Date tayo? Contemporary Filipino Dating Ideologie...

2013:
Date tayo? Contemporary Filipino Dating Ideologie...: Date tayo?  Contemporary   Filipino Dating Ideologies in KathNiel, JaDine, and AlDub  Fastfood chain Commercials Irish Talusan ...

Date tayo? Contemporary Filipino Dating Ideologies in KathNiel, JaDine, and AlDub Fastfood chain Commercials

Irish Talusan

Dating

To almost every genre whether film, radio, or television, there will always be that element of romantic love. In the Philippines, pair-ups are usually produced and introduced by TV networks and their success is measured by widening exposure in other media platforms such as in product endorsements.

Today with the emergence of social media as a popularity factory, these three loveteams have been taking the masses by storm -

ABS-CBN's Kathryn Bernardo & Daniel Padilla (KathNiel)

Source: http://media.philstar.com/images/the-philippine-star/entertainment/20140714/Katheniel.jpg

ABS-CBN's James Reid & Nadine Lustre (JaDine)

Source: http://manilastandardtoday.com/panel/_files/image/2015_aug08_show6.jpg

GMA's Alden Richards & Maine Mendoza aka "Yaya Dub" (AlDub)

Source: http://images.gmanews.tv/webpics/2015/08/aldub-wedding_2015_08_24_13_55_03.jpg

Because of their nationwide fans, consumers in the eyes of of businessmen, no wonder these loveteams were courted by the largest fastfood chains in the country to star in their commercials. These TVCs are uploaded in YouTube plus other related videos if one will search it. KathNiel stars in KFC's So Good Together commercial, JaDine is seen in Jollibee's One Extra Special Day, and recently the much awaited McDo's AlDub Ko To commercial featured Aldub.

While the loveteams' choice is obviously for marketing purposes, these commercials can also be seen as cultural products mediated by such advertising interests. Through a semiotic analysis, it would be interesting to review the three uploaded commercials in YouTube then determine the ideological points of traditional Filipino dating and how fastfood chains positions themselves to be included as dating 'symbols' in  contemporary Filipino dating ideologies together what each couple's image is portrayed. I argue that the actors, advertisers and Filipino culture have interplayed contribution in the production of contemporary dating ideologies in the country.

I follow semiotician Charles Peirce's classification of sign as a 'symbol' which may not resemble or cause what it stands for but is culturally conventionalized. On another note, I relate traditional signs of dating ideologies to its contemporary versions under Ferdinand Saussure's point of view on how a signifier may appear differently but it's the consistent relationship with other elements within a structure can justify what it signifies.

The Star Couple: Dating as Commodity within a Commodity

In this So Good Together commercial published by KFC Philippines on July 4, 2014, it can be seen that KathNiel is presented as a 'loveteam' to be commodified by consumers as they are needing each other to survive as well. Here, talents are not playing character roles but they are as is Kathryn Bernardo and Daniel Padilla as showbiz celebrities. However, I do not classify this commercial as reality since they are still in their performance as celebrities meeting certain expectations from fans. This is shown by the commercial narratives from taping, dressing up color coordinated, going to the gym and having their 'fully loaded' meal while all eyes are still on them even after Kathryn says "break muna ah".

The background music is sang by the loveteam themselves, it is written for them like in movies or music videos. Also, only their speaking voices are heard throughout the video. They are inseparable by holding hands which signifies or to say affirms 'dating' both in traditional and contemporary courtship, it also showed a clingy couple making each other as extension of their body in everything they do even in pouring gravy. It seemed that their world revolves on needing each other and they are independent as one. There is also the absence of family. Other than with each other, people in the commercial does not show any closer relationship with them aside from merely being part of their production staff, a wardrobe assistant, some gym goers, and two restaurant crew which are their 'fans' as well.

By the end of the commercial, Kathryn placed her cardboard figure beside Daniel's which could be a contemporary sign of objectifying affection such as how names are engraved by lovers in trees. But in this case it does not have that permanence as with the tree when Kathryn said, "KFC narin ako" moving herself. Other related video posted by KFC Philippines is "Behind The Scenes: The Making of KathNiel's KFC TVC" which simply extends the sneak peak in the lives of these two loveteam celebrities mixed  by the full version of the song. From what I can see, the fast food chain attempts to position itself as a dating space for couples on the go and open contradicting the ideology that dates should usually be like in a romantic restaurant having that sense of privacy between two lovers.


Dependent Love: Dating as Practical Decision

In this Jollibee commercial titled One Extra Special Day, the clear theme is an overprotective father to her daughter. It can be observed that it is not only the natural instinct of the father but the absence of the mother is strongly felt throughout the scene, even with color temperature of the commercial which is quite pale. However, mothering ideologies is carried neither by the father nor the daughter as they were never depicted doing household chores, especially in terms of cooking.The father is always sitting holding a gadget while the daughter is always fixing herself and waiting for a suitor.

Traditional dating 'procedures' can be seen such as dating inside the house, knocking on the lady's door and offering something. The lady is also groomed simply. In terms of choosing the 'one', auditory and visual codes can be observed that depicts on the spot disapproval from the father. Once the doorbell rings it is understood to be a suitor, the father and daughter is already behind the door with the father having every excuse in disapproving every suitor. The father is also ironically presented a thin and clean father but apparently has a big say of approval and authority despite his weak appearance.

However, the daughter has actually pre-selected a suitor she likes by advising one what to do and what to bring. The spatial organization of the doorbell sound when it's that suitor is more evident and the father is positioned 'calmly' signifying a welcome feel. This time, the father himself opened the door and the door was kept open when the preferred suitor came in compared to others where door is shut on their face. The paralinguistic cues of the way the preferred suitor confidently said "Hello!" establishes his stronger and confident connection with lady while he adds "Po..." to create a new and extended connection with the father.

It is interesting to note the previously uploaded video of Jollibee titled "FULL STORY: Nadine Lustre's special date". This video is the background prelude to the official commercial but has garnered more views than the actual commercial. There, the scene was that the daughter is supposed to have a date in Jollibee but she was ditched by a guy. Then her father to the rescue as if he knew what will happen and the ugly side of men. This video to me simply shows that dating should not be as open as in that place, it should be done formally at home while the maintaining the fastfood product as "take home".

It can be observed in this advertisement that Nadine Lustre and James Reid are in character. They are not portrayed as celebrities. The background music is simple instrumental. The father-daughter relationship is even more dominant than that of daughter-suitor which shows the ideology that family comes first but it is alright to welcome a new one as long as he is a practical choice. The fast food then positioned itself as the practical choice than of other 'things' offered by other suitors as well as substituted mother's approval with the taste both in food and in dating.

Dating when Shared and Separated: Surviving Distance, Maintaining Gender Roles through Time

Mcdo's AlDub Ko To commercial gained popularity as the first ever commercial of AlDub loveteam. As expected, the Dubbing is there and they are not together. On another side, this commercial can be seen as maintaining dating ideologies through time. "Ikaw Lang ang Aking Mahal" was the song choice which is practically old but most of the people is familiar with. It had a sense reminiscing and dating apart surviving amidst time and changes. For old couples, Yaya Dub is dressed in a fashion of another era with a polo and jumper while Alden is wearing a casual sweater. For new couples, dating without being face to face is often happening but this is bridged by mutual communication of what each other is doing every moment, this often includes asking each other if they had eaten and what did they eat.

However, gender role ideologies is also depicted here whereas the Yaya is the one inside the store seemingly waiting in one place and the man is the one who is mobile. The scene lighting difference is also evident when Alden is in a darker place, while Yaya Dub is in the brighter one which could represent couples in geographical distance. The ideology of love mediated by time and space is relieved with a shared memory, something they both "own". Remember a time when you passed by a Mcdo and remembered people especially from your past? Yes you did. That is also where Mcdo positions itself, since the fastfood chain can be found around the world surviving distance and time. We can relate this in Mcdo's old commercial First Love where the certain spot in that fastfood and certain way of eating become a forever shared memory between two people even if they did not end up together, of course mixing with the famous song Ang Huling El Bimbo of Eraserheads.

Mcdo Philippines did not upload a related video aside from the commercial as is. Most of videos posted are from fans. It keeps the image of the couple being an spontaneous loveteam. It can also be noticed that shots are mostly close up to emphasize their emotions and they only use establishing shots to show the "so near yet so far" feel.

Conclusion

The loveteams' images were clearly evident as how commercials packaged them as well how the visual, verbal and acoustic codes of scenes were adjusted for them. KathNiel in KFC have to be physically 'clingy' to be associated more with each other for them not to be isolated because of their other personalities, Kathryn as a child actor and Daniel as the nephew of 'bad boy' Robin Padilla for example. Both are also dressed as they are in the business and they sang the song themselves keeping their background as actors and singers. Nadine Lustre and James Reid are freshly paired and so their loveteam seeks for approval, with Nadine dressed simply and James keeping his slang accent. Yaya Dub and Alden Richards kept their appearance and behavior just as they are seen in Eat Bulaga daily. It is then important to keep their image to meet the viewers expectations just as Kathryn has to be pretty, Nadine should simple, and Yaya Dub as dorky while all the leading men, well, maintained being good looking.

Advertising interests and product positioning shaped the narratives of three commercials. Dating ideologies reflected where KFC is the open dating 'space' that highlights togetherness above all (dine in), where Jollibee points the importance of family and home (delivery), and where Mcdo is positioned as a place that houses precious memories whether together or apart (dine in or take out).

These three commercials although shaping narratives, for me is not manipulative. These just shows diverse Filipino ideologies when it comes to dating. Although we would always have traditional symbols to define it, it can be always subject to change in forms over time, over people, and over circumstances but ultimately the sincerity towards one another will always be the foundation.

References:

Edgar, A. & Sedgwick, P. (2002). Cultural Theory: The Key Thinkers (pp. 182-183). London and New York: Routledge

Vande Berg, L. H., Wenner, L. A., & Gronbeck, B. E. (2004). Critical Approaches to Television (pp. 67-110). New York: Houghton Mifflin Company