Language & Gender in Contemporary Philippines

PAMAGAT NG PELIKULA: A LINGUISTIC LANDSCAPE ANALYSIS OF

FILIPINO MOVIE TITLES ON NETFLIX

Ricky G. Basilio

English 315 Student | Doctor of Philosophy in English Studies: Language

University of the Philippines Diliman

College of Arts and Letters

Department of English and Comparative Literature

Second Semester 2023-2024

INTRODUCTION

Linguistic landscape (LL) studies started to expand their boundaries after the seminal work of Landry and Bouhris in 1997. From the physical geographical environment, language researchers have reached cyberspace as another recent linguistic landscape to study. Ivković and Lotherington (2009) in their study “Multilingualism in Cyberspace: Conceptualising the Virtual Linguistic Landscape” concluded that language selection of languages, visibility, and arrangement online create a significant dimension of global linguistic ecology. The same authors stated that the platforms, options, and restrictions regarding languages in cyberspace affect fragile balances of individual and social linguistic repertoires. An example of a work on linguistic landscape analysis of a virtual space is that of Biro in 2019 with the title “More than a Facebook Share: Exploring Virtual Linguistic Landscape). According to Biro (2019), a virtual linguistic landscape (VLL) offers chances for language displays that are not commonly found in physical linguistic landscapes.

Digital streaming platforms are examples of digital linguistic landscapes that serve as a digital space for language use in the forms of movie titles, subtitles, interface texts, and content descriptions. Online streaming platforms have become the trend in the entertainment sector providing the public with an unprecedented diverse multitude of films published from different sources around the world. The ease and convenience that online streaming platforms offer with high-resolution videos make their growth explosive. According to West (2014), in his paper “The Evolution of Video Streaming and Digital Content Delivery” video streaming has been the biggest growth area in internet usage highlighting the users’ strong preference for watching movies on-demand and viewing video content on different devices such as television, desktops, laptops, tablets, video players, and smart phones. In the same paper, West stated that, in the entertainment area, video streaming accounts for 30 percent of total internet traffic – with companies like Netflix making significant efforts to meet this high demand.

Netflix, according to Bhargav et al (2022) is the largest online television and movie show streaming platform in the world. This online streaming platform allows subscribers to watch content anytime, anywhere, and on any device. In 2021, Netflix had 210 million users (Imza, 2021). Recently, it was reported by Statista (2024) that as of the first quarter of 2024, the number of Netflix users increased exponentially with around 269.6 million paid subscribers – showing a growth of more than 9 million subscribers from the preceding quarter. This continuous expansion of Netflix’s global reach makes it a unique platform for showcasing a wide array of cultural and linguistic content.

In the Philippines, Netflix has become popular as a platform to access local and international films. Aside from access to international content, it has provided space in its platform for Filipino content across various genres which includes movies, TV series, documentaries, and more. With this, Netflix has opened a digital space that influences cultural consumption and linguistic preferences. However, Netflix as a virtual linguistic landscape is yet to be explored. Hence, the motivation for this study.

The choice of Netflix for this exploratory study was motivated by the fact that it is a digital streaming platform accessible both locally and internationally. This means that the language used in this platform, particularly in Filipino movie titles, is a rich subject for the analysis of linguistic choices as a means of exploring linguistic diversity and dominance and how language choice is influenced by globalization.

Specifically, this study sought answers to the following questions: (1) What languages are present in the selected Filipino movie titles? (2) What is the level of dominance of each language present in the movie titles? (3) How does the language choice vary across all movie genres? (4) How is the language choice in the movie titles influenced by global forces?

SIGNIFICANCE OF THE STUDY

The result of this study is significant for the following reasons: (1) The determination of the different languages in the movie titles may provide an understanding of the language dynamics in the Philippines; (2) The level of dominance of each language used in the movie titles on Netflix, which is a global online streaming platform, would delineate the status of each language in the Philippines that could inform language policymakers on what language would need more priority in terms of promotion and preservation; (3) The language choice patterns of each movie genre may reflect the function and purpose of language in writing the movie titles which may further reflect the usage boundaries between different languages in the country; (4) The language used in the Filipino movie titles on Netflix may show how language choice in the entertainment industry is influenced by globalization.

THEORETICAL FRAMEWORK

This study was anchored on the following three important concepts that are aligned with the purpose and research questions presented in the introduction: linguistic landscape, virtual linguistic landscape, and language dominance. The discussion of each concept below provides a clear understanding of the theoretical framework or the foundation of this study.

Linguistic Landscape

Linguistic landscape analysis as an approach to studying multilingualism in public spaces is relatively a recent development that emerged in the late 20^th century and gained significant attention in the early 21^st century. One notable study on the linguistic landscape in the field of sociolinguistics is that of Landry and Bourhis in 1997. Their empirical study entitled “Linguistic Landscape and Ethnolinguistic Vitality” provides an understanding of visual representation of languages in public spaces exploring how the presence and visibility of languages in urban spaces reflect linguistic diversity, language policies, and intergroup relations. In fact, according to Mensel et al (2016), the following definition of the term linguistic landscape was the first clear definition provided by Rodrigue Landry and Richard Y. Bourhis in 1997:

The language of public road signs, advertising billboards, street names, place names, commercial shop signs, and public signs on government buildings combines to form the linguistic landscape of a given territory, region, or urban agglomeration (Landry and Bourhis, 1997: 25).

Landry and Bourhis explained that linguistic landscape yields information about the society inhabiting a specific area. These insights revealed in the linguistic landscape include not only the distribution of languages but also the social structure, hierarchy, and the degree of influence held or exerted by different groups. The same claim was supported by Shohamy and Gorter (2009) who presented linguistic landscape as a crucial indicator that offers relevant insights into societies, group dynamics, and vitality. This is particularly true in regions where language use is contested.

In this study, linguistic landscape serves as the fundamental concept. However, instead of the traditional subjects of linguistic landscape analysis such as the cityscape, schoolscape, churchscape, and other physical linguistic landscapes, this study chose to explore a virtual linguistic landscape – a newer space of linguistic phenomena in the digital age that offers rich online linguistic spaces for analysis.

Virtual Linguistic Landscape

Numerous studies have been published on the linguistic landscape in its traditional scope – the physical environment. However, the widespread advent of the internet has allowed the linguistic landscape to extend its breadth to the virtual environment – a linguistic landscape that offers rich and more complex spaces of linguistic phenomena to explore. In his study “Navigating the Virtual Linguistic Landscape: A Multifaceted Journey” in 2024, Abdulaziz Alenezi stated that the virtual linguistic landscape is a reflection of the global nature of communication as it is the amalgamation of diverse languages and serves as a digital meeting space for cultures and languages to unite and mix.

In 2009, Ivković, D., & Lotherington in their study “Multilingualism in cyberspace: Conceptualising the virtual linguistic landscape” discussed that the virtual linguistic landscape serves to define the linguistic community and highlights the status of languages within the power dynamics of the coexisting linguistic choices in the online community. Furthermore, they presented that language choices in the virtual linguistic landscape implicitly attract an audience. Virtual environment, according to them can creatively repackage and reposition languages in an unfolding universe of interactive possibilities, hence, creating an ecology of languages that differs from the physical world.

The work of Biró in 2018 presented the definition of virtual linguistic landscape and its difference from the traditional definition of linguistic landscape. According to Biró, if virtual space will be considered as another dimension of communication, virtual linguistic landscape defines the linguistic landscape of a virtual space just as linguistic landscape defines the linguistic features of cities or schools. Biró further presented the distinctions between linguistic landscape and virtual linguistic landscape. The table below is the screenshot of Biró’s presentation of the difference between LL and VLL.

The virtual linguistic landscape as stated in Biró (2018) leads to the expansion of the breadth of multilingual interaction by the connection of the diversity of languages present and to specific user groups utilizing their linguistic resources. In the virtual context, multilingual discourses often involve translanguaging, code-switching, and code-mixing. Moreover, Biró (2018) cited Ivković and Lotherington (2009) who posit that the inclusion of virtual signage into the study enhances understanding of language practices, signage creation, and language learning efforts of individuals groups, or communities as multilingualism occurs in the virtual linguistic landscape.

The virtual linguistic landscape is relatively new in linguistic landscape studies. A few related studies mainly explored social media in their studies. Examples of these studies of social media linguistic landscapes are those of Biró (2018) and McMonagle in 2023. Both used social media as a subject in their analysis. Biró’s study “More Than a Facebook Share: Exploring Virtual Linguistic Landscape “examined multilingualism and language behavior observed on the periphery of cyberspaces, particularly on social media. McMonagle’s work “Virtual Linguistic Landscapes from Below: A Hashtag Analysis of the European Day of Languages” focused on exploring the diversity of languages used in tweets discussing the European Day of Languages (EDL) which is an annual event organized by the Council of Europe to highlight and promote linguistic diversity and the significance of language learning in Europe.

Netflix has been a subject for language research, however, the focus has always been on the utility of the streaming platform for language learning. Research works such as that of Dizon and Thanyawatpokin in 2021 entitled “Language learning with Netflix: Exploring the effects of dual subtitles on vocabulary learning and listening comprehension”, Alm’s work in 2023 entitled “Language learning with Netflix: from extensive to intra-formal learning”, and of Siddiqui et al. in 2023 with the title “Exploring the Educational Potentials of Language Learning with Netflix Tool: An Eye-Tracking Study”.

Aside from exploring its potential for language learning, studying Netflix as a virtual linguistic landscape is interesting as the platform contains multiple languages in its menus, settings, and recommendations. Analyzing the linguistic choices of Netflix shows can shed light on how the platform and the sources of the content communicate with its audiences across different language backgrounds. For this study, the concept of virtual linguistic landscape is applied in exploring the linguistic choices in movie titles, specifically Filipino movies.

Language Dominance

As discussed at the beginning of this paper, linguistic landscape analysis offers how different languages are represented in public spaces in the form of signages, advertisements, and official notices. Linguistic landscape, particularly in a multilingual setting, can reveal the dominance of a language over other languages. For this study, Robert Phillipson’s concept of linguistic imperialism.

Studies on linguistic imperialism examine the reasons and mechanisms behind the dominance of specific languages to provide a theoretically informed explanation of such a phenomenon. Phillipson’s concept of linguistic imperialism was used as a theoretical framework in the study of Ullah and Akram in 2023 entitled “Linguistic Imperialism in the Globalized World: Examining English Dominance and its Sociolinguistic Consequences”. As cited in the study, linguistic imperialism posits that the dominance of particular languages which is often facilitated by influential nations and organizations can lead to the marginalization and suppression of other languages and cultures. This concept further highlights unequal power dynamics in language distribution and its consequenc

In his 1992 published work “Linguistic Imperialism”, Phillipson highlighted some of the important key points of linguistic imperialism: (1) The dominance of a specific language over another exists through various forms of power, such as economic, political, and cultural – language dominance is not because of language diffusion but because it is promoted and maintained by those in power; (2) Linguistic imperialism rooted in colonialism where European nations imposed their languages on colonized regions or countries to assert control and superiority; (3) Structural inequality between dominant and dominated languages is perpetuated by linguistic imperialism making dominant languages such as English are promoted globally as languages of power knowledge, and prestige – dominated or minority languages are marginalized and suppressed; (4) Language policies favor or prioritize the teaching and learning of dominant languages over indigenous or local languages – such language policies weaken linguistic diversity and cultural identity; (4) Speakers of minority languages should be empowered and multilingual education should be promoted for cultural diversity preservation and social justice; (5) English has become a lingua franca necessary for engaging in international business, diplomacy, and academic discourse resulting in the unequal distribution of linguistic resources and opportunities.

This study, as anchored on Philipson’s concept of linguistic imperialism, aimed to explore language dominance in the Filipino movie titles available on Netflix. Moreover, using linguistic imperialism as a framework, this study intended to present the reason for such dominance of a language over other languages and its consequences.

DATA COLLECTION

This study used Filipino movie titles available on Netflix as of May 31, 2024, for a virtual linguistic landscape analysis. The titles of all movies were listed and categorized into their specific genres and the language used. The movies were categorized into the following genres: action, comedy, crime, drama, horror, romance, and thriller. These genres were based on the categorization on Netflix.

It should be noted that Netflix has multiple genre categories for some of the movies. For example, several movies are categorized as both drama and comedy and some are both drama and romance. To address this challenge and for the specificity of the analysis, the researcher decided to choose only one category for those movies with two or more listed categories.

Table 1. Filipino Movie Genres on Netflix

Genre	Scope
Action	Action; Action/Adventure; Crime/Action/Adventure
Comedy	Comedy; Drama/Comedy; Romantic Comedy; Drama/Comedy; Comedy/Creatures Features; LGBTQ+/Comedy; Comedy/Horror; and Comedy/Independent Music/Comedy; Romance/Comedy; Family/Comedy;
Crime	Crime
Drama	Drama; Drama/Romance; LGBTQ+/Drama; Music/Drama; Drama/Mystery; Drama/Social Issue; Sports/Drama; Satires/Drama; Crime/Drama; Drama/Thriller; Drama/Independent;
Horror	Horror; Anthology/Horror; Horror/Teen; Horror/Romance
Romance	Romance; Romance/Teen/Romance/LGBTQ+
Thriller	Thriller

Table 1 presents the major genres of Filipino movies on Netflix. As stated above, some movies have multiple genres listed on Netflix causing a challenge in the conduct of the analysis. Thus, the researcher grouped the movie titles into seven (7) major categories. The scope of each category is shown in Table 1.

From the data collected, there are a total of 249 movies. Table 2 shows the overall number of Filipino movies available on Netflix as of May 31, 2024, as categorized into seven (7) genres. From among the genres, drama has the greatest number of movies with 127 counts, followed by comedy with 85, horror with 17, romance with 12, action with 5, thriller with 3, and crime with 1.

Table 2. Number of Filipino Movies on Netflix

Genre	Number of Filipino Movies
Drama	127
Comedy	84
Horror	17
Romance	12
Action	5
Thriller	3
Crime	1
Grand Total	249

Movie titles were also categorized based on the language used: Monolingual-English; Monolingual-Filipino; Monolingual: Spanish; Monolingual: Chinese; Monolingual-Japanese; Monolingual-Latin; Bilingual: English-Filipino; Bilingual: Filipino-English; Bilingual: Spanish-Filipino; and Multilingual: Chinese, English, & Filipino. The language categories also included local people’s names, numbers, and names of places.

For a thorough analysis, translated movie titles from Filipino to English were also listed and counted.

As this exploratory study is delimited to Filipino movie titles on Netflix, the data collection did not include content on the same streaming platform such as Filipino television series, documentaries, reality shows, stand-up comedy, anime, and other content that do not belong to the movie category.

ANALYSIS AND DISCUSSION

This section presents a nuanced discussion of the result of the analysis of the movie titles. The data collected (Filipino movie titles) from Netflix were analyzed to answer the four (4) research questions.

1. What languages are present in the selected Filipino movie titles?

Table 3 shows the languages used in Filipino movie titles on Netflix based on the data gathered. Specifically, the movie titles were written in monolingual English, monolingual Filipino, bilingual English-Filipino, monolingual Spanish, bilingual Spanish-Filipino, monolingual Chinese, monolingual Japanese, monolingual Latin, and multilingual Chinese-English-Filipino. It should be mentioned that some of the movie titles are written in a local (Filipino) person’s name/s, number, and name of a place.

Table 3. Languages Used in Filipino Movie Titles on Netflix

Language	Count of Title of the Movie
Monolingual-English	160
Monolingual-Filipino	40
Bilingual: English-Filipino	15
Bilingual: Filipino-English	12
Local Name (Person)	11
Monolingual: Spanish	3
Numbers	2
Bilingual: Spanish-Filipino	1
Monolingual: Chinese	1
Monolingual-Japanese	1
Monolingual-Latin	1
Multilingual: Chinese, English, Filipino	1
Name of Place	1

Grand Total	249

The data in Table 3 is proof of the linguistic diversity in the Philippines given the presence of multiple languages used in the movies published on Netflix. The presence of foreign languages other than Filipino is expected given the exposure of the Filipinos to these languages, such as English (being an official language in the Philippines along with Filipino), Spanish, and Japanese starting when these two countries colonized the Philippines. As asserted by Phillipson (1992), linguistic choice and linguistic diversity are influenced by power dynamics, particularly because of the influence of colonialism and globalization.

The same languages were found present in one of the Philippine linguistic landscape studies. The study of Esteron in 2021 with the title “English in the Churchscape: Exploring a Religious Linguistic Landscape in the Philippines” surfaced the same languages, except for Japanese language and Pangasinan, present in a church in Pangasinan. The similar result of this study of movie titles on Netflix proves that these languages are still alive in the Philippines with different levels of dominance.

2. What is the level of dominance of each language present in the movie titles?

Table 4. Level of Language Dominance in Filipino Movie Titles on Netflix

Language	Distribution	Percentage
Monolingual-English	160	64.26%
Monolingual-Filipino	40	16.06%
Bilingual: English-Filipino	15	6.02%
Bilingual: Filipino-English	12	4.82%
Local Name (Person)	11	4.42%
Monolingual: Spanish	3	1.20%
Numbers	2	0.80%
Bilingual: Spanish-Filipino	1	0.40%
Monolingual: Chinese	1	0.40%
Monolingual-Japanese	1	0.40%
Monolingual-Latin	1	0.40%
Multilingual: Chinese, English, Filipino	1	0.40%
Place	1	0.40%
Grand Total	249	100%

To determine the level of dominance of each language used in the Filipino movie titles on Netflix, the distribution of the languages was counted and given an equivalent percentage. Table 3 shows the clear dominance of Monolingual: English with 160 total movies or 64.26% with English-only titles. It is followed by Monolingual: Filipino with 40 movies using Filipino only or 16.06% in their titles. Bilingual: English-Filipino is present in 15 movies or 6.02% and 12 or 4.82% for Bilingual: Filipino-English. Among the 249 movies, 11 or 4.42% used local person’s names, 3 used Spanish language, and 2 or 0.80% used numbers as titles. Moreover, Bilingual: Spanish-Filipino, Monolingual: Chinese, Monolingual: Japanese, and Monolingual Latin each have 1 or 0.40 % of the distribution.

The dominance of Monolingual English in the result of this study is in consonance with the result of the study of Esteron in 2021 which revealed a 77.6% of the signs in the church were written in English only, proving English as the most dominant language in the churchscape. The result of this study showing the English language on top of the dominance hierarchy is predictable given that the English language as one of the two official languages in the Philippines has been dominating the fields of education, government, media, and business (McFarland, 2008).

Monolingual Filipino coming second to English in the hierarchy based on its presence in the movie titles may be explained by the fact that Netflix is a global online streaming platform that caters to audiences from different cultural and linguistic backgrounds – hence the overwhelming number movie titles written in English even in the bilingual movie titles. This proves the point raised by Phillipson in 1992 in his work “Linguistic Imperialism”. Phillipson stated that English has become a necessary language to engage in international business, diplomacy, and academic discourse. In the case of this study – the entertainment industry.

3. How does the language choice vary across all movie genres?

This study intended to determine whether language choice in movie titles varies across genres. To address this research objective, language choice for each genre was counted. As shown in Table 5, the distribution of languages across different movie genres varies. Based on the data, monolingual English, monolingual Filipino, bilingual English-Filipino, bilingual Filipino-English, and Monolingual Spanish are the choices in comedy and drama.

Table 5. Distribution of Languages Across Movie Genres

Monolingual English remains to be on top of the list as the language choice of comedy and drama with 55 comedy movies and 88 drama movie titles in English only followed by Filipino with 13 comedy movie titles and 17 drama movie titles written in Filipino only. It is interesting to see, Chinese and Latin as languages choice for horror, despite English and Filipino as the leading language choices. This requires further study on the content of the movie as the Chinese and Latin language choices may be due to the theme or content of each movie. The same interest is true with the choice of Japanese language for one action movie title. Examples of Filipino movies on Netflix with Chinese and Latin languages are presented below:

The use of local or Filipino names in all genres, except for thriller, can be considered a reflection of cultural identity and pride. Movie titles in Filipino names like “Penduko”, “Gomburza”, “Clarita”, and “Maria” are representations of Filipino history, identity, and culture.

The examination of the language in every movie genre reveals not just the variation of language choices across movie genres but also the dominance of English in every genre which is the same as the result of the overall language choice among all movies. As previously stated, having Netflix as a global platform can explain this result.

4. How is the language choice in the movie titles influenced by global forces?

From the analyzed data, the following inference can be made on the influence of global forces in the language choice in movie titles: Netflix as a global streaming platform where people from different cultural and linguistic backgrounds have access to implies that movie titles be written in a global language – English. It is evident in the result of the analysis of the 249 Filipino movie titles that English is a necessary language choice for movies to reach a global audience having a 64.42% distribution percentage.

Such dominance of English on Netflix is also reflected in eleven (11) movies whose titles were translated from Filipino to English as shown in Table 6. The presence of English as the most dominant language in the Filipino movie titles on Netflix and the translation of the original movie titles from Filipino to English projects the idea that Netflix as a global platform and its global audience influence the linguistic choice of movie titles.

Table 6. Translated Movies from Filipino to English

Original Movie Title	Translation
Momshies! Ang Soul Mo'y Akin!	Momshies! Your Soul is Mine
Ikaw at Ako at ang Ending	YOU AND ME AND THE ENDING
Kung Paano Hinihintay Ang Dapithapon	Waiting for Sunset
Para sa Broken Hearted	FOR THE BROKEN HEARTED
Patay na si Hesus	JESUS IS DEAD
Pamilya Ordinaryo	Ordinary People
Bambanti	Scarecrow
1st Ko Si 3rd	Third Is My First
Mga Kwentong Barbero	Barber's Tales
Zombadings 1: Patayin sa shokot si Remington	Remington and the Curse of the Zombadings
Oro Plata Mata	Gold, Silver, Death or Gold, Silver, Bad Luck

CONCLUSIONS

Based on the result of the linguistic landscape analysis of Filipino movie titles on Netflix, the following conclusions were drawn:

The following languages are present in Filipino movie titles on Netflix: English, Filipino, Spanish, Chinese, Japanese, and Latin. Other titles used numbers, Filipino names, and names of places.
English is the dominant language choice among Filipino movie titles on Netflix followed by Filipino.
English is the most preferred language in writing movie titles in all genres, except for thriller movies.
The dominance of English as the language choice in the Filipino movie titles on Netflix is influenced by the online streaming platform and the target global audience as evident in the number of movie titles in the English language and the translation of other movie titles from Filipino to English.

RECOMMENDATION

This study was delimited to the analysis of Filipino movie titles on Netflix only. Hence, a more comprehensive study of Filipino movie titles since the beginning of the film industry in the Philippines is recommended. Such a study may reveal a clear track of language evolution and development in the Philippines.

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PAMAGAT NG PELIKULA: A LINGUISTIC LANDSCAPE ANALYSIS OF

FILIPINO MOVIE TITLES ON NETFLIX

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