2012).
Furthermore, Korean Dramas would not be as successful as they are if not for the
support of the Korean Tourism Organization and the South Korean government. There is
unmistakably a partnership between their Tourism Offices and Drama producers in order
for the tourist attractions to be excellently highlighted in most Korean Dramas (Bacon,
2016). This is a very aggressive marketing scheme which can effectively showcase what
is Korea, its culture and its attractions to the viewers.

On the other hand, Filipino Teleseryes also showcase its culture and reality in the
country regardless of the setting as reflected by this statement:
“…recently, may special ang GMA about Martial Law diba sila Alden…I know its
a touchy topic diba? But today kasi the effects of Martial Law like the effects of
the Martial Law and the remnants of the Martial Law are still being talked
about… kahit long time ago na yung Martial Law, if someone is to do a series of
Martial Law kunyari, people will still be able to relate, kasi it shows something
and timely, kasi it shows something na nararanasan or nararamdaman natin sa
society today…” (Que, personal communication, September 19, 2017)
(Recently, the GMA has special series regarding Martial Law, starring Alden…I
know it is a touchy topic, right? However, the effects and the remnants of Martial
Law are presently being talked about…Even the Martial Law happened for a long
time ago, if someone does a series regarding Martial Law for instance, people will
still be able to relate, because it shows something timely, because it shows
something we are experiencing today…)
Filipino Teleseryes reflects their culture through airing telenovelas which have a
goal of not just for entertainment, but also to evoke the thinking of Filipinos on what
impacts the society and country. Additionally, this contributes in offering people ideas
regarding the rich culture that ancient Filipinos do have. This is validated by the
transcript below:
“For example, when they showed Amaya noong 2011 starring Marian Rivera… I
feel it was a good series kasi ahh when we think of Philippine; you close our eyes
and think about of Philippine history.” (Que, personal communication, September
19, 2017)
(For example, when they showed Amaya last 2011 starring Marian Rivera… I feel
it was a good series kasi ahh when we think of Philippine; you close our eyes and
think about Philippine history.)
The contemporary and historical Filipino Teleseryes such as Amaya is the way
how Teleseryes in the Philippines feature the culture and the roots of beliefs of the
country. However, it is realized that Korean Dramas still satisfy the Filipino Neo-
Millennials in terms of Cultural Content inculcated in a telenovela more than in Filipino
Teleseryes. This is due to the reason that telenovelas created in Korea were more
appealing to the Filipino viewers through its recognizable and admirable way of catering
Korean culture including Korean life, kinship, and values more than the story, characters,
and impressive performance (Garcia, 2006). Additionally, Filipinos frequently seek to
explore more of foreign cultures. With these, watching telenovelas from other countries
pave way for viewers to be immersed in a specific culture.
On the other hand, the Length of Story Development which is considered as the
least element that is observed in a telenovela viewership also belongs to the Cultural
Capital. In Korean Drama Industry, the airing of every episode of telenovela being
produced in their country is cut down to one hour of airing including commercial because
of the intensity of competition in the country’s biggest networks including KBS, MBC
and SBS. Relevantly, the “67-minute rule” format of Korean Dramas in 2013 was
changed to “60-minute rule” in 2017 (Hong, 2017).
A typical Korean Drama has approximately 15-20 episodes. This length is apt to
tell a whole and connected story which has a strong and straightforward buildup. This is
mainly because the telenovela has a definitive end so the plot does not need to last for
multiple seasons (Bacon, 2016). One of the Korean Dramas’ advantages in terms rate of
Story Development is that they are compact in structure while the story improves rapidly,
with interesting twists and turns as affirmed by the statement:
“Saka ang mga Koreans kasi short and sweet sila, direct to the point sila kaya
ang series nila maiksi lang back in the day, unlike in the Philippines ang hahaba.
Ang series na one-year yun ang standard noong unang panahon pa like Mara
Clara.” (Que, Personal Communication, September 9, 2017)
(Koreans are short and sweet, they are always direct to the point that results in
offering shorter series back in the day, unlike in the Philippines which have long
series. Back in time, a standard series will last for at least a year like Mara Clara.)
Relevantly, straightforward episodes of Korean Dramas is reflected by this
statement:
“One of the things that we ahh like sa mga Koreanovelas, they are taking people by
what they want at a shorter time. Tapos, pagtapos na.” (Que, Personal
Communication, September 9, 2017)
(One of the things that we like about Koreanovelas, they are taking people by what
they want at a shorter time. When it ends, it ends.)
On the contrary, Filipino Teleseryes are aired five days in a week. This telenovela
too long which commonly lasts for a year. This is primarily because the regular 30-
minute time slot for the show is allocated with 15 minutes to the show and 15 minutes to
commercials (Aimtuluv, 2017). At the same time, when a Filipino Teleserye seems to be
rated excellently, the telenovela will be often stretched to nearly unbelievable dimensions
including, but not limited to the main characters being kidnapped twice or thrice every
time the story hits a narrative slump, or the villain dying not once or twice but even three
times. The unrelated scenes are aired to prolong the season in order to earn more (David,
2012).
However, slow development of the story can also be a disadvantage because, with
the desire to lengthen a telenovela, the contents of each episode suffer which discourages
the viewers to continue supporting the said telenovela. Therefore, the researchers realized
that Neo-Millennials chosen Korean Dramas over Filipino Teleseryes in terms of rate of
Story Development, as they prefer the story to be told in a fast-paced yet in a poignant
manner. This is validated by the transcript below:
“Pero ang maganda nga na short yon direct to the point nga walang paligoy-
ligoy. Kung mahal mo sya sabihin mong mahal mo sya ganon. Ganon ang gusto
ng Pinoy, so ano na? Ano na nangyari? Ganon, ganong attack, very atat, sobrang
atat tayo sa tingin ko.” (Que, personal communication, September 19, 2017)
(What makes it beautiful is that it is direct to the point. If you love him then tell him
you do. That’s what the Filipinos like and ask about situations. It is the attack and
eagerness.)
Since Filipinos are known for their eagerness, it is an advantage for Korean
Drama to have shorter episodes because they are able to further excite and uplifts the
emotion of the viewers.
“Sa Philippines, we take it a bit slow. We're taking our time now, again, we are
learning, ang series natin ngayon 3 months na lang tapos pag magandang
maganda like Encantadia na medyo marami kasing paglalaruan kasi fantasy world
diba, after 3 months maririnig mo sa balita Encantadia, extend na naman.” (Que,
personal communication, September 19, 2017)
(In the Philippines, we take it a bit slow. We’re taking our time now, again, we are
learning, nowadays, our series usually lasts for 3 months. But when it is a good
drama like Encantadia which can twist its plot since it is in a fantasy world, after 3
months you will hear in the news announcing Encantadia, extended.)
The last element of the Cultural Capital is the Official Sound Track (OST) which
is the sixth most influential element for the participants in their viewership preferences.
Soundtracks may seem like a small part of a telenovela. But, in reality, they can make or
break a scene. A good song and soundtrack can help viewers feel the scene and the story
better (Dela Peña, 2017).
Korean Dramas often use orchestral instruments which add a sense of whimsy to
their instrumentation. The swelling violins, the heartbreaking sorrow behind a talented
singer’s beautiful voice and the lyrics that just seem so apt for the story enhances each
scenario in Korean Dramas (Beanie, 2017).
Additionally, there is also some Korean Dramas’ OST which saves shoddily
written telenovelas. This includes Moon Lovers: Scarlet Heart Ryeo (Beanie, 2017). This
asserts that OST is a crucial supporting character which can clearly define a telenovela’s
emotional intentions and artistic identity.
Consequently, OST is utilized by Korean Dramas as a uniquely fertile platform
for innovative sounds and remixes, incorporating classical, rock, and operatic elements,
while also showcasing traditional Korean instruments and vocal techniques (Beanie,
2017).
On the other hand, Filipino Teleseryes utilize excellent and commonly
melancholic songs. However, most of these used OSTs already exist prior to the airing of
the telenovela. The songs are constantly being revived through different renditions of
singers appropriate for a specific telenovela.

Furthermore, the OST of both Korean Dramas and Filipino Teleseryes is not at
par with one another as confirmed by this statement:
“...medyo same naman sila. It's just that our--in Korean Drama they don't name
their TV series after the songs…uso sa Philippines yun e. Kunwari Got to Believe,
yun na lang yung title kasi yun naman yung OST diba…” (Que, personal
(…they are quite the same. It is just Korean Drama does not name their TV series
based on its theme songs… that is popular in the Philippines. For instance, Got to
Believe, that will be the title since that is the OST’s title…)
In the same way, both telenovelas have the same concept in promoting the
telenovels and its theme song as validated by this statement:
“Minsan they get K-pop groups to sing that OST so it's an X -deal. When the K-
Pop group sings…sa concert nila, it is promoting the series. When the series…
plays the song, it is… ano naman promotion for the K-Pop groups so it's an X-
deal. So sometimes they do it that way. Ganto din dito diba, kinanta ni Gary
Valenciano- kung mawa... so ayon. I think medyo same…” (Que, personal
(They will hire K-Pop groups to sing that OST so it is an X-deal. When the K-Pop
group sings the OST in their concert, it is like promoting the series. When the
series plays the song, it is like promoting for the K-Pop groups, so it is an X-deal.
So sometimes, they do it that way. Likewise, it is the same here [Philippines],
Gary Valenciano sang it, that’s it. It is quite the same…)
In terms of the last cultural offering which is Values, there is a higher gap on the
mean lengths of viewership preferences between Korean Dramas and Filipino Teleseryes,
than in Cultural Capital. In line with this, Theme and Emotional Appeal belongs to this
cultural offering.
Moreover, Theme is an element which belongs to the cultural offering Values.
This is indicated as the fourth most influential element in a telenovela. Filipinos watch
Korean Dramas mainly for its simple and interesting stories which “appeal to all the
members of a family and value-centric themes” (David, 2012). Korean Dramas focus on
good values which depict family-friendly themes including romance, friendship, history,
and family values (M2.0 Communication, n.d.). In line with this, since these are the
values that Filipino viewers integrate as well, most of them prefer to watch Korean
Dramas.
With this, Korean wave results in a fast spread of Korean mainstream society in
the particular manifestation of Korean Dramas. In fact, the wave reached the Philippines
with the initial Korean telenovelas aired locally in 2003. The all-time favorite Jewel in
the Palace was aired and a become sensation in early 2000, which significantly imparts
values of hard work, determination and patience to the viewers (Santa Maria, 2012). In
the same way, action-themed series of these telenovelas like City Hunter tend to have less
degree of violence.
Korean Dramas entered the global market after the country began deregulating its
economy in the wake of the 1996’s Asian financial crisis, leading for Korean
entrepreneurs to reinvent the nation’s entertainment industry. With this, they started to
create Korean Dramas which deals with family intrigue, class differences and love
triangles (The Freeman, 2007).
Therefore, watching Korean Dramas make the Filipino viewers feel good and
light, as it primarily dwells on positive universal themes of endless love, quiet sacrifice,
love at first sight and romance with a touch of comedy like the Korean
Drama, Sungkyuwan Scandal (David, 2012). Consequently, the majority of Korean

Dramas are G-rated. In fact, foul language is rare, violence is minimal, and love scenes
rarely progress past kissing (Bacon, 2016).
Relevantly, a survey conducted by an award-winning writer, Fanny Garcia (2006)
confirms a more crucial insight with regards to Filipinos watching Korean Dramas.
Filipino viewers indeed appreciate the lessons which arise from the Theme being
conveyed by the telenovelas including, but not limited to the realization about Korean life
and culture, relationships and values such as patriotism.
On the contrary, Filipino Teleseryes as a whole is reflective of a Western society
as its themes are too often copied from foreign successes. Additionally, Filipino
scriptwriters and directors commonly view the Philippine life through the lenses of a
Western upbringing (Constantino, n.d.).
Due to the long monopoly of American Films and Dramas, the principal Western
influence in the country is American. Superhero concepts in Teleseryes have been
adapted to the American films. Superhero films have been around since the 1950s with
the Darna, Lastik Man and Captain Barbell. These are the three most recognized
superheroes in the Philippines which are creations of the Dean of Filipino comics, Mars
Ravelo (Constantino, n.d.).
Nevertheless, Ravelo’s characters were taken from American superhero comics.
The superhero, a person in a colorful costume who fights for justice either with or
without superhuman powers, is an American invention. During the Depression in the
1930s, there was a need for strong characters in the comics and the superhero concept
proved to be popular and influential, gaining worldwide popularity (Constantino, n.d.).

Consequently, Filipino Teleseryes ape American Dramas in the preoccupation
with escapism, sex and violence which are commercially profitable to the American
audience (Constantino, n.d.). Likewise, these themes in Filipino Teleseryes are
commonly stagnant as the same sickening kidnappings, murders, evil schemes and other
vengeful acts are always imparted on the current Filipino Teleseryes (David, 2012).
In the same way, Filipino Teleseryes frequently includes stereotypes in its
telenovela. The term “ugly” consistently equates to someone who has unattractive teeth,
kulot or curly hair and has lots of pimples. Additionally, rich people are incessantly
having a meeting inside an elegant conference room. At the same time, goons repeatedly
wear leather jackets, whereas barrio lasses unfailingly wear long skirts. Moreover, there
is always a scenario wherein the antagonist can always laugh devilishly after loudly
announcing his evil plan at a place where anyone could hear it (Bayabos, 2014).
Generally, the Themes in Filipino Teleseryes are exhaustively cliché. It seems like it is
against the law to wipe a character’s tears. Instead, one supposedly needs to let it flows
the length of her face for further dramatic effect (Bayabos, 2014).
With this, Dr. Flores asserted that Filipino Neo-Millennials patronize Korean
Dramas as it was initially quite different from the locally-produced series. "From the
usual poverty-ridden (Filipino) narratives, the (Korean) stories are light” (as cited by
Santa Maria, 2012).
Furthermore, Kimmy Dora writer Chris Martinez (as cited by Santa Maria, 2012)
affirmed that Filipinos like Korean Dramas as it is fresher, less formulated with a degree
of violence and eroticism. This basically appeals to the Filipino local audience, as they
are oversaturated to the bombardment of romantic comedies in the local TV.
On the other hand, Emotional Appeal is the fifth most influential telenovela
element in the viewership preferences of Filipino Neo-Millennials.The Uses and
Gratifications Theory confirms that media users have varying purposes on their
viewership preferences. Primarily, they consume telenovelas for entertainment purposes
specifically in capturing their emotions (Wirth & Schramm, 2005). In line with this,
Korean Dramas is able to cater the viewers’ needs as they seek for an “emotional
connection” in the means of a sympathetic heroine, a gallant and romantic male lead.
Viewers like the socially acceptable behavior and values that Korean Dramas preach.
Rarely, one catches a torrid kissing scene or even a bedroom romp in Korean Dramas. In
the same way, Neo-Millennials prefers Korean Dramas as it promotes resilience of the
human spirit which pertains to the ability of the romantic leads to rising above their social
and economic differences and even the most daunting obstacles put before them (David,
2012).
Furthermore, watching Korean Dramas triggers the Filipino viewers to dream.
According to Dr. Flores, the effect of Korean Dramas on Filipino audience “is that when
they view urban scenes of Seoul, there is a dream, an aspiration to go to Korea.” This
allows the audience to feel that they need to aspire and act in order to advance their
economic and social status (as cited by Santa Maria, 2012). Hence, watching Korean
Dramas initiates the viewers to change and improve in the most positive way, in order to
further be uplifted in the society.

Additionally, Korean Dramas successfully create more emotional connections
with viewers. Characters are developed and brought through trials and tribulations in
such a way that the audience relates to the characters and feels the same emotions. The
cliffhanger endings of nearly every episode leave viewers squirming until the next
episode can resolve the conflict. The tension is built up so expertly that it is more
emotionally resonant when the main couple finally hold hands halfway through the series
rather a bedroom scene which commonly transpires to other types of telenovelas (Bacon,
2016).
On the other hand, Filipino Teleseryes enkindle Filipino Neo-Millennials’
emotions through incorporating the hugot culture in their story. From banats to bad
Filipino puns, hugot now exists. It is another means of expression not only the wit but
also emotions which resonate with Filipinos (Dayrit & Ting, 2015). The term
hugot literally refers to the action of pulling something out. However, Filipinos presently
utilize this word in a more figurative sense. The Director of the Eugenio Lopez Jr. Center
for Multimedia Communication, Ayo Supangco stated that hugot is use in the current
trend as “pulling something out from somewhere deep, often emotionally” (as cited by
Dayrit & Ting, 2015).
Relevantly, Sindikato Incorporated Company’s writer, producer and director
Paolo Apagalang further explains that “Filipinos are very animated in terms of emotions.
We have a lot of positive and negative feelings, drama and anger. We pull it out.
Literally, it’s to pull out. Figuratively, it is to have emotions pulled out of you” (as cited
by Dayrit & Ting, 2015).

Countless Filipino movies starred and proved this statement through some
favorite hugot lines. From One More Chance, Starting over Again and That Thing Called
Tadhana, these movies have built up so much of the hugot culture. They have
accomplished a great deal, mainly by tugging at the Filipino heartstrings and appealing to
their emotions (Bayan, 2016).
Nowadays, social networking sites effectively become an avenue to further
strengthen the hugot in Teleseryes (Bayan, 2016). Whether it is about love and
relationships or even just about life in general, certain words and phrases reflected in
telenovelas seem to effortlessly tug at Filipinos’ heartstrings.
However, Filipino Neo-Millennials seems to be satisfied by Korean Dramas more
than in Filipino Teleseryes in terms of Emotional Appeal. This is mainly because
hugot tends to lose its magic specifically when it is delivered at the wrong time or
executed too forcefully and have no variations.
This is reflected by the Filipino loveteam “AlDub” comprises of Alden Richards
and Maine Mendoza, who somehow losses their popularity. It seemed that the
hopelessness that was once present vanished. And since the element of longing and
impossibility has been lost, it is not as hugot-worthy as before (Bayan, 2016).
Table 3.6. Independent t-Test for General Sex
t-Test for Equality of Means

Mean
Male Female T Sig Interpretation
2.9655 3.0806 -1.681 .093 ACCEPT THE H0
The table showcases the results of the Independent t-Test which was used to
determine whether being male or female has a significant difference in the viewership
preferences on both Korean Dramas and Filipino Teleseryes. With a p-value at .093 and
T-value at -1.681, it can be realized that viewership preferences between male and female
have no significant difference with one another. Additionally, this is translated to the idea
that sex does not primarily affect the general viewership preferences of Neo-Millennials
on both Korean Dramas and Filipino Teleseryes.
Television is widely available and is considered to be the major source of
entertainment (Tuazon, 2015). Specifically, Neo-Millennials are “active media users” as
teenagers spend a lot of time on watching various television shows. Based on further
studies, an individual consumes an average of three to four hours of watching their
favorite telenovela series which are commonly aired at night. This affirms that watching
telenovela is an effective past time activity for everyone including viewers regardless of
sex differences (Singh, 2011).
Particularly in a Filipino setting, telenovelas captivate the heart and interest of
viewers making it a part of Filipino’s daily lives. In fact, families often spend their time
watching daytime and primetime series. This allows the opportunity to enhance the
togetherness of the family through uplifting their interest and closing the gap between
each family member regardless of their age and sex (as cited by Soong, 2002).
Table 3.7. Descriptive Statistics for Sex and Types of Telenovela
Descriptive Statistics
Sex Types of Telenovela Mean
Male Korean Dramas 3.0418
Female Korean Dramas 3.3342
Table 3.8. ANOVA for the interaction of the Sex and Types of Telenovela

Source F Sig. Interpretation
Sex 3.087 .080
Types of Telenovela 26.863 .000
Sex * Types of Telenovela 8.461 .004 Reject the H0
Table 3.8 showcases the results of the Analysis of Variance (ANOVA) in order to
determine if there is an interaction between the two Types of Telenovela mainly Korean
Dramas and Filipino Teleseryes with Sex.
For the first factor inculcated which is the Sex, it can be affirmed that there is no
significant difference between being male or female to the mean length of Neo-
Millennials’ viewership preferences. This is proven by its F-value at 3.087 while the
significant level is at .080. This essentially confirms that Sex does not affect the
viewership preferences between Korean Dramas and Filipino Teleseryes.
On the other hand, Types of Telenovela is the second factor in the table. It was
realized that there is a significant difference between the mean lengths of viewership
preferences with the types of the telenovela. This is validated by the F-value of 26.863
and a significant level of .000. The analysis states that the viewership preferences of
Filipino Neo-Millennials may differ between Korean Dramas and Filipino Teleseryes.
Generally, the table confirms that there is a significant interaction between the
two factors (Sex and Types of Telenovela). Thus, the Null Hypothesis was rejected. With
a p-value at .004 and F-value at 8.461, it can be realized that there is a connection
between Korean Dramas and Filipino Teleseryes to Sex. Furthermore, it can be inferred
that Neo-Millennials’ viewership preferences between Korean Dramas and Filipino
Teleseryes are dependent on the participant’s Sex.
Moreover, viewership preferences on Korean Dramas specifically, vary between
sexes as female at 3.3342 has the higher mean length of viewership preferences than male
at 3.0418. Through these results, it can be reflected that female prefers Korean Dramas
more than male. With regards to Filipino Teleseryes, the result reveals that male at
2.8992 has the higher mean length of viewership preferences than female at 2.8270. This
affirms that male prefers Filipino Teleseryes more than female.
Everyday observations suggest the existence of strong and well-known
stereotypes regarding gender differences in media preferences. According to a recent
study “Tears or Fears: Comparing Gender Stereotypes about Movie Preferences to Actual
Preferences”, people’s gender stereotypes regarding movies generally match the actual
preferences of men and women. Women are supposed to like romantic and melodramatic
particularly “chick flicks” and “tearjerkers” movies, as well as comedy, but to dislike
action and horror movies. Conversely, men are supposed to like action and horror movies
but to dislike romantic and melodramatic movies (Dolan, 2017).

The assumption that women prefer romantic and melodramatic movies as well as
comedy, for instance, has received some empirical support (as cited by Wuhr, Lange, &
Schwarz, 2017). Results showed that female preferred romantic genres ranging from
romantic comedy and romantic drama.
Meanwhile, a larger male than female preferences for action and horror movies
has been proven. Male participants indeed preferred action-adventure movies and
suspenseful films (Wuhr, Lange, & Schwarz, 2017).
Further results showed that men, in stark contrast to women, have a preference for
programs with violent or sexual content including spy movie, war movie, Western movie
and cartoon. In fact, male participants were reported to have more pleasure from viewing
violent films than the female participants. Relevantly, a stronger male than female
preference was also found in horror movies that typically contain frightening and violent
scenes (Wuhr, Lange, & Schwarz, 2017).
Generally, animation, comedy, drama, and romance were considered “female”
genres whereas action, adventure, erotic, fantasy, history, horror, science fiction, thriller,
war and Western were considered “male” genres. The diversity of genre preferences for
movies is more likely the reason on the difference of the viewership preferences on
Korean Dramas and Filipino Teleseryes between the sexes. Korean Drama genres
commonly depict family-friendly themes including romance, friendship, history, and
family values (M2.0 Communication, n.d.). Consequently, the majority of Korean
Dramas are G-rated as it dwells on positive universal themes of endless love, quiet
sacrifice, love at first sight and romance with a touch of comedy (David, 2012).
Additionally, violence is minimal and love scenes rarely progress past kissing (Bacon,
2016).
That is primarily the reason why female preferred Korean Dramas more than
male, while male preferred Filipino Teleseryes more than female. Korean Dramas exactly
revolves around themes tackling romantic drama and comedy that female more preferred.
Moreover, its themes are usually less violent and less sexual that is in contrast to what
male preferred more. On the other hand, Filipino Teleseryes as a whole is reflective of
the Western society as its themes are too often copied from foreign successes.
Consequently, Filipino Teleseryes ape American Dramas in the preoccupation with
escapism, sex and violence which are commercially profitable to the American audience
(Constantino, n.d.). These are also the theme that male more likely preferred. Hence,
Filipino Teleseryes are validated to be preferred more by the male.
Phase II: Qualitative Section – Impact to Philippine Telenovela Industry
The second segment of results and discussion tackles the implications of Korean
Dramas brought by Hallyu Wave to Philippine Telenovela Industry. The theme is aligned
with the various stages of Industry Life Cycle in Marketing. It is crucial to determine the
Industry Life Cycle because an Industry has a limited life. Additionally, Industry Life
Cycle asserts that sales pass through various stages which obtain different challenges,
opportunities and problems.

I. Introductory Stage – Development Korean Dramas to Philippine Telenovela
Industry
This stage pertains to the period of slow sales growth, as the Korean Drama
Industry and its product are introduced in the market particularly in the Philippines. The
TV was introduced in the Philippines pioneered by the opening of Channel 3 Alto
Broadcasting System developed by Antonio Quirino. This was later on founded as ABS-
CBN Broadcasting Network that is presently owned by Lopez’s. Subsequently, the
success of the first TV networks was the key to the establishment of today’s biggest
networks which includes GMA Network, Inc and other international networks. This
initiated the import of foreign contents and technical aspect of the said industry in the
country. Relevantly, the birth of Cable TV strengthens the capacity of signals to reach
various provinces and islands in the country (Tuazon, 2015).
According to National Commission for Culture and the Arts (NCCA), inventions
and improvements in Philippine TV Industry also showed the way to the importation of
various foreign telenovelas which is led by the Mexican Telenovela, Marimar in the year
1996. This was followed by numerous series including Alicia, Camella and Rosalinda
that were hailed as the most successful foreign telenovelas with the highest rating in the
Philippines. Additionally, the rise of Japanese Dramas in the market which started with
“Lupin III” and “Pokemon” swept Filipino fans (as cited by Tuazon, 2016). This is
reflected by this statement:
“In the country naman, nangyari yon in 2004-ish mga ganon, basta right after the
time ng Meteor Garden so yung after nung nagpakaano sila F4 diba…hmm hahaha
actually, we had very brief J-Drama Era but it was short kasi one it was so
expensive to import ahh Japanese Dramas.” (Informant 1, line 106-112, page 3)
(Meanwhile, in the Philippines, it happened around 2004, right after the era of
Meteor Garden so after F4 right… actually, we had very brief J-Drama Era but it
was short because it was so expensive to import Japanese Dramas.)
However, according to the informant of the research, the period of Japanese
Dramas in the country was relevantly short due to the expensive importation of products
particularly telenovela series from Japan. Later on, the phenomenal Taiwanese Drama,
Meteor Garden in 2003 became a hit in the Philippines. It was considered as most
successful “tagalized” foreign telenovela nationally, with a television rating of 63.8%
(Starmometer, 2008).
On the other hand, Mexican and Taiwanese Telenovelas have been imported in the
country. However, these telenovelas also reach its immediate maturation in the Philippine
market. Meanwhile, importation of foreign telenovelas was followed by the birth of
Korean “Hallyu” Wave leading to the popularity of Korean Dramas in the country. This
is affirmed by this statement:
“Ahh…yon tapos they found a cheaper option which is the Korean Drama and yun
nga it-super perfect timing eh kaya yung boom ng K-Pop, K-Drama. Sabi nila is
50% effort nila na talagang naggastos sila ng money, na nag-hire sila ng gwapo't
magandang artista…” (Informant 1, line 118-124, page 3)
(They found a cheaper option which is the Korean Drama and then – it is the
perfect timing for the boom of K-Pop, K-Drama. They said that it is 50% effort
wherein they really spent money, to hire good looking actors and actresses...)
The Philippines looked for another type of foreign telenovelas to be imported at
lower price. Meanwhile, Koreans started to invest paving their way to the production and
exportation of TV Series. Through telenovelas, Korea also wanted to promote their
country as validated by this statement:

“…we need to invest money kasi gusto nating tumulad sa Hollywood at Japan…na
ahh kumbaga nagtatapon sila ng pera sa Entertainment Industry kasi yon ang
panghatak ng pera and ng good ahh impression of people sa country.” (Informant
1, line 70-81, page 2)
(…we [Korea] need to invest money because we want to follow the path of
Hollywood and Japan...they somewhat putting a huge amount of money in
Entertainment Industry since that brings money and creates good impression of
people in the country.)
It was a perfect timing for both countries: for Korea to export their Dramas and for
Philippine to import it. The rise of popularity of Korean Dramas is primarily brought by
the Hallyu Wave. Hallyu is a Chinese name for “Korean Flow” which was later on
known as “Korean Wave”. It is the term coined for the influx of Korean culture ranging
from music, fashion, games, TV series and information which are widely spread to
various nations around the world. Hallyu Wave started after the Asian Financial Crisis in
the year 1998-1998, which restructured Korea’s economy and its diversified companies,
leading to new businesses that ventured different fields and opened more opportunities
for the said country. This is confirmed by the statement:
“First incarnation ng Hallyu kasi the thing is we were eponym not given that
they’re exporting these things….so they were able to get a lot of money and this is
your chaebol companies conglomerate companies…” (Informant 1, line no. 240-
245, Page 6)
(First incarnation of Hallyu because the thing is we were eponym not given that
they are exporting these things… so they were able to get a lot of money and this is
your chaebol companies or conglomerate companies.)
In the same way, Korea is also known for various products including Samsung and
Kia. However, despite of its existing exported products, the global market has limited
idea regarding South Korea. With the aim to impart their culture on Korea’s media, they
primarily benchmarked Hollywood and Japanese Dramas. Koreans invest a huge amount
of money for the entertainment sector of its country.
This sparks the opportunity for Koreans to distribute their local works and be
known in the global market. With this, their initial investments and capital expenditures
in benchmarking Japanese and Hollywood Dramas which are known to top-notched
telenovelas paid off. This is asserted in the following statement:
“So after non, when to take the trono kasi hindi na masyadong big hit yung mga
Latino dito. So kinuha nila yung Meteor Garden. So diba pumatok siya pero
walang series na, I mean any series they can get kasi other series they got from
Taiwan na hindi siya at par with the kasikatan ng Meteor Garden, so walang alam
mo yon, Game of Thrones ang peg. So sino ang aagaw sa trono nung nag-aano
diba…so yon napunta sa Korea. Nagkataon kasi yun din yung time na gumaganda
rin ang paggawa ng Koreanovela so nag-start yon with Bright Girl, tapos later
alam nyo yan, yung mga ahh…Winter Sonata, tapos 2005 ahh ano…Jewel in the
Palace…” (Informant 1, line no. 134-147, page 3)
(After that, the question is who will take the throne since Latin Dramas was not a
big hit anymore. So, they import Meteor Garden. So, the drama had huge popularity
but no series, I mean there is no other Taiwanese Drama that took place the hit of
Meteor Garden, so you know, it was like Game of Thrones. Who will snatch the
throne…so Korea got it. That was the exact time when they are already producing
good qualities Koreanovela, so it started with Bright Girl, and later followed by
Winter Sonata, afterwards in 2005…Jewel in the Palace...)
With the expansion of globalization, Telenovela Industries of various countries
started to compete with one another on a global scale. In this case, Korea continuously
harnesses their Telenovela Industry as this is where they good at. This yields in the global
flow of Korean related concepts and gained remarkable popularity of Hallyu around the
world. In fact, Winter Sonata which was one of the first Korean Drama imported by the
Philippines was also sold in Japan and China in KRW 2 billion (USD 1.7 million) and
over KRW 260 million (USD 222,000) per episode, respectively. Its right for publication
was also sold for 32 countries including the United States, United Kingdom, France,
Italy, Germany, Russia and Saudi Arabia proving how the investments of Koreans paid
off by its tremendous hit (Kim, 2016).
II. Growth Stage
This stage upholds the period of rapid market acceptance of and substantial profit
improvement of Philippine Telenovela Industry due to Korean Dramas. The country's
two main television networks, ABS-CBN and GMA Network have the highest show
rating in the country. GMA collectively calls their Teleserye offerings as GMA
Telebabad. These are derived from the Filipino terms of telephone and soak. This
initially describes the prolonged usage of telephone throughout the day. Following the
same idea, it was used by the station to refer to the act of staying in front of an open
television for a long period of time. The station aired telenovelas wherein viewers can
“soak in”, which is commonly Filipino-dubbed Korean Drama series including A
Hundred Years’ Inheritance, The Master ‘s Sun and Secret Love (Sanchez, 2015).
On the other hand, ABS-CBN calls their most-watched Teleserye block as
Primetime Bida. The second part of the term is a Filipino translation of the word
protagonist. The station, who fondly calls its viewers Kapamilya or family, also offers
telenovelas which originated from Korea including but not limited to My Girlfriend is a
Gumiho and The Heirs (Sanchez, 2015).

In this case, it can be realized that the leading broadcasting networks in the country
definitely exert efforts in purchasing rights for dubbing and airing various Korean
Dramas. This is reflected by this statement:
“Well, one, is really to get the Korean Dramas and dub them diba…it's so people
will patronize a certain...kunyari I heard that diba ang GMA, ABS...I think it's an
advantage for one, ahh...but at the same time, I think it can be a disadvantage if
people will, in the long run, if people like K-Drama more.” (Informant 1, line no.
654-660, page 15)
(Well, one, really is to get the Korean Dramas and dub them right…so people will
patronize a certain…for example I heard that GMA and ABS…I think it is an
advantage for one but at the same time I think it can be a disadvantage if people, in
the long run, if people like K-Drama more.)
No country is self-sufficient enough in order to produce goods and services that
will satisfy all its domestic needs because a country may lack other resources for
development. Hence, countries tend to import goods that they cannot effectively and
efficiently manufacture (A&A, n.d.). This is exactly the circumstance with regards to the
Korean Drama consumption of Filipinos. Presently, Filipinos observably preferred to
watch Korean Dramas more than Filipino Teleseryes.mThis is mainly because Korean
Dramas is diverse from the traditional Teleseryes that the Philippines produce.
Additionally, Korean Dramas’ uniqueness on all of its elements as well, leads to the
demand of Korean Dramas in the country. The kind of telenovela which is highly
attractive to Filipino viewers is not available in the Philippine market. Instead, Korean
Dramas is the one which satisfies the local audience.
Therefore, ABS-CBN alone was able to have acquisition of 7 top-notched Korean
Dramas including Love in the Moonlight, Legend of the Blue Sea, Hwarang, Goblin,
Weightlifting Fairy Kim Bok-Joo, W and Doctors in the present year of 2017 (ABS-CBN
News, 2017).
The two largest networks in the country compete with one another in becoming the
market leader with regards to dubbing of Korean Dramas. Since manufacturing new and
improved products is a never-ending process, businesses worldwide grab the opportunity
to import new products before their competitors do. In this case, dubbing of Korean
Dramas has been one of the strategies of the major networks in the country to cope up
with the changing need of the Filipino viewers' preferences. Relevantly, importing and
dubbing of Korean Dramas may pave way for a specific network to become the market
leader in the country as being the first to import a fresh product can easily lead to
becoming a leader in a certain industry (A&A, n.d.).
Additionally, importing highly contributes to the reduction of manufacturing
costs. Numerous businesses find importing products, parts of products and resources
more affordable than producing them locally. In the same way, a country can import
products of good quality inexpensively.
Reduction costs is the reason why networks in the country choose to import and
dub Korean Dramas instead of actually producing local ones wherein they need to
consider investing for more resources.
However, too much patronization of imported Korean Dramas may lead to negative
implications in Filipino Teleseryes. Specifically, Filipino-dubbed telenovelas might
bypass locally produced Teleseryes and at the same time, might alienate the native and
cultural concepts of the local telenovela.

III. Maturity Stage
This stage pertains to the period of slowdown in sales growth as the profits
stabilize because of increased competition. Information regarding the Philippine two
major networks’ daily shows can be seen in the online program guide page of GMA
which is gmanetwork.com, and ABS-CBN which is abs-cbn.com (Sanchez, 2015). It is
observable that Korean Dramas are commonly positioned in both networks’ primetime
slot. Primetime pertains to the period from 8-11pm in weekday evenings where most
viewers watch TV shows (Newswire, 2011).
However, foreign television series particularly Korean Dramas mostly covers the
primetime schedules resulting for lesser time available for locally-made Teleseryes.
Despite Korean Dramas run for at least an hour, this would have been enough airing time
for one or two typical-length local Teleseryes (Sanchez, 2015).
Korean Dramas are mostly watched by Filipinos, as observed in the ratings of the
shows, rather than the local Teleseryes of Filipino artists. This is how Korean Dramas
have affected the Philippine TV, proving that more and more Filipinos are being
entertained by this kind of telenovela.
The major reason why Filipinos patronize Korean Dramas than Filipino Teleseyes
is primarily because the Philippine Telenovela Industry is known for different stereotypes
including its extensive telenovelas that are shown every single night (Bayabos, 2014). In
fact, FPJ’s Ang Probinsyano which is a Teleserye produced by ABS-CBN Broadcasting

Network started to air in the year 2015 and is expected to run until 2018. The extension
of the Teleserye is due to the reason that it successfully maintained its rating in the year
2016-2017 (Anarcon, 2017). In line with this, the production of the said Teleserye
continuously creates several extensions in its plot. However, the scenarios aiming to
prolong the Teleserye are quite not connected anymore to the theme of the story.
The extension of a Teleserye is based primarily on the amount of revenue it collects
because higher investments mean that there is higher demand for the product. This is
confirmed by this statement:
“…there are other series na pumatok but if it has to end, it has to end. Yon. Yes. It
should. One, pera yon. Diba. The more you ano, since Encantadia is getting more
money they can invest. Pero one pera yon, it's always money... Everything is
money, time's money, media and other things.” (Informant 1, line no. 610-617,
page 14)
(…there are other series that are popular yet it has to end, it has to end. That is it. It
should. First, it is money. Right. Since the more you, Encantadia is getting more
money they can invest. But one that is money, it is always about
money…Everything is money, time is money, media and other things.)
The importation of Korean Dramas tends to push local goods into unfavorable
timeslots which may discourage local producers from making productions (Bacani,
2014). This is the major effect of Korean Dramas in the local Television Industry. The
local stations often resort to producing remakes including, but not limited to Dyesabel,
Darna, Villa Quintana, FPJ: Ang Probinsyano and Encantadia or even showing pre-
produced movies and re-runs. These instances mainly exhibit the impacts of certain series
produced outside the country, specifically the telenovelas which originated from Korea.
As the proliferation of imported telenovelas during the recent years transpired, notable
changes on how local stations produce their shows in the country are observed (Sanchez,
2015).
Furthermore, because of the immense competition between Filipino Teleseryes and
the influx of Korean Dramas in the country, Filipinos somehow start to learn and adopt
the techniques being utilized for further improvement of Teleseryes. The innovation
which transpires in Teleseryes is affirmed by this statement:
“ I think that they’re slowly learning from the Korean so we have a better series
now and movies as well. If you look at Encantadia now were not as good pa rin
pero very nice na rin compared to the 2005…In fairness naman they are all
improving, our media is improving. We are learning more things from our
counterparts abroad, perhaps…” (Informant 1, line no. 363-373, pages 8-9)
(I think that they are slowly learning from the Korean so we have a better series
now and movies as well. If you look at Encantadia now were not as good as them
but it is very nice compared to 2005... In fairness, they are all improving, our media
is improving. We are learning more things from our counterparts abroad,
perhaps…)
The proliferation of foreign series tends to take the sought-after primetime slots
away from locally-produced goods (Sanchez, 2015). That is why these local producers
strive to create shows that would be as good as their foreign counterparts.
Improvement in the Philippine Telenovela Industry was emphasized. This is mainly
initiated by the great competition of Teleseryes and Korean Dramas in the country. More
advanced equipment is being provided to further promote innovations and avoid the
saturation of Filipino viewers to the Teleseryes being produced in the country. This is
validated by this statement:

“I think we are improving we are slowly trying to go out in comfort zone very, very
slowly but then very, very carefully and I think we are entering in new world ganon
or aged…” (Informant 1, line no. 427-433, page 10)
(I think we are improving we are slowly trying to go out in comfort zone very, very
slowly but then very, very carefully and I think we are entering into new world or
aged…)
Filipino Teleseryes is slowly stepping up the game at this present time. Philippine
Telenovela Industry is now able to enter another era when it comes to the production of
higher quality of Teleseryes.
Consequently, local Teleseryes can claim back their local slots if they would
surpass or even equalize the quality of foreign series. Raising creativity to produce better
shows can be done through innovation (Sanchez, 2015).
Time is a scarce yet valuable resource (Mankiw, as cited by Sanchez, 2015). In
relation, shows that reduce the time available for another type of show exhibits how
primetime slots are limited resources that producers need to compete for. Given both the
scarcity and number of possible viewers that they have, local producers need to vastly
improve the quality of their works to acquire these primetime slots over Korean Dramas.
The opportunity to acquire the time slot with a good number of viewers serves as an
incentive for competing parties to improve performances (Sanchez, 2015).
Likewise, Korean aesthetics and worldview have slowly been acculturated in the
process of transformation of Filipino Teleseryes, as exemplified by transproductions of
local telenovela particularly Kimmy Dora which is based on a Korean-inspired plot.

CHAPTER 4
SUMMARY OF FINDINGS, CONCLUSION AND RECOMMENDATION
This chapter presents the summary of findings, the conclusion that was drawn from
the results and the recommendations derived from the findings of the study.
The study aims to determine the viewership preferences of Neo-Millennials
between Korean Dramas and Filipino Teleseryes, and how it impacts the Philippine
Telenovela Industry. The research utilized a two-phase process. For the quantitative part
of the study, 230 Neo-Millennials participants from Dr. Yanga’s Colleges, Inc. and
Integrated School of Montessori were identified using random sampling. The raw data
were then analyzed and interpreted using Descriptive Statistics, Kendall’s Coefficient of
Concordance, Two-Factor Analysis of Variance (ANOVA), Tukey HSD, and
Independent t-Test.
Consequently, for the qualitative part of the research, an expert in Hallyu Wave and
TV Production at Ateneo de Manila University became the informant of the study aligned
with purposive sampling. The said interview was aided by semi-structured guide
questions which were thematically arranged. The interview lasted for not more than two
hours. Data then was first transcribed. Afterwards, the significant information was then
distinguished from different stages for the interpretation of data.

Summary of Findings
Phase I: Quantitative- Viewership Preferences and Comparison between Korean
Dramas and Filipino Teleseryes
The first part of the research aims to determine the viewership preferences of
Filipino Neo-Millennials between Korean Dramas and Filipino Teleseryes which shows
the demographics, drama consumption, the ranking of telenovela’s elements and
comparison of the two telenovelas.
The results of the data analysis revealed that among 230 Neo-Millennials
participants of the study, 78% are females whereas 22% are males. Additionally, the
participants’ profile according to daily drama consumption was the following: 13% of the
population allows 0 to 1 hour for telenovelas, this constituted to the smallest part of the
population. On the other hand, 36.10%, of the participants watch 2 to 3 hours of
telenovelas, which occupies the largest portion of the population. Next is 4 to 5 hours of
watching telenovelas was by 25.7% of the population, whereas 25.2% watch telenovelas
for 6 or more hours.
Subsequently, the first part of the survey was the ranking of the most and least
influential element of telenovelas, depending on the viewership preference of Neo-
Millennials. From most to least influential manner, these includes (1) Acting Skills of
Actors/Actresses, (2) Completeness of Plot, (3) Dependence on Actors/Actresses, (4)
Theme, (5) Emotional Appeal, (6) Official Sound Track, (7) Incorporation of Cultural
Content, (8) Language, (9) Technical Completeness and (10) Length of Story
Development. These are the elements of telenovela that Neo-Millennials considers in

their viewership preferences. Relevantly, the outcome of Kendall’s Coefficient of
Concordance at 0.084298218 indicates that there is strong significant agreement among
the participants in ranking the influential telenovela element based on their viewership
preferences.
On the other hand, it was found out that there is a significant interaction between
Korean Dramas and Filipino Teleseryes with the cultural offerings and elements of
telenovela under it. These comprise of Linguistics: Language, Acting Skills of
Actors/Actresses, Visual: Dependence on Actors/Actresses, Technical Completeness,
Cultural Capital: Completeness of Plot, Incorporation of Cultural Content, Length of
Story Development, Official Sound Track (OST) and Values: Theme, Emotional Appeal.
This confirms that there is a significant connection between the types of telenovela and
Cultural Proximity. It is translated to the idea that Neo-Millennials’ viewership
preferences may vary between Korean Dramas and Filipino Teleseryes, depending on the
satisfaction that they achieved from each cultural offering and the elements of telenovela
under it. Generally, Korean Dramas obtained higher mean length of viewership
preferences than Filipino Teleseryes among all the four cultural offerings. Meanwhile,
the two types of telenovela have the smallest gap in terms of Linguistic while the largest
gap is found in the Visual. Furthermore, Filipino Teleseryes got the highest viewership
preferences in terms of Linguistic whereas Korean Dramas obtained the highest
viewership preferences on Visual, among the four cultural offerings.
Subsequently, the results revealed that there is no significant difference between the
Sex of Neo-Millennials on their viewership preferences. It can be inferred that sex does
not primarily affect the general viewership preferences of Neo-Millennials on both

Korean Dramas and Filipino Teleseryes. Moreover, there is a significant interaction
between the Sex and Types of Telenovela. Through this, it can be realized that Neo-
Millennials’ viewership preferences between Korean Dramas and Filipino Teleseryes are
dependent on the participant’s Sex.
Specifically, the female has a higher mean length of viewership preferences than
male Korean Dramas signifying that female prefers Korean Dramas more than male.
Conversely, the male has a higher mean length of viewership preferences than female
indicating that male prefers Filipino Teleseryes more than female.
Phase II: Qualitative Research–Impact to the Philippine Telenovela Industry
I. Introductory Stage
This stage upholds that Korean Drama Industry initially aims to introduce Korean
culture to their media, as they continuously improve their telenovelas which they adapt
from the previous market leader in Telenovela Industry. Meanwhile, Philippine
Telenovela Industry started with the establishment of today’s biggest networks. However,
Teleseryes in the country was not that established. Hence, they seek for foreign
telenovelas at a cheaper price which would be able to patronize by Filipino viewers. And
that was when they found Korean Dramas.
II. Growth Stage
This stage tackles the wide acceptance of Korean Dramas in the Philippine TV. In
fact, major networks in the country including ABS-CBN and GMA compete with regard
to acquiring rights for tagalizing Korean Dramas. Airing of Filipino-dubbed Korean
Dramas results to reduction in cost and substantial profit for these networks. However,
importing Korean Dramas bypassed Teleseryes to be featured on local networks.
III. Maturity Stage
Due to the proliferation of Korean Dramas in the country, it further pushes
Teleseryes into unfavorable timeslots, discouraging local producers from making
productions. In line with this, local stations often resort to producing remakes which
basically copies the plots of Korean Dramas. Meanwhile, this somehow positively causes
for the local industry to strive in creating Teleseryes that would be as good as their
foreign counterparts.
Conclusion
Based on the outcomes of the study, the following conclusions were established:
1. Acting Skills of Actors/Actresses was considered the most influential element that the
Neo-Millennials consider in watching telenovelas. Conversely, Length of Story
Development was the least influential element that they take into consideration
aligned with their viewership preferences.
2. There is a significant concordance among the ranking of telenovela’s elements
aligned with Neo-Millennials viewership preferences. Moreover, a strong significant
agreement among the participants exists, in ranking the influential telenovela element
based on their viewership preferences.

3. There is an interaction between the Cultural Proximity and Types of Telenovela. In
fact, Korean Dramas has higher mean length of viewership preferences than Filipino
Teleseryes to all the Cultural Proximity Theory’s cultural offerings signifying that
Filipino Neo-Millennials generally prefers watching Korean Dramas more than
Filipino Teleseryes.
4. There is no significant difference between the Sex of Neo-Millennials on their
viewership preferences. This means that sex does not primarily affect the general
viewership preferences of Neo-Millennials on both Korean Dramas and Filipino
Teleseryes.
5. There is a significant interaction between the Sex and Types of Telenovela. It can be
realized that Neo-Millennials’ viewership preferences between Korean Dramas and
Filipino Teleseryes is dependent on the participant’s Sex. Specifically, female has
higher mean length of viewership preferences than male in Korean Dramas whereas
male has higher mean length of viewership preferences than female in Filipino
Teleseryes.
6. Korean Dramas was technically the cheaper choice of Filipinos when they were
searching for foreign telenovelas to import in the Philippines, aiming to look for an
alternative to Taiwanese and Japanese Dramas which required larger investments.
7. Filipino-dubbed Korean Dramas aid TV networks including ABS-CBN and GMA to
rise, despite of competitions penetrating the tremendous number of Hallyu enthusiast.
However, continuous importation of Korean Dramas slowly limited the desire of
Filipinos to locally produced creative Teleseryes.

8. The influx of Korean Dramas consequently results for the acquisition and
benchmarking of techniques that are useful for the improvement of Filipino
Teleseryes.
Recommendations
Moreover, based on the conclusions, the researchers formulated the following
suggestions:
To Korean Producers and Entertainment Industry,
Korean companies would be able to recognize the Philippines’ strong potential as a
market for their telenovelas and products. Through this, mutualism between South Korea
and the Philippines can be achieved. This pertains to the symbiotic relationship between
the two countries as they are benefitting from one another.
Aside from being the manufacturer of conglomerate companies, the goal of
Koreans in producing visual mediated products is to introduce the culture of their
country. Indeed, they have exceeded what they expected through embracing progress and
at the same time, giving full attention to the industry. Relevantly, this would also be more
beneficial to Korean Drama Filipino viewers who demand easier access and to the
Philippines as it is a way to strengthen its relationship with Korea.
On the other hand, Korean Drama Industry may impart their knowledge to
strengthen other countries who are also aiming to improve their entertainment industries.
Through initiating TV Production and Telenovela Industry Forums, South Korea can
further emphasize the importance of focusing and giving a touch of individualization to
the Telenovela Industry of each country.
Additionally, co-production can be executed by Korean Drama Industry wherein
they can produce telenovelas jointly with another country’s Industry. Co-production is
perceived to enhance collaboration between countries with small production industries, in
order to maximize resources and compete in an international market (Baltruschat, 2002).
Through co-production, Korea together with another country can provide telenovelas
aiming to create bridges with other like-minded producers from around the world.
Furthermore, producers from other countries with less developed Telenovela Industries
need access to this production mode in order to facilitate further development of
telenovelas. Consequently, this is an innovative and critical media form which has the
potential to reflect upon globalization processes particularly the hybridization of cultures
and diversification of various countries. It can also highlight different perspectives on a
global scale.
In this regard, the researchers sent this research paper through an email to two of
Korean TV network companies mainly Korean Broadcasting System (KBS) and Seoul
Broadcasting System (SBS). Through this, the researchers aimed to positively inform
them regarding the study’s findings and recommendations. Relevantly, it is expected that
Korean Drama Industry will continuously innovate the telenovelas that they are offering
globally.
To the local Television (TV) Networks,
The deliberate improvement of Filipino Teleseryes is something that most expect
for the succeeding years of the industry. In line with this, local TV networks must
demonstrate efforts to keep on developing the Philippine Telenovela Industry.
With this, knowing the viewers can be the initial formula to be aware regarding
the information that will make the audience patronize local teleseryes. A “Viewer’s
Feedback Board” is a group of people who will be tasked to monitor the satisfaction,
insights and feedbacks of viewers in the Teleseryes that they are watching.
Through this, the Viewer’s Feedback Board can perform inquiry regarding what
audience really look for in a telenovela. In line with this, the networks should integrate
the mission of further “Knowing the Viewers”.
In line with this, TV Networks can benchmark the “Customer Experience
Engineering as part of their marketing”. This refers to the company striving to develop a
clear picture of what they want the customer’s perception of an experience to be and at
the same time, design a consistent set of performance and context clues to support that
experience (Hudson, 2017). In connection, local TV Networks can execute and
benchmarke “Viewer’s Reaction Engineering” from this strategy. This pertains to
employees in the company learning to look everything through the viewers’ lens, in order
to create Teleseryes that will offer a superior customer value. Local TV networks need to
consider what the customers need, want and expect in watching Teleseryes. Therefore,
“Viewer’s Reaction Engineering” will allow the networks to not just think about the
target viewers but more importantly, to design a great customer experience which will
differentiate their telenovelas to other industry. Moreover, engineering customer
experience means engineering the company, the system and the culture; so, the
employees will help one another in delivering an excellent customer value in every
Teleseryes that they will produce.
With this, the researchers sent this research paper through an email to the two
biggest networks in the Philippines specifically ABS-CBN and GMA. In line with this,
the researchers’ goal was to inform them regarding the study’s findings and
recommendations. They are expecting that through this, the said networks will be
enlightened that Filipino Neo-Millennials nowadays are more likely to prefer Korean
Dramas than Filipino Teleseryes. Through this, the researchers hope that this study may
serve as an eye-opener for them to improve the Teleseryes that they are offering aligned
with their target market’s needs, wants and expectations.
To the Teleseryes’ crews,
Differentiation is needed in order for the local Teleseryes in the Philippines to
improve its products and services. Differentiation can be achieved through designing
meaningful differences in order to distinguish the local Teleseryes to other foreign
telenovelas which are being offered in the market.
Specifically, Product Differentiation which pertains to improving the product that
the Philippine Telenovela Industry is offering-Teleseryes should be performed.
Furthermore, the following are the researchers’ recommendation for improvement on the
elements of Teleseryes which is aligned with the study’s results.

• Acting Skills of Actors/Actresses and Dependence on Actors/Actresses- Teleseryes
should ensure that the Actors and Actresses in the Teleseryes have undergone
rigorous training in order to enhance his/her skills before debuting a role. Regardless
of their name and popularity, training for actors and actresses is a need because their
portrayal will make the Teleseryes alive. Relevantly, the characters should have
“good physique, a retentive memory, an alert brain, a clear, resonant voice with good
articulation, and controlled breathing” (Strasberg & Chaillet, n.d.).
Meanwhile, Filipino Teleseryes should attempt to go out of the love team culture.
Yes, looks and personality of the love teams are unquestionably being considered, but
they should also give an opportunity to those actors/actresses who possess more
talent, enthusiasm and spirit in acting. Teleseryes which are commonly played by
same love teams and actors may cause satiety for Filipino viewers. Additionally, this
may hinder growth both for the leads and at the same time, to the Teleseryes. Hence,
Filipino crews should also gradually try to form new combination of love teams and
deserving leads that are truly apt for the role, which is not primarily based on stardom
but more importantly, on talent and passion.
• Technical Completeness- Teleseryes’ crews with the help of the company must
continually seek for education ranging from workshops, conferences and
developmental programs which will help in sharpening their skill with the application
of technology in Teleseryes.
Relevantly, Strategic benchmarking can be done which refers to identifying and
analyzing world-class performance with regards to technicalities in a telenovela. This

benchmarking requires going outside of the box in order to see other techniques
which will pave way to fill the gap of the company’s weakness. This does not
necessarily assert that Filipino TV crews should copy the strategies being applied by
foreign Telenovela Industry. But moreover, Filipino TV crews should have the
humility to go and learn from people who are ahead of them in order to become
successful. For instance, they should study and assess South Korea’s technology and
how they apply it to telenovelas. Local crews should learn from other countries that
have the most advanced technical completeness.
Once the Filipinos grasp the advanced techniques in international Telenovela
Industries, it is time for them to utilize this as their own strengths through localizing
telenovelas with improved technicalities.
• Official Soundtrack (OST)- The local crews and at the same time singers should not
just limit themselves to the existing techniques and common genres that the country
has in terms of OST presently. Moreover, they need to explore and maximize their
talents in order to create a more connected, various, original and immersive songs for
each Teleseryes the country will have. This will allow a song to be a perfect
representation and memory associated to a specific Teleserye, leading for viewers’
emotions to be uplift whenever they hear the said song.
• Emotional Appeal, Theme, Plot and Length of Story Development - It is time for
local crews to step out of the plate. They should focus on stories that are quite not
given common spotlight in media including genocide and terrorism to name a few.
Furthermore, niche marketing can also be done. Instead of aiming to be a follower in
a large market, niche marketing aims to be a leader in a small market. Through this,
Filipino crew may focus on themes which are commonly not given emphasis and will
cater a specific group of people. For instance, Teleseryes may focus on themes which
are less romantic and will meet the needs, wants and expectations of men in
Teleseryes. The key idea in nichemanship is specialization. If the Teleserye Industry
will successfully integrate nichemanship, it will potentially be a leader in a small
market because of its revolutionary theme. And eventually, it has the possibility to be
the market leader in the Telenovela Industry.
Consequently, Filipino producers have an enormous supply of creativity,
craftsmanship and above all, heart. These are the formula in order to create a
magnificent theme and plot which will be able to trigger the emotions of the viewers.
Additionally, Filipino Teleseryes should not lengthen their telenovelas as much as
possible. Most of the time, a higher rated Teleserye is commonly prolonged to the
extent of inculcating some plots which are not connected to the theme anymore. This
is done in order to earn more profit. However, this is a disadvantage as viewers may
tend to be easily bored with long Teleseryes, specifically that Filipinos wants
straightforward telenovelas. In line with this, money should not primarily the drive in
order for local crews to produce a telenovela because profit will be greater and
secondary to the overall customer value that the teleseryes will eventually bring.
Consequently, if Filipinos crews will learn to take risks and use the ingenuity that
they have in creating a Teleserye, then, it is possible that local Teleserye can compete
with foreign telenovelas globally.

• Cultural Content- Strengthening the Cultural Content that Filipinos Teleseryes are
presently offering can be done through Joint Venture with the country’s Department
of Tourism. Joint Venture refers to two companies which will temporarily work
together with a purpose capitalizing on opportunities. Through this, Filipino culture
and tourism can further be highlighted through the scenarios in Teleseryes.
Additionally, with the current crises in troubled international tourist spots, travelers
will be looking for other places in the world to visit. This is the right time to show to
the international community that the Philippines have awesome scenic spots including
Boracay, Mindoro, Cebu, Bohol, Ilocos, Baguio, and so many undiscovered
provinces. With the support of the government and tourism organizations, Teleseryes
can be a platform to promote the country’s culture, land and beliefs.
With all of these, Local Teleseryes’ crews would be able to set apart the
Teleseryes that they will offer among other telenovelas. Additionally, higher profits
will be achieved not because that is their major goal. But more importantly, it is
achieved as a consequence of creating superior customer value.
To the Filipino viewers,
Patronizing foreign telenovela is not primarily about colonial mentality. In a
positive sense, it is rooted in globalization. Easier exportation and importation of
products can further be executed through globalization. Globalization refers to the
extension of trends and influences including ideas, concepts, knowledge, ethics and
technology.
In this way, the “commodification of cultural products” of other nations can lead
to transnational culture (David, 2012). This pertains to transcending national boundaries
of one another. Watching Korean Dramas and other foreign media will help for viewers
to further understand the foreign culture. However, viewers should still consider to
support and to give a contribution, above all, to the success of local Filipino telenovelas.
Participation in research to improve the industry through feedbacks is a huge help
to its entirety. Filipino viewers should avoid “speed assurance” with regards to the
progress of the teleseryes and network companies since they are slowly but certainly
stepping up their game in Telenovela market.
To Viewership preferences on Telenovelas researches,
This could be a baseline data for those who further desire to explore the
viewership preferences between local and foreign telenovela on a broader spectrum.
Particularly, this study can be used for referencing purposes regarding innovation on
local Telenovelas through examining its weak points and comparing it to one of the
market leaders in the said industry.

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APPENDIX A
LETTER OF INTENT FOR VALIDATION TEST

APPENDIX B
LETTER OF INTENT FOR RELIABILITY TEST

APPENDIX C
LETTER OF INTENT FOR SURVEY DISSEMINATION 1

APPENDIX D
LETTER OF INTENT FOR SURVEY DISSEMINATION 2

APPENDIX E
LETTER OF INTENT FOR INTERVIEW

APPENDIX F
CONTENT VALIDATION FORM
DR. YANGA’S COLLEGES, INC.
Wakas, Bocaue, Bulacan
CONTENT VALIDATION FORM
Direction: This tool asks for your evaluation of the questionnaire to be used in the data gathering for the investigation
stated above so as to help the researchers establish its validity. You are requested to give your honest assessment using
the criteria stated below, please check ( ) only one from the selection.
Scale Interpretation Description
5 With Very High Validity The questionnaire is valid and can provide unbiased data for the
investigation, allowing 0-5% error.
4 With High Validity The questionnaire is valid and can provide unbiased data for the
3 Valid The questionnaire is valid and can provide unbiased data for the
2 Less Valid The questionnaire has questionable validity and can provide biased data
for the investigation, allowing 16-20% error.
1 Not Valid al all The questionnaire has questionable validity and can provide biased data
for the investigation, allowing 21-25% error.
VALIDATOR’S QUESTIONNAIRE ASSESSMENT
No. Indicators 5 4 3 2 1
CONTENT AND FOCUS
1 The indicators in the questionnaire consistently and accurately
measure each variable in the investigation.
2 The questionnaire fits with the variables under investigation,
thus measuring what it intends to measure.
3 The questionnaire has the capability to measure items of
variables within a given time frame.
4 The questionnaire has the ability to distinguish the
characteristics or the properties of differing attributes of the
subjects under study.
5 The questionnaire has the ability to gather factual data,
eliminating biases and subjectivity.
6 Quick and complete data can be generated by the questionnaire
within the time frame allowed to obtain the data
7 The questionnaire has no influence on the variables being
measured.
8 The questionnaire is capable of generating data that will be of
value and practical use to the sectors concerned in the
investigation.
BREVITY AND CLARITY
9 The questionnaire is framed clear and simple in order to avoid
risk of error.
10 The questionnaire has no unnecessary, repetitive or
inappropriate questions.
11 The questionnaire’s layout is compact, not crammed, and
attractive.
12 The instructions are meaningful and easy to follow.
______________________________________
EVALUATOR’S SIGNATURE / DATE
 EVALUATOR’S ADDITIONAL RELEVANT COMMENTS PERTAINING TO THE RESEARCH

INSTRUMENT
APPENDIX G
APPENDIX G
ACCOMPLISHED CONTENT VALIDATION FORM 1

APPENDIX H

APPENDIX I

APPENDIX J

APPENDIX K
LETTER OF CONSENT
I, _______________________________ understand that I am being asked to be an
informant of a research study of the Grade 12 Accountancy, Business Management (ABM)
students of Dr. Yanga’s Colleges, Inc (DYCI), in partial fulfillment of their requirements
in the subject Practical Research 2. This research is entitled “Korean ‘Hanguk’ Drama
Wave: Neo-Millennials’ preferences on watching Korean Dramas over Filipino Teleseryes
and its Impact to Philippine Telenovela Industry". If I agree with this study, I will answer
the questions of the researchers through interview.
In line with this, I am willing to share the necessary information that the researchers will
be needed for the completion of this study.
I have read and understand the consent and I am willing to participate in the said
interview.
__________________________________
(Participant’s signature over printed name)

APPENDIX L
INFORMED LETTER OF CONSENT

APPENDIX M
SURVEY QUESTIONNAIRE (ENGLISH)

APPENDIX N
SURVEY QUESTIONNAIRE (FILIPINO)

APPENDIX O
ACCOMPLISHED SURVEY QUESTIONNAIRE

APPENDIX P
EDITING CERTIFICATION
SENIOR HIGHSCHOOL DEPARTMENT

EDITING CERTIFICATE
Thesis Title: “NEO-MILLENIALS’ PREFERENCES ON WATCHING

KOREAN DRAMAS OVER FILIPINO TELESERYES: ITS
IMPACT TO PHILIPPINE TELENOVELA INDUSTRY.”
Degree/Program: Accountancy, Business and Management (ABM)
Students’ Names: Caisido, Jilane E.
Cruz, Madeline Aileen B.
Clemente, Angela Mae P.
Dela Peña, Leila Angela C.
Dela Vega, Andrei T.
Nicdao, Mhaumi Phines Z.
Ramos, Ma. Andrea S.
Villacoba, Katrina Marie C.
This is to certify that I have thoroughly edited the final draft of the
research paper entitled “Neo-Millenials’ Preferences on Watching Korean Dramas
over Filipino Teleseryes: Its Impact to Philippine Telenovela Industry” of the
students listed above in terms of grammar and organization.
Ms. Karla R. Sunga Dr. Yanga’s Colleges, Inc. November 8, 2017

Name and Signature of the Editor Institution Date
APPENDIX Q
STATISTICAL PACKAGE FOR THE SOCIAL SCIENCES (SPSS) RESULTS
I. Descriptive-SEX
Sex
Cumulative
Frequency Percent Valid Percent Percent
Valid F 178 77.4 77.4 77.4
M 52 22.6 22.6 100.0
Total 230 100.0 100.0
II. Descriptive- DRAMA CONSUMPTION
Drama Consumption
Cumulative
Frequency Percent Valid Percent Percent
Valid 0-1 hour 30 13.0 13.0 13.0
2-3 hours 83 36.1 36.1 49.1
4-5 hours 59 25.7 25.7 74.8
6-more hours 58 25.2 25.2 100.0
Total 230 100.0 100.0
III. Descriptive-ELEMENTS OF TELENOVELA
Statistics
Acting Cultural Length
Language Skills Dependence Technical Plot Content of Story OST Theme Emotion
N Valid 230 230 230 230 230 230 230 230 230 230
Missing 0 0 0 0 0 0 0 0 0 0
Mean 6.23 4.45 4.57 6.33 4.49 6.19 6.80 5.97 4.85 5.15
Std. 3.117 2.546 3.240 2.703 2.721 2.447 2.418 2.581 2.994 2.573
Deviation
Variance 9.718 6.485 10.499 7.305 7.404 5.989 5.846 6.663 8.965 6.619
IV. Kendall’s Coefficient of Concordance -ELEMENTS OF TELENOVELA

V. Two-Factor ANOVA-CULTURAL PROXIMITY
Types of
Telenovela Cultural Proximity Mean Std. Deviation N
Korean Linguistic 3.1885 .61180 230
Dramas Visual 3.4902 .62748 230
Cultural Capital 3.1065 .54408 230
Values 3.3727 .78177 230
Total 3.2895 .66347 920
Filipino Linguistic 3.1246 .62621 230
Teleseryes Visual 2.7522 .62864 230
Values 2.7797 .78120 230
Total 2.8868 .69448 920
Total Linguistic 3.1565 .61920 460
Visual 3.1212 .72806 460
Values 3.0762 .83516 460
Total 3.0881 .70821 1840

Type III Sum
Source of Squares df Mean Square F Sig.
a
Corrected Model 115.317 7 16.474 37.396 .000
Intercept 17547.251 1 17547.251 39832.417 .000
Types of Telenovela 74.595 1 74.595 169.332 .000
Cultural Proximity 6.410 3 2.137 4.850 .002
Offering
Types of Telenovela * 34.312 3 11.437 25.963 .000
Cultural Proximity
Offering
Error 807.045 1832 .441
Total 18469.614 1840
Corrected Total 922.363 1839
a. R Squared = .125 (Adjusted R Squared = .122)
Multiple Comparisons
Viewership Preference
Tukey HSD
95% Confidence
(I) Cultural (J) Cultural Mean Interval
Proximity Proximity Difference (I- Lower Upper
Offering Offering J) Std. Error Sig. Bound Bound
Linguistic Visual .0353 .04376 .851 -.0772 .1479
Cultural .1580* .04376 .002 .0454 .2705
Capital
Values .0803 .04376 .257 -.0323 .1928
Visual Linguistic -.0353 .04376 .851 -.1479 .0772
Cultural .1226* .04376 .026 .0101 .2352
Capital
Values .0450 .04376 .733 -.0676 .1575
*
Cultural Capital Linguistic -.1580 .04376 .002 -.2705 -.0454
*
Visual -.1226 .04376 .026 -.2352 -.0101
Values -.0777 .04376 .286 -.1902 .0349
Values Linguistic -.0803 .04376 .257 -.1928 .0323
Visual -.0450 .04376 .733 -.1575 .0676
Cultural .0777 .04376 .286 -.0349 .1902
Capital
Based on observed means.
The error term is Mean Square(Error) = .441.
*. The mean difference is significant at the .05 level.
VI. Independent t-Test- SEX
Group Statistics
Std. Error
Group N Mean Std. Deviation Mean
Sex Male 99 2.9655 .62621 .06294
Female 356 3.0806 .59618 .03160
Independent Samples Test

Levene's
Test for
Equality of
Variances t-Test for Equality of Means
95% Confidence
Interval of the
Sig. (2- Mean Std. Error Difference
F Sig. t df tailed) Difference Difference Lower Upper
Sex Equal .246 .620 -1.681 453 .093 -.11516 .06849 -.24976 .01944
variances
assumed
Equal -1.635 150.982 .104 -.11516 .07042 -.25430 .02398
variances
not
assumed
VII. Two-Factor ANOVA- Sex
Types of
Sex Telenovela Mean Std. Deviation N
Male Korean Dramas 3.0418 .63156 51
Filipino Teleseryes 2.8992 .60323 51
Total 2.9705 .61865 102
Female Korean Dramas 3.3342 .49708 178
Total 3.0806 .59618 356
Total Korean Dramas 3.2691 .54237 229
Total 3.0561 .60232 458

Type III Sum
Source of Squares df Mean Square F Sig.
Corrected Model 24.374a 3 8.125 26.083 .000
Intercept 2903.050 1 2903.050 9319.637 .000
Sex .962 1 .962 3.087 .080
Types of Telenovela 8.368 1 8.368 26.863 .000
Sex * Types of 2.635 1 2.635 8.461 .004
Telenovela
Error 141.420 454 .311
Total 4443.375 458
Corrected Total 165.795 457
a. R Squared = .147 (Adjusted R Squared = .141)
APPENDIX R
CRONBACH’S ALPHA COEFFICIENT RESULTS
Cronbach’s Alpha- LINGUISTICS
Cronbach’s Alpha-VISUAL
Cronbach’s Alpha-CULTURAL CAPITAL
Cronbach’s Alpha-VALUES
APPENDIX S
TEST-RETEST RELIABILITY RESULTS
Ranking
Korean Dramas
Filipino Teleseryes
APPENDIX T
ELECTRONIC COPY OF THE INTERVIEW

APPENDIX U
FULL TRANSCRIPTION
Respondent Transcript Statements
1 Drama? Siya nagpapa-pressure e… Hahaha…
2 Kanina pa ‘to e. Hinde, joke lang. Okay na
3 haha... Yes… Drama? Madami sa buhay ko
4 nyan. Hahaha. Ahh hindi, ang significance ng
5 drama like television dramas sa isang country.
6 Uhmm… I think that’s a very big question.
7 Uhmm… Parang pang Miss Universe lang...
8 Thank you for that question, next question
9 please. Uhm but I think that you know
10 seroiusly... I think that uhm its quite significant
11 in such a way na it provides an introspection or it
12 gives uhmmm some kind of reality. Although we
13 know kasi media diba, framed siya, di siya a
14 hundred percent true. Kahit nga yung mga series
15 based on ahhh historical uhmmm… tawag dito…
16 historical na mga pangyayari we cannot say na
17 one hundred percent true, may mga
18 dramatization talaga kasi syempre ang… ang
19 purpose, ang goal naman nila is really to... Well,
20 apart from the investment syempre for the
21 audience is to uhm… you know to entertain
22 them, is to ano… syempre money, money
23 matters sa side na lang ng ayon. Uhmmm… is to
24 really to entertain so if they are not able to give
25 some entertainment quality don, either you might
26 as well watch documentary kung gusto mo yung
27 facts talaga or yung they will not able to get
28 audience diba? So, i think na even though
29 ahhhhh… kunyari diba? Korea man or
30 Philippines kunyari they will show something
31 historical probably it still reflects or it does
32 shows something that the society is, or the
33 society needs these days diba. So kahit na
34 historical siya pero kunyari hindi lang yon yung
35 nangyari sa historical uhmmm event na yon,
36 mirrors something that is equivalent to what is
37 happening this days, may hatak pa din siya sa tao
38 kasi nakakarelate yung tao kahit na a few
39 centuries ago, syempre all the more if the setting
40 is contemporery diba in everyday life diba? So
41 ahhh kunwari ahhh recently, may special ang
42 GMA about Martial Law diba sila Alden.
43 Uhmmm. Diba hindi sila television series pero
44 andon yung ganong special on the series on

45 Martial Law let's say someone is to do a scene
46 on the Martial Law kunyari lang ah, I know its a
47 touchy topic diba? but today kasithe effects of
48 Martial Law like the effects of the Martial Law
49 and the remnants of the Martial Law are still
50 being talked about or still being.. I mean some of
51 the decendants of these people diba na may
52 kinalaman sa Martial Law are still present or
53 even you know kunwari si Ponce Enrile na
54 buhay nung panahon na yon, buhay pa din siya
55 ngayon, hindi natin alam kung hanggang kailan
56 siya mabubuhay pero mukhang immortal ata si
57 Enrile diba? So parang , anyway uhmmm…
58 kidding aside. So kahit na you know, kahit long
59 time ago na yung Martial Law if someone is to
60 do a series of Martial Law kunyari, people will
61 still be able to relate, kasi it shows something
62 and timely, kasi it shows something na
63 nararanasan or nararamdaman natin sa society
64 today, so I think TV series, not just TV series
65 actually eh, even movies sometimes diba…
66 they're able to what you call these they are able
67 to show society something about its own reality
68 today regardless of the setting of that series or
69 even that… In the Philippines, in Korea it started
70 in the mid to late 90s. Well actually kapag TV
71 series talaga super early talaga siya like 1960s,
72 1950s, ayyy 60s pala after Korean War so
73 meron na pero yung contemporary drama na start
74 nilang pinag investan talaga ng money where the
75 government and business conglomerates are
76 talking about you know "we need to invest
77 money kasi gusto nating tumulad sa Hollywood
78 at Japan" na ahhh kumbaga nagtatapon sila ng
79 pera sa entertainment industry kasi yon ang pang
80 hatak ng pera and ng good ah impression of
81 people sa country. So sabi nila nung mga 90s to,
82 nung medyo naka ahmmm kumbaga medyo
83 settled na sila kasi nung 60s, 70s, 80s medyo
84 may mga Martial Law Martial Law din sila so it
85 was very dark time, for Korea as well, so may
86 mga ganong aprisement din sila, may sarili din
87 silang EDSA Revolution, syempre wala yung
88 EDSA dun diba pero if you know what I mean
89 diba apprises against the communist, ay sorry
90 hindi pala communist, the dictatorship. So ayon,

91 may mga ganon ding pangyayari. Co-
92 accidentally around the same time as our Martial
93 Law, more or less yung mga panahon na yon. It
94 was only during the late 80s uhmm 90s nung
95 naka, medyo nakakamove-on-move-on din
96 sila… so sabi nila "Okay, we need to rebuild our
97 country, we need the people to be tough for our
98 country ganon." So nung 90s nagsimula yon then
99 by mga late 90s, 2000 sabi nila "okay we
100 expand, mag export tayo," so they exported a
101 series to their neighbors muna China and Japan.
102 Then anong kasunod non diba Northeast Asia.
103 So anong pinakamalapit sa Northeast Asia so
104 Southeast Asia, sino bang isa sa pinakamalapit -
105 Pilipinas, so isa tayo sa mga nag first na nag-
106 import ng, oo, ng Korean Dramas. In the country
107 naman, nangyari yon in 2004-ish mga ganon,
108 basta right after the time ng Meteor Garden so
109 yung after nung nagpakaano sila F4 diba
110 hmmmmm hahaha actually, we had very brief J-
111 Drama Era but it was short kasi one it was so
112 expensive to import uhmmm Japanese dramas.
113 Everything in Japan so My God ang mineral
114 water isang daang piso. Diba so yun na yung
115 average, so parang basta mahal lahat sa Japan.
116 So syempre mahirap pag we keep importing
117 these things. Uhmmm and for some reasons
118 anime is really doing well. Uhmmm… yon tapos
119 they found a cheaper option which is the Korean
120 Drama and yun nga it - super perfect timing eh
121 kaya yung boom ng K-Pop, K-Drama. Sabi nila
122 is 50% effort nila na talagang nag gastos sila ng
123 money, na nag hire sila ng gwapo't magandang
124 artista whatever diba. 50% is perfect timing, kasi
125 kung- alam mo yung minsan you find yourself
126 na alam mong nasa tamang lugar ka pero maling
127 panahon, kung may mga jowa kayo alam niyong
128 siya na yon pero this is not a correct time for you
129 to be together. Parang ganon eh. Sa Korea, it was
130 the right time for them na, na nagkataon na
131 walang..dati kasi pag 90s pag Philippines ang big
132 hit mga Mexica novelas or mga Latin novelas
133 diba mga Betty La Fea, Rosalinda whatever
134 Ruby. So after non when to take the trono kasi
135 hindi na masyadong big hit yung mga Latino
136 dito. So kinuha nila yung Meteor Garden. So

137 diba pumatok siya pero walang series na, I mean
138 any series they can get kasi other series they got
139 from Taiwan na hindi siya at part with the
140 kasikatan ng Meteor Garden, so walang alam mo
141 yon, Game of Thrones ang peg. So sino ang
142 aagaw sa trono nung nag aano diba so yon
143 napunta sa Korea. Nagkataon kasi yun din yung
144 time na gumaganda rin ang paggawa ng
145 Koreanovela so nag start yon with Bright Girl,
146 tapos later alam nyo yan, yung mga ahhh Winter
147 Sonata, tapos 2005 ahhh ano, Jewel in the Palace
148 show yan nung Encantadia yung original. Unti
149 unting mararating, kakanta na yan, tapos alam ko
150 na na Jewel in the Palace nga iyon.
151 HAHAHAHAHAHAHAHAHAHA and the rest
152 is history hanggang dyan sa mga Decendants of
153 the Sun ninyo, yon yung brief history na Chika
154 Minute vesion ng… ng..ng history ng.. ng
155 uhmmm. Shortened history ng K-drama in Korea
156 and here in the Philippines. It is part of..the
157 Korean Dramas are part of the Korean Wave it is
158 not separate. Kasi when people think of the word
159 Korean wave it's..uhmmm.. what is you
160 definition ba of Korean Wave, like in your case,
161 how would you define it? Okay. Okay uhmmmm
162 actually I’m not, lesson ko lang yon this morning
163 yung K-Pop sa klase ko kanina. The reason why
164 a lot of people equate Hallyu with K-Pop is
165 because among the three, big three na cinema
166 drama and K-Pop, ang K-Pop ang most diverse
167 kasi parang kapag K, kapag cinema or drama
168 kunwari si Song Joong Ki diba very popular
169 siya, kapag si Song Joong Ki may career,
170 malamang may career siya so kunwari drama,
171 etong drama siya, Sung Kyung Kwan Scandal,
172 after non panibago ng project. Kumbaga we
173 know na Song Joong Ki pa din siya pero yung
174 Sung Kyung Kwan scandal saka yung
175 Descendants of the Sun hindi ko sila pwedeng I-
176 connect kasi magkahiwalay na kwento na sila.
177 Pero kapag K-Pop kasi, susundan mo talaga
178 yung mag singers kahit saan sila pumunta from
179 single to single album to album and syempre
180 alam niyo naman diba kapag nag popromote sila
181 hindi lang music, parang naggeguest sila sa mga
182 tv show, sa mga variety shows or talk shows or

183 game shows ganon. So mas diverse and mas
184 natututukan mo so I don't blame people for
185 usually relating Hallyu to K-Pop but its not
186 correct. Kasi Hallu uhmmmm… the term itself
187 was derived, was actually conceptualize by
188 Chinese journalists, its not the Korean
189 themselves kasi nasa loob sila kumabaga they
190 are part of the system. Now ang first "victims"
191 ng Korea sa kanilang K Wave is Japan and
192 China. Kasi historically if you know where
193 Korea is, it's between these two giant countries.
194 Japan is not too big in terms of territory, but in
195 terms of power I think you know how they are
196 able to utilize their intellect and their power diba
197 for both good and bad uhmmmm… uhmmm so
198 tawag dito uhmmm… sila yung first people na
199 binigyan ng Korea na mga- eto yung mga ways,
200 eto yung mga shows namin, mga songs namin
201 ganon. So sa China, nararamdaman nila bigla na
202 ahhh parang mas na aattract yung mga Chinese
203 people sa main land ng Korean cheners na to.
204 Sothe journalist yung China, as understood na
205 that there was a phenomenon yeah, thats the key
206 word, there's a phenomenon going on. But they
207 have no term for it, they just know the influx of
208 Korean eklaboo kasi marami hindi lang siya. So
209 nag create sila ng term na “Hallyu” with Chinese
210 they pronounce it as “Hallyu” Hal meaning it
211 from the word, in Korea tawag dito Hanguk in
212 Korea. Tapos “lu” in Chinese which means to
213 flow. Pero syempre sa English “Korean Wave”
214 instead of “Korean flow” so well it's the influx,
215 well the export and the influx of all things in
216 Korea to another country. Yun ang definition ng
217 "Hallyu". So ano ba kasama sa influx na yon,
218 yun ng yung K-pop mo, for some countries it
219 includes the cinema and it also includes of
220 course your Korean Drama but these are just by
221 definition, the media-based components of
222 Hallyu, Hallyu also includes education like the
223 establishments of, kunwari here in Ateneo we
224 have Korean studies program which was
225 established in I think 2011? Late 2011 uhmm…
226 in other schools may mga ganong institutions ah
227 counterpart institutions that teach the Korean
228 language or teach courses on uhmmmm… Korea

229 na hindi language, kunwari Korean Politics,
230 Korean Economics, here we have some subjects
231 Hallu class this morning, I sometime teach
232 Korean Cinema Class also, these are all parts of
233 Hallyu, or ung culture like taekwondo, learning
234 taekwondo is also a part of Hallyu, your
235 cosmetics uhmm.. your tawag dito... your
236 gadgets like Samsung, Lg, actually di yan yung
237 unang Hallu kasi bago pa nagsimula yung mga
238 drama na to. Nung 90s everyone has a Samsung
239 they pronounce as Samsung. LG in appliances.
240 LG appliances, eto yung first... First incarnation
241 ng Hallyu kasi the thing is we were eponym not
242 given that they’re exporting these things….so
243 they were able to get a lot of moneys and this is
244 your chaebol companies conglomerate
245 companies. Kaya lang ang problema dun sa first
246 incarnation ng Hallyu nun was that everyone
247 knew the what LG was, everyone knew what
248 was Hyundai,what Samsung was, but they did
249 not associate them being with being Korean so it
250 was possible for people to know all these Korean
251 brands. Pero hindi nila alam na Korean sila and
252 it is also possible for them to talk none anything
253 about Koreans but they just know these products
254 so dun sa Hallyu na mass media-based later on
255 like your Koren Drama ganun. Yun nga like
256 what I mentioned before ah because these things
257 show parts of reality of the society so, sabi nga
258 nila pag media siya parang Hollywood or sa
259 parang sa Japanese Pop culture like J-drama or J-
260 POP or Anime. Uhmm we want them to be more
261 visual na para people will not only enjoy our
262 products but actually to get more know about our
263 country. Yun so yun...your K-drama is part of
264 the system it is not separate.Oo yun siya. So we
265 can siguro reword the question.ok ok
266 interesting… uhm acting skills I think it depends
267 talaga kasi they are some good Korean actors
268 and some are horrible Korean actors. In the
269 Philippines, there and some good Filipino actors
270 and some horrible Filipino actors so I think it is
271 very subjective. And to me kasi it is not also the
272 actors I’m not saying your data is wrong kasi is
273 that what you think but why I think in my cases
274 the who observes…. It is not just the acting but

275 also the way the camera in terms the series ah the
276 way the camera frames the something so
277 kunwari the famous wrist grab hindi ba parang
278 kunwari maglalakad tapos parang annyeong
279 tapos siya hajima ganon tapos hajima, wrist grab
280 ganon diba tapos titingin bigla tapos slow mo
281 yung mga Koreans kasi magaling sila mag
282 captured ng moment so yung wrist grab na yun if
283 you see in public you will not see as romantic so
284 diba, pero part parin yun ng acting pero so will
285 not see as romantic what its need romantic is
286 well yes obviously the way actors look the way
287 the actors deliver the lines. Malamang part yun
288 as part ng performance aspect but it was also
289 important that the people usually don’t realize
290 the camera itself and yung special effects or the
291 way they act. Oo the technical aspects kunwari
292 biglang swak biglang kunwari biglang dumating
293 yung yung ahhh tawag dito yung yung
294 background music yun pero the acting was also
295 works kasi malamang kung hindi magaling yung
296 actor ano pang yung inacting niya hahahaha uhm
297 yun you need the performance aspects also
298 malamang is the first thing we see and syempre
299 if the acting was not good it will not be effective
300 uhmm you know what I saying pero all I was
301 saying the technicals also helping in making the
302 moment nicer kasi kunyari if eto ay Winter
303 Sonata which is an old example uhmm in
304 episode 2 which is an episode I always use in my
305 class uhm ay ang episode 2 eto yung nasa Nami
306 Island sila besides it is nice island in Korean
307 ahhhh with a fine lane ganun maganda siya if
308 you had chance to go diba. Tapos naglalakad sila
309 later naglalaro sila si boy at si girlalu naglalaro
310 sila ng snow ganon hahahahha mamaya nakaupo
311 sila sa bench parang may picnic table may bench
312 tapos parang naglalambingan sila tapos biglang
313 may dalawang snowman tapos syempre
314 nagkagustuhan na sila pinaghalik nila yung
315 snowman, yung dalawang snowman so the
316 people actually yo know the moments after they
317 kiss sila mismo. The fans actually say na the
318 moment pinagkiss yung snowman yun yung first
319 kiss nila and their actual kiss you see is their
320 second kiss yun daw the moment na super

321 binigyan na importants or symbolism ganyan
322 ganyan. So parang yun nagpakilig sa mga tao
323 diba syempre of course the acting of the actors
324 and actress ganyan ganito ganyan ganito may
325 factor din but the technical don’t ignore yun. Ok
326 sure surprising ok. hinde kasi yun nga the
327 technical aspect we ahh we usually ignore kasi
328 when we watch we stuck in the moment so
329 parang nawawala lahat and kasi we are so used
330 to but not all the people are observing the
331 technical pag swip ng camera ganyan ganyan
332 ganyan…. Kasi not everybody a technical major
333 anyway they’d ingnore pero nasasuck in yung
334 moment nila pero you know pero I think it is
335 normal to our lives to imagine that it is a kind of
336 a movie, it is a kind of drama series or musical
337 video kunwari naglalakad ka lang sa Katipunan
338 diba kung ano anong kpop kumakanta dyan
339 tapos bigla may sumayaw yung mga may ganon.
340 Uhm…. Kasi kaya we feel alam na sometimes
341 people says na gagawa na lang ako filmmakers
342 because it is so easy but it is not a lot of things
343 are ano a lot of things anong tawag dito are
344 needed to film nice you just cannot take a
345 camera or a phone camera and make a movie but
346 malamang you can but ah eh it will not be top
347 notched hinde naisip ng tao yun which is
348 probably are reason I’m not saying it is only the
349 reason baka naman may ibang reason sila diba I
350 don’t wanna be sabotage the data pero for some
351 people hinde nila kasi naiisip yun even me kasi
352 co major ako syempre I used to co major that my
353 best kasi oo ganto dapat yung camera tapos oo
354 nga pero hindi nila naisip diba so syempre the
355 fisrt thing we see is the actor syempre you watch
356 a movie, you watch a series even me because I
357 want to watch them diba ganun lang and to be
358 gratified for whatever the reason I have to do.
359 Uhm ah I feel na one that the Philippine is I
360 think we learning naman I think the Philippines
361 as is not yet advanced in terms of the technology
362 uhm whether…. eto hinde ko na talaga sure it is
363 monetary or what pero syempre the things that
364 we are using are not at pan. I think that they’re
365 slowly learning from the Korean so we have to
366 have a better series now and movies as well. If

367 you look at encantadia now were not as good
368 parin pero very nice narin compared to do the
369 2005 but I compared to the 2005 the pinanood ko
370 na rin from start to end and etong bago na sila
371 Kylie Padilla. Infairness naman they are all
372 improving, our media is improving. We are
373 learning more things from our counterparts
374 abroads, perhaps, diba uhm tapos what else, in
375 technical aspect I think eto naman it has to do in
376 the story its partially technical it involves writing
377 pero I think eto yung major difference apart from
378 the technology. Kasi, I feel we are too close
379 minded we are afraid going out a formula kasi
380 we feel na pag pumatok sa takilya kelangan oo
381 iibahin lang natin yung loveteam. Oo iibahin
382 lang natin yung loveteam at iibahin lang natin
383 yung nanay diba? Kasi laging may nakatirang
384 nanay sa tabi-tabi diba kunwari si Susan Africa
385 next time si si si ano naman Helen Gamboa
386 naman oh diba parang narorotate lang yung mga
387 nanay na nakadaster diba ganon laging ganon
388 may nakadaster tapos mamatay siya at some
389 point laging ganon laging ganon or pede naman
390 Jacquelin Jose isa pa yung laging nanay
391 nakadaster oh sa Alyas Robin Hood, pero
392 ngayon okay na sila, abogado na si Dingdong
393 Dantes kaso baliw baliwan siya ngayon dun.
394 Uhm we are too afraid. The koreans kasi what
395 we are observed that they are good story tellers,
396 they are not afraid to diba, go beyond, kaya lang
397 what funny is the Koreans are they are also
398 learned how to tell a story and to and in terms of
399 the technology from kahit hinde sila na okay
400 magaling kana when they were starting I was
401 mentioned kanina like Hollywood ang parang
402 first na nakamaster ng global media. OO ganun
403 first media global na effect ganun Japan later on
404 in Asia closer and culturally to Korea Kasi after
405 WWII everyone hated in Japan but afterwards
406 Japan wanted to rebuild its reputation so ayun
407 gumawa na sila ng anime, ng pokemon gumawa
408 na rin sila ng mga anong tawag dun J-drama din.
409 And they export to the people and everyone
410 wants to go to Japan and someone wants to
411 become Japaneses and they they they frustrated
412 because they are not born Japanese and they

413 were super super fan may mga ganon. The
414 Korean wanted almost the same effect, they
415 wanted to know about Korea uhmm I think we
416 tried to avoid because it has something to do
417 with money for investment so ginaya nila yung
418 models ng Japan. But they were able to learned
419 and they own it. In the Philippines kasi, uhm, a
420 lot of people are trying to being someone ganun
421 pinipilit natin na ah yes are locally contextualize,
422 parang ganun yung nga na relatable na laging
423 may nanay na nakadaster kasi kahat naman ng
424 nanay sa Pilipinas nakadaster its relatable, pero
425 the content itself parang ano medyo plain. Pero
426 all again kala natin sinisiraan natin pero hinde
427 naman going back what I said I think we are
428 improving we are slowly trying to go out in
429 comfort zone very very slowly but then very
430 very carefully and I think we are entering in new
431 world ganon or aged ganun, in the Philippine
432 media although others can give other details
433 about that ayun. We are too embracing the
434 loveteam the culture kasi actually it’s been a
435 thesis about many generation of co majors na
436 bakit ma-ano tayo sa loveteam ganon. I think
437 kasi that the Filipinos consumed the time of
438 media its for kumbaga one is for escapism, dahil
439 compared to other country, maraming mahihirap
440 dito lalo na this day, to escape the reality parang
441 nakikita nila yung reality at ang good example
442 nito ay ang the Korean Jagiya ni Heart
443 Evangelista ganon ganon tayo mag consume ng
444 media diba si Heart na kapartner niya si Xander
445 Lee, Junho yata pangalan nya don uhm, parang
446 she watch all the series ni Xander parang kahit
447 series lang yung a part of her wishes from it she
448 believes it's real na... She si Heart at Xander
449 alam naman nila na fake lang yun pero she
450 wishing na totoo lahat yun and she wants have a
451 fantasy n asana may mag propose sakin dito sana
452 may mag piggy back sakin rin dito ganito
453 ganyan ganito. Syempre we feel to be true I
454 think from me ah from me gusto nila na makita
455 ng mga tao ang loveteam at sila kasi they want
456 everything to be real and sometimes loveteam
457 are manufactured outside. But unlike in
458 Hollywood they have clear distinction na kung

459 saan naman din kunwari sa friends kung saan
460 si….. Like for all time seasons for everyone
461 wanted Rachel and Ross to be together, si David
462 Trimmer and si Ri... Sino to? Ahhh si Jennifer
463 Aniston role nila, pero in real life we know
464 naman back then na Jennifer Aniston was with
465 Brad Pitt and we have no problem with it pero
466 in, in the Philippines if love team sila tapos in
467 real life may ibang ka-jowa sya, my God,
468 eskandalo yun, ang laking eskandalo nun diba
469 so... Sa Korea I think medyo same sa Hollywood
470 thing na... Yun nga kaya lang ang... Ang thing
471 naman dito sa Korea is kailangan yung mga
472 matinet idols nila parang kailangan single sila
473 parati... Kaya kung may jowa sila hindi pwedeng
474 malaman ng people kasi ang idea naman dun is
475 kunyari pag si Song Joong Ki ah... If he's seen as
476 a single man, the girls feel, the girl fans or even
477 the gay fans diba they will feel na may pwesto
478 kami sa buhay nya... Ganun yung... Ganun
479 naman yung pagmamanufacture, gets mo? So
480 parang may pag-asa ako kasi wala pa siyang
481 jowa kaya pag may jowa na yun na yung ay
482 sorry... Yun na yung lumalabas yung mga anti-
483 fans na ibabash tong girl, kunyari love nila tong
484 guy na to, ibabash nila yung girl talagang kahit
485 sa Korea mas extreme yung mga fans don, may
486 death threats and everything... Yes, sobra, oo ah
487 it's a lot... The fan experiences a lot more...
488 Realistic din for the fans pero it's a bit different
489 than dito eh. Dito parang sad tayo and all pero
490 doon uso yung mga death threats, yung mga
491 attempted na nilalason, totoo yun... So uhmm...
492 Kaya itong si Song Joong Ki ikakasal na siya
493 super bigla lang, oy ikakasal na kami, yung mga
494 friends ko wala, shookt sila lahat. Bakit? Pero
495 wala eh, kasal na eh pag jowa kasi baka pwede
496 pa pag pag kasal kasi medyo... Although some
497 fans will still ano... uhmm for, for girls ganun
498 din kunyari itong si girl nagkajowa hindi ano, or
499 the worst kunyari non showbiz yung jowa ng
500 actor or actress or idol... uhmmm syempre
501 they're more susceptible to mga death threats,
502 mga, mga attacks ganon. Uso sa Korea yun, very
503 ahm... the Koreans can be very violent. So yun
504 yung difference nung... well it all goes down to

505 manufacturing the idol and as well as syempre
506 the viewing habits as a perception and how
507 would the people perceive media. Here in the
508 Philippines the way I see it uhmmm... many
509 people kasi want to believe that they are real
510 kasi... a lot of times we are enduring hardships in
511 life na whatever we watch we want it to be real
512 kasi yun yung fixed that our fantasies are real or
513 actually yung mga noon time shows like
514 Showtime or yung mga shows ni Willie
515 Revillame hindi na sya noon time though a lot of
516 people lalo na from the lower end of the
517 socioeconomic classes, favorite show nila tong
518 mga to pero if you were more intelligent diba,
519 when you watch wala namang content tong mga
520 to. I mean, I watch Showtime, I like Showtime.
521 Natutuwa ako minsan pag may hirit si Vice
522 Ganda na hindi below the belt, nakakatawa
523 naman, nakakatawa naman talaga si Vice. I
524 watch it pero I would not say it's my favorite
525 show, I mean may entertainment value, what I
526 feel is shallow but for some people lalo na yung
527 mga from the lower econ classes favorite show
528 nila tong mga to kasi kunyari may nanalo don sa
529 mga contest or what, feel nila it's their own
530 victory. Very personal ang relationship with
531 their... with the things that theh watch. All the
532 more pag artista, parang ahmmm... Yun nga
533 parang sa Encantadia, super. So ahm there are
534 some people na nang-aaway ng other people kasi
535 parang sinasabihan daw yung... yung baby nya
536 na something na ah inaaway mo si gabby ah
537 ganyan, ganyan, ganyan. So sometimes the
538 admin nung group syempre malamang someone
539 from GMA ahm... sasabihin na please reminder
540 lang po na si Alena ay si Alena at si Gabby ay si
541 Gabi, hindi po sila pareho. Tapos minsan may
542 iba na nagagalit na kay John Arcilla, si Hagorn,
543 kaya there are times na kailangan... diba uso
544 ngayon yung facebook live? Pag sa facebook
545 live may mga artista na oh salamat po sa
546 panunuod ng Encantadia paalala lang po ako po
547 ay si John Arcilla. Ahmmm, salamat po na
548 nagagalit kayo kay Hagorn kasi ako mismo
549 nagagalit kay Hagorn. Muli po paalala lang po,
550 hindi po ako si Hagorn. Talagang may mga

551 ganung disclaimer kasi we are so personal with
552 our relationship eh kasi ganun din tayo as people
553 eh, we are used to personal relationship, diba?
554 Close family ties yes I think going back to what I
555 mentioned kanina, they're good at making
556 moments. Making moments or framing the
557 moments. Yun kasi yung nagdadagdag ng sparks
558 yun nga yung biglang riwrist grab or biglang
559 tumingin ganun. I feel na medyo kulang tayong
560 Filipinos sa ganun diba? It's more... I think it's
561 more technical, kasi if acting siya excuse me, if
562 acting siya I think naman na we have a lot of
563 good actors naman. So ahmmm... but I'm not
564 saying na all the people making the series or or
565 even our themes are bad ah... like there are good
566 directors din naman but all I'm saying is we need
567 more ahm, that tawag dito, more of technique to
568 make the moment spark yun yung I feel na
569 medyo kulang. Pero this days kasi I think na
570 nauso yung hugot culture na magsasabi ka ng
571 something na hugotera talaga echoserang froglet
572 yun yung para, I think medyo dumagdag kaya
573 lang I feel na theg are overusing the hugot
574 culture na parang lagi na lang yon yung
575 ginagamit nila to attract emotions pero incorrect
576 kasi. We so much with other things, kumbaga
577 mapaglaro sila. We play around with things.
578 Here in the Philippines yun nga, in some extent.
579 Pero may mga iba like Popoy and Basya, may
580 mga time na nahi-hit naman natin. It was making
581 the moment alive, kaya kapag pinapanuod mo
582 yung sagutan nila... "I'm picking up the pieces of
583 my broken heart," kasi ang sakit non... diba yung
584 ganon. There are times naman na nagagawa natin
585 pero kumbaga , as a technique we need more
586 polishing but again disclaimer, I am not saying
587 our directors are bad it's just that it is a different
588 way of looking at the moment ganon. Saka ang
589 mga Koreans kasi short and sweet sila, direct to
590 the point sila kaya ang series nila maiksi lang
591 back in the day, unlike in the Philippines ang
592 hahaba. Ang series na one year yun ang standard
593 noong unang panahon pa like MaraClara. Yung
594 unang MaraClara nung sila Judai pa 4 years ata
595 yon and sabi nga ng nanay ko there were even
596 times na the whole episode itsw just the two of

597 them talking or the two of them arguing and it
598 was not necessarily pushing the story through.
599 The Koreans were short and sweet kaga nafu-
600 fuel din yung pagkakilig natin kasi kilig ngayon
601 tutututututu... kilig ulit... ay kinilig na naman
602 ako. Kumbaga mabilis yung ganun ganun ng
603 emotion. Sa Philippines, we take it a bit slow.
604 We're taking our time now, again, we are
605 learning, ang series natin ngayon 3 months na
606 lang tapos pag magandang maganda like
607 Encantadia na medyo marami kasing paglalaruan
608 kasi fantasy world diba, after 3 months maririnig
609 mo sa balita "Encantadia, extend na naman."
610 Probinsyano ibang style na yon. Yon ganon sya,
611 pero di parati, there are other series na pumatok
612 but if it has to end, it has to end. Yon. Yes. It
613 should. One, pera yon. Diba. The more you ano,
614 since Encantadia is getting more money they can
615 invest. Pero one pera yon, it's always money
616 kaya commercial is so short. Kasi it's money.
617 Everything is money, time's money, media and
618 other things. Pero ang maganda nga na short yon
619 direct to the point nga walang paligoy-ligoy.
620 Kung mahal mo sya sabihin mong mahal mo sya
621 ganon. Ganon ang gusto ng Pinoy, so ano na?
622 Ano na nangyari? Ganon, ganong attack, very
623 atat, sobrang atat tayo sa tingin ko. Ayon din
624 yung magandang what would you call this?
625 Parang one of the things that we ah like sa mga
626 Koreanovelas they are taking people by what
627 they want at a shorter time. Tapos pag tapos na,
628 happy ending na sya, like Winter Sonata na
629 medyo realistic ng konti. Namatay sya, patay na.
630 Wala na tayong magagawa. Sales... Oh God...
631 Ahhhh I wouldn't really know, to be honest. Kasi
632 it's not... usually this is internal. So unless you
633 are really working with or you know someone
634 from the inside ahhhh... Medyo ano to, usually
635 private information to uhm although some
636 people might be right about it but I feel generally
637 it's same naman. Same kinds of investment, from
638 advertising, from ano uhm yun yung general ah,
639 pero if there's specific things I wouldn't, I don't
640 think I'll be able to answer. Kasi I... I haven't
641 really worked hands on with you know. But...
642 generally it's really to get investment naman

643 talaga. Kasi ano, its money... ayon... diba... Yeah
644 yeah yeah. I mean I think generally it's the same
645 naman. It's just that probably the way they do it
646 is a bit different but not... I uhm.... don't super
647 know about it. So baka mali yung masabi ko.
648 Kasi it's so technical, minsan inside... some of
649 the things there are insider information lang. So
650 I... I wouldn't be able to answer unless I'm
651 working talaga in that, in that work work dot
652 com... Ayon uhm yes... Yeah I understand...
653 We're stepping up our game, yun yon, kasi...
654 competi-... competitor eh. Well, one, is really to
655 get the Korean dramas and dub them diba it's so
656 people will patronize a certain... kunyari I heard
657 that diba ang GMA, ABS... I think it's an
658 advantage for one, ahhh... but at the same time I
659 think it can be a disadvantage if people will, in
660 the long run, if people like Kdrama more. Kasi
661 before uhm di pa uso yung streaming, download.
662 People will really just watch Kdrama through
663 ABS, GMA, and these things. Now, it's so easy
664 to get it from the net diba. May Kissasian ka,
665 may ano ka, diba, may nag-aupload or sa
666 YouTube, minsan may mga nag-aupload ng mga
667 episodes don. It's so easy, so pag yung mga atat
668 dyan... usually syempre, lalabas lang naman
669 yung mga series dito pag tapos na sya sa Korea.
670 So yung mga atat at talagang sumusubaybay na
671 "Oh may new series si idol ko ganito," they will
672 watch ano diba. And syempre, we want nama na
673 tangkilikin rin natin yung sariling atin. So uhm...
674 we tried. Yun nga... we step up our game, we
675 learned from the Koreans, there were times din
676 na we will ahhhh remake Korean drama like
677 Lovers in Paris, ahhh My Name is Kim Sam
678 Soon, ahhh yung Coffee Prince. Oo yon, ahhh...
679 we remake them. That was, I feel, one of the
680 dark ages of Philippine Media. Kasi even for K-
681 pop eh, we had that really, sorry ah I... I don't
682 like it eh... yung P-pop. Yung we have Exelerate,
683 yung... yung first single nila ahhh... You're So
684 Hot yata yung title, katunog niya yung Super
685 Junior na Sorry Sorry. And people were bashing
686 them for plagiarizing ganyan, basta and daming
687 issue. But now, parang, we learned more from
688 the Koreans and from other media cultures. And

689 we're making, to be honest, we're making better
690 series this days, with better equipment, with
691 better stories uhm with more appropriate actors
692 ganon. So uhmmm, kunwari before yung On The
693 Wings of Love diba. Tapos ahhh di ko alam ano
694 pa yung mga series na medyo pang-generation
695 ngayon... Dun nagsimula, I feel, yung new age
696 na naman of the young genre. Although
697 syempre, some... some elements will still be
698 inherit in Filipino. However you might define it
699 pero... a lot of things kunyari yung pagiging
700 maikli nung series or yung how to make
701 moments last and how to make moments ah
702 sparkle. Diba yung ganon medyo natututo na
703 tayo kaya I feel naman na more people ah...
704 kumbaga ngayon you find a lot of people
705 patronizing our own series, again. Even our own
706 music kasi yun nga, yung time na lumabas ang
707 P-pop, everyone wanted to abandon the music
708 industry kasi... I mean yung mga nakikinig ng
709 OPM or what parang nae-alienate sila kasi
710 "parang di naman to tayo" at yun namang K-pop
711 fans nae-alienate din, "di naman to K-pop diba?"
712 So, we learned... tapos... so we're making pop
713 groups ulit ngayon na may... may... may ano...
714 may value talaga na may ibubuga. Yung ganon
715 ahm... Yun nga, we're stepping up our game We
716 are stepping up our game kasi if we don't do that
717 and syempre actually yun nga nangyari with...
718 nangyari it also with hollywood e na when, when
719 an american movie comes everyone wants to
720 watch it, when a Filipino movie, this is movie
721 you know not dramas, ah I know pero medyo
722 same e. Uhm sa series kasi you don't get to feel it
723 sa movies dun mo mas mafifeel kasi tickets sales
724 diba? So, kunwari lumabas ang Filipino na
725 movie usually hindi siya nag-eearn as much as
726 foreign films so ganyan, we need to step up our
727 game kasi kung hindi, matatalo tayo sa foreign
728 films and syempre gusto natin na prroud tayo sa
729 sariling atin. Actually, to be honest, I feel na that
730 a lot of Filipinos who are patronzing hollywood
731 films or those who are patronizing korean films
732 or k-drama. Uhm, or even K-pop. I feel na as
733 Filipinos they also want to be proud of their,
734 their own country's media but probably kasi

735 hindi na bibigyan ah ng... hindi nasasatisfy yun
736 pangangailangan nga nila from the media kaya
737 naghahanap sila sa iba. Parang ganun, pag di mo
738 na siya nasatisfy, maghahanap siya ng iba, diba
739 ganun. So, kasi we are only people diba parang...
740 as much as we want to be... alam mo yun
741 kumbaga as much as we give ourselves to other
742 people. Uhm we think of ourselves din naman
743 talaga so kunwari yang media, if I think na hindi
744 ako nagagandahan sa ginagawa ng Pilipinas. I
745 know for something else, diba. So I don't think
746 naman that these Filipinos are not proud to be
747 Filipinos and I think they still are. Pero ayun
48 lang may hinahanap sila na hindi lang naibibigay
749 ng... you get what I'm saying? Yun na hindi lang
750 naibibigay kaya naghahanap sila ng iba. Kunwari
751 may iba na gusto nila ng snow kasi walang
752 nyebe sa Philippines. So manunod sila ng K-
753 drama para feel nila... ah ganito pala pag may
754 snow of Hollywood... ah ganito pala pag may
755 snow, diba? or ganito pala pag uhm tawag dito
756 uhm ganito ka lang nainlove ka sa isang
757 bampira, at yung karibal niya isang wereworlf
758 diba. Yung sa ano, tawag dito...Ay pero ngayon
759 meron, La luna sangre (diyos ko) may banal na
760 supremo. So ayun pero..nung lumabas yung
761 Twilight ganun din e, kasi they felt na or
762 kunwari bakit pumatok din ang ah ano to, yung
763 sino to... si Mr. Grey. Ah Fifty Shades of Grey.
764 And, a lot of women watched yung mga akala
765 mo pabebe tas manunuod... ahh ininvite lang ni
766 soso-- manuod, pero gusto niya manuod and kasi
767 feel niya na in her everyday life hindi niya
768 naexpress yung sarili niya sexually, yun kasi its
769 taboo in the Philippine society or it's taboo kasi
770 ang ... ang personality niya in her everyday life
771 pabebeng nene siya so if she expresses herself
772 sexually baka mashookt ang ng mga tao na hindi
773 ka naman ganyan, malandi ka and tooot--ganun.
774 so, yung movie na yun perhaps may have satisfy
775 what she needs. So in the Philippines ganun nga,
776 we are stepping up our game kasi we need to
777 satisfy what the Filipinos want kasi Philippine
778 media, first in foremost is really for the Filipinos
779 diba kasi kung hindi naman gumawa pa tayo ng
780 sarili nating shows, diba. So yun in terms of that,

781 in terms of production we have to step up our
782 game and we are doing that. Uhm I think yun
783 nga, it's that we're too safe. I feel we're too safe.
784 Uhm we have to explore more things diba. Uhm
785 we have to go beyond what we know about our
786 society because there are a lot of things we don't
787 know about our own society. For example, when
788 they showed Amaya noong 2011 starring Marian
789 Rivera. I feel it was a good series kasi uhm when
790 we think of Philippine, you close our eyes and
791 think about of Philippine history. The first thing
792 that come to my mind, Spanish history. I mean,
793 Philippine history with the Spanish colonial era
794 which is why pag nag-historical series here like
795 mga Heneral Luna, mga ano diba. Uhm these
796 are, yes malamang historical and Heneral Luna
797 was nice. Ah Gregorio Del... the one with
798 Gregorio Del Pilar who's coming out soon. Pero
799 Amaya kasi yun nga if we are going beyond of
800 what we know of our ownselves. And a lot of
801 people... this is my personal frustration with the
802 educational system. We don't highlight pre-
803 colonial Philippines which is why we don't know
804 kung sa mga..kunwari nung elementary ka or
805 high school siguro wala bang kalahati ng isang
806 chapter yun minsan nga isang parangraph pa
807 lang e. They traded with the Arabs, with the
808 India, with the Chinese, tas dumating na yung
809 Spanish. Ganun bigla e so parang Amaya was
810 this introspection to what could Filipino life be
811 like before the Spanish came and the-- syempre
812 it's not one hundred--again, it's not a docu so it's
813 not a hundred percent accurate pero it does show
814 na... ah ganito pala yung kasuotan namin, ganito
815 pala yung paniniwala natin-- blah blah... its like
816 that diba? So that uhmm yun nga like what I'm
817 saying medyo nagagawa naman natin or
818 Encantadia. Although it was based on Lord of
819 the Rings, it is based on recently --it's also based
820 on Game of Thrones. Uhm but the innate culture
821 or paniniwala, it;s so...kaya siya patok e. For me,
822 the way I see it, it's like creating new folklores
823 diba na alam mo ba na may apat na diwata at
824 may hawak silang mga brilyante, diba. So diba
825 ganun yon si Bayang Barrios kakanta siya sa
826 background so parang yun yung nafifeel ko na

827 we are now slowly going out of our shell. Somay
828 progress, there's a lot of progress. For about the
829 ten years, past ten years, past eleven years diba,
830 yon. So uhm, I think we should continue to do
831 that kasi ang problema is most of our media
832 product that are targeted to the masses are still
833 the ah, you know. They haven't really changed. I
834 mean, how many reincarnations of Enteng
835 Kabisote do we have. How many reincanations
836 of Shake, Rattle and Roll, or ano pa ba. Well,
837 Mano Po naman is a different story. It's uhm. I
838 have my own thing with Mano Po din, being
839 someone from the Phil-Chi community. I have
840 my own reservations with Mano Po but
841 nakakasawa na rin ang Mano Po diba so parang
842 naka-ilang Mano Po na sila di pa natatapos ang
843 kwento. Kahit na episodic siya na ano, ay di pala
844 episodic, kumbaga independent stories yon. So
845 uhm, I think na we need to, yun nga just go out
846 and just discover more and to stay tune to our
847 rules kasi some Filipinos they want to, gusto
848 nilang kumopya sa mga latest trends, diba
849 kunwari. No offense pero yung mga movies ni
850 Vice Ganda, a lot of the jokes there, a lot of the
851 motives there are based on the popular culture na
852 uso. So kunwari yung kasama niya si Coco
853 Martin, ang tawag sa kaniya nung mga bata
854 neyney kasi nauso yung uhm Watch Me Whip,
855 Watch Me Nae Nae. Tas neyney kasi nanay siya
856 nung mga bata parang ganun. So for me, it's--
857 even for comedy, Well, nakakatawa siya sa
858 nakakatawa pero it's a shallow comedy for
859 instance. We have to improve kasi sa Korea
860 ganon din e, even their scripwriters, their
861 producers if the management thinks na hindi sila
862 magaling, hindi sila pinapatrabaho agad
863 pinapatraining muna sila, yon. So, kulang tayo sa
864 training , that's another important thing. I feel na
865 medyo... I feel na medyo same naman sila. it's
866 just that our--in Korean drama they don't name
867 their TV series after the songs or they don't need
868 name their movies after songs kasi uso sa
869 Philippines yun e. Kunwari Got To Believe, yun
870 nalang yung title kasi yun naman yung OST
871 diba. So diba parang,yun nga it goes down on
872 thinking outside of the box and being more

873 creative with ano but again, I'm saying we are
874 ano naman, we are improving and gumaganda
875 naman yung mga kwento kunwari yung kay
876 Janella Salavador at kay Elmo. Okay din yun,
877 interesting din na story yun. Apart from the fact
878 that they shot it in Japan, yon. So may... I think
879 the OST is medyo same lang naman. The
880 concept of the OST dito and syempre they back
881 on the OST as well. Minsan they get K-pop
882 groups to sing that OST so it's an X -deal. When
883 the K-pop group sings the ano sa concert nila, it
884 is promoting the series. When the series uhm
885 plays the song it is uhm ano naman promotion
886 for the K-pop groups so it's an X-deal. So
887 sometimes they do it that way. Ganto din dito
888 diba, kinanta ni Gary Valenciano-- kung mawa...
889 so ayon. I think medyo same, medyo same lang
890 naman.
APPENDIX V
RESEARCH DISSEMINATION (KOREA TV NETWORKS)
I. Korean Broadcasting System (KBS)
II. Seoul Broadcasting System (SBS)

APPENDIX W
RESEARCH DISSEMINATION (PHILIPPINE TV NETWORKS)
III. Alto Broadcasting System-Chronicle Broadcasting Network (ABS-CBN)
IV. Greater Manila Area (GMA)

CURRICULUM VITAE
Name: Caisido, Jilane E.

Address: 272 Cadena de Amor St. Saluysoy,
Meycauayan City, Bulacan
Email Address: jilane_caisido@gmail.com
Contact Number: 09161502598
PERSONAL DATA
Age: 17 years old
Date of Birth: May 31, 1999
Place of Birth:
Height: 5’6”
Weight: 50 kg
Gender: Female
Religion: Roman Catholic
Nationality: Filipino
Civil Status: Single
Language Spoken: English and Filipino
Skills: Computer Literate
EDUCATIONAL BACKGROUND
Primary Level Marymount Professional Colleges 2006-2012

(Formerly International University
Foundation Academy)
Banga, Meycauayan City, Bulacan
Secondary Level Marymount Professional Colleges 2012-2016

Junior Highschool (Formerly International University
Foundation Academy)
Banga, Meycauayan City, Bulacan
Senior Highschool Dr. Yanga's Colleges Inc. 2016-Present

CURRICULUM VITAE
Name: Clemente, Angela Mae P.

Address: 255 Antipona, Bocaue, Bulacan
Email Address: angela19clemente@gmail.com
PERSONAL DATA
Age: 18 years old
Date of Birth: February19, 1999
Place of Birth: Bambang, Bocaue, Bulacan
Height: 5’3”
Weight: 50 kg
Gender: Female
Primary Level Congressman Erasmo R. Cruz 2006-2012

Memorial Central School
Secondary Level Dr. Yanga's Colleges Inc. 2012-2016

Junior Highschool Wakas, Bocaue, Bulacan

CURRICULUM VITAE
Name: Cruz, Madeline Aileen B.

Address: 1061 Lote Dulong Bayan, Poblacion,
Sta. Maria, Bulacan
Email Address: madelinaileencruz@gmail.com
PERSONAL DATA
Age: 18 years old
Date of Birth: March 5, 1999
Place of Birth: Sta. Maria, Bulacan
Height: 5’2”
Weight: 48 kg
Gender: Female
Primary Level Grace of Shekinah School 2006-2012

JP. Rizal Street, Poblacion, Sta.
Maria, Bulacan
Secondary Level Grace of Shekinah School 2012-2016

Junior Highschool JP. Rizal Street, Poblacion, Sta.
Maria, Bulacan

CURRICULUM VITAE
Name: Dela Peña, Leila Angela C.

Address: 591 Looban 2, Matungao, Bulakan, Bulacan
Email Address: leilacorro1@gmail.com
PERSONAL DATA
Age: 18 years old
Date of Birth: August 29, 1999
Place of Birth: Bulakan, Bulacan
Height: 5’2”
Weight: 50 kg
Gender: Female
Primary Level Matungao Elementary School 2006-2012

Matungao Bulakan, Bulacan


CURRICULUM VITAE
Name: Nicdao, Mhaumi Phines Z.

Address: 804 P. Sta. Cruz Village Borol 1st,
Balagtas, Bulacan
Email Address: nmhaumip1600@gmail.com
PERSONAL DATA
Age: 17 years old
Date of Birth: February 16, 2000
Place of Birth: Balagtas, Bulacan
Height: 5’6”
Weight: 61 kg
Gender: Female
Primary Level Garden Angels Integrated School, 2006-2012

Inc.
P. Sta. Cruz Village, Borol 1st,
Balagtas, Bulacan
Secondary Level Garden Angels Integrated School, 2012-2016

Junior Highschool Inc.
P. Sta. Cruz Village, Borol 1st,
Balagtas, Bulacan
Senior Highschool Dr. Yanga's Colleges Inc 2016-Present

CURRICULUM VITAE
Name: Ramos, Ma. Andrea S.

Address: 165 San Luis St. Abangan Norte
Marilao, Bulacan
Email Address: maandrea_ramos@yahoo.com
PERSONAL DATA
Age: 17 years old
Date of Birth: February 4, 2000
Place of Birth: Meycauyan City, Bulacan
Height: 5’3”
Weight: 49 kg
Gender: Female
Primary Level Abangan Norte Elementary School 2006-2012

Abangan Norte Marilao, Bulacan


CURRICULUM VITAE
Name: Villacoba, Katrina Marie C.

Address: Matungao, Bulakan, Bulacan
Email Address: villacobakmc@gmail.com
PERSONAL DATA
Age: 17 years old
Date of Birth: December 06, 1999
Place of Birth: Baliuag, Bulacan
Height: 5’4”
Weight: 50 kg
Gender: Female
Primary Level Sta. Catalina Matanda Elementary 2006-2012

School
Sta. Catalina Matanda, San
Ildefonso, Bulacan
Secondary Level Bulacan Agricultural State College 2012-2014

Junior Highschool Laboratory High School
Pinaod, San Ildefonso, Bulacan
Romeo A. Santos Memorial High 2014-2016

School
Matungao, Bulakan, Bulacan


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DR. YANGA’S COLLEGES, INC.

THE PROBLEM AND ITS BACKGROUND

Innovations on technology of business and professional communication had

past decades (Gerbner, Gross, Morgan, & Signorielli, 1986).

TV is every household’s medium of storytelling and communications. Particularly,

information regarding a country’s economy.

Specifically, in the scene of the Philippine Telenovela industry, TV networks

keen in the rate of viewership, as the TV companies’ survival is dependent on it

(Pasadilla & Lantin, 2005).

Additionally, based on an earlier work of Camus (2015), ABS-CBN (Alto

Broadcasting System-Chronicle Broadcasting Network) and GMA (Greater Manila Area)

are considered as the two leading networks competing on producing telenovelas on

countries, particularly in Indonesia. The Department of Trade and Industry's (DTI)

the creative service of the Philippines.

However, Filipino Teleseryes is still not as successful as other telenovela

the leading audiovisual sector of America (Oh, 2013).

the national TV.

viewership preferences of Neo-Millennials between Korean Dramas and Filipino

preferences on the Philippine Telenovela Industry. Interestingly, the outcomes of the

Cultural Proximity Theory

Joseph Straubhaar developed the Cultural Proximity Theory in 1991. Cultural

for “cultural proximity” (Straubhaar, as cited by Trepte, 2008).

geography, culture and language (Straubhaar, as cited by Alanzalon, 2011).

Straubhaar’s Cultural Proximity Theory (as cited by Trepte, 2008) is dynamic

based on the audiences’ identification of the following cultural offerings:

a. Linguistic– Language used, Acting Skills of Actors/Actresses

b. Visual- Dependence on Actors/Actresses, Technical Completeness

c. Cultural Capital– Completeness of Plot, Incorporation of Cultural Content,

Length of Story Development, Official Sound Track (OST)

d. Values - Theme, Emotional Appeal

Straubhaar’s Cultural Proximity Theory in order to explain the popularity of K-Dramas in

culture and localization of foreign content.

In this current research endeavor, the researchers attempted to translate

Straubhaar’s Theory as a basis for determining the viewership preferences of Neo-

its impact to the Philippine Telenovela Industry.

Industry Life Cycle

Figure 1.1. Industry Life Cycle (Shradhaseksaria, 2014)

Decline Stages (Cusumano, Kahl, & Suarez, 2006).

Significantly, Introduction Stage is delineated as the starting point of an industry

This stage is apt in development of products and penetration of markets. Introduction

the Industry Life Cycle is also a must (NIBusiness.Co.Uk, 2017).

Meanwhile, Maturity Stage is observed when there is an observable decrease in

scenarios. (NIBusiness.Co.Uk, 2017)

impact of Neo-Millennials’ viewership preferences between Korean Dramas and Filipino

Figure 1.2. Conceptual Paradigm

The figure above illustrates the conceptual element of Straubhaar’s Cultural

Capital and Values.

determine Neo-Millennials’ viewership preferences when it comes to telenovelas, which

The Linguistic offering includes the Language utilized in communicating the

media, particularly telenovela on the viewers. Additionally, delivery of the

Actors’/Actresses’ lines aiming to portray the message of his/her character through

Acting skills is also incorporated in this cultural offering.

Meanwhile, the Visual offering pertains to everything in a telenovela that the

audience perceive using their sense of sight. It includes Dependence on Actors/Actresses,

wherein the viewers highly give importance on the Actors’/Actresses’ physical

On the other hand, Technical Completeness contributes as well on the visual of a

telenovela. It refers to the application of technological advancement including, but not

contributes to the visual quality of the telenovela produced.

from the usual in order to make it interesting. Additionally, Incorporation of Cultural

story and its Theme.

Through obtaining and fulfilling all of these offerings based on Cultural

Neo-Millennials’ viewership preferences may vary between Korean Dramas or Filipino

(Straubhaar, as cited by Alanzalon, 2011).