Colie's Writings

Portfolio for COMM 154 Digital Storytelling

[coliearellano]

Becoming Filipino: For our grandchildren's children

In a world where prosperity and freedom roams alongside with injustice and oppression, Jose Rizal once said:

"I am writing for other ages. If this could read me, they would burn my books, the work of my whole life. On the other hand, the generation which interprets these writings will be an educated generation; they will understand me and say: Not all were asleep in the nighttime of our grandparents."

As Dekada Productions accomplish the generation of our controversial satirical work, entitled BECOMING FILIPINO; I look back and reflect on our journey. From the conceptualization to the proposal, production, and down to our very purpose of telling this story from all the other stories we could have told...

Why Becoming Filipino?

Diclaimer/Entrance | Philippine Credential System

Becoming Filipino is a satirical web series, presenting three video PSAs, that delves into realms of the Philippine socio-economic structures, gender roles, and the struggles of marginalized communities, presented in a manner that not only informs but "horrifies" audiences of the harsh reality Filipinos face at present.

At present...where some thrive, others are forced and oppressed into this unjust and prejudiced society.

There are diverse umwelts and narratives we may not see but others do. Through this, we give an avenue and platform of storytelling digitally.

However, despite its digital nature, Becoming Filipino extends beyond the screen to foster awareness and understanding of the diverse and nuanced realities faced by various Filipinos today. Wherein, this today we portray through the series will be seen by our peers, by our children, our grandchildren, and as history.

This immortalized form of storytelling leverages as a catalyst for social reflection and change for the present, and especially, the future.

But simply showing and informing the future does not suffice. They must be able to feel it, sense it, experience it for themselves in a way that history does not repeat itself.

Through this, we utilize the horror genre and an interactive aspect, departing from the traditional horror narratives, but instead through analog horror which focuses on the unsettling and eerie atmosphere, creating a long-lasting and deeper departure after viewing.

Reality machine, through somatic simulation, paracosm and pharmakon, generates this digital story into reality-like. Tapping into real experiences and realities faced by everyday people, such through the national ID required by every Filipino into this satirical piece, which actually uncovers the deeper and actual truth one hasn't seen.

As we conclude our journey with "Becoming Filipino," it becomes apparent that our undertaking extends far beyond the creation of a satirical web series. In the words of Jose Rizal, who wrote for ages beyond his own, our intent is not just to inform the present but to resonate with the educated generations to come. "Becoming Filipino" stands as a testament to the importance of experimentation prevailing in storytelling. We dared to delve into the realms of socio-economic structures, gender roles, and the struggles of marginalized communities, presenting these issues in a manner that not only informs but provokes a sense of horror—a visceral reaction that lingers.

In a world where stories are kept forever, our choice of storytelling format becomes crucial. The horror genre, particularly the unconventional approach of analog horror, aims to leave a lasting impact. Analog horror, with its focus on an unsettling and eerie atmosphere, facilitates a departure from traditional narratives. Through somatic simulation, paracosm, and pharmakon, we transform our digital story into a reality-like experience. The interactive aspect becomes a tool for the audience to not just witness but immerse themselves in the harsh realities faced by Filipinos today.

The semiotic stratification, from discourse to design, production, and distribution, played a pivotal role in shaping our narrative. This meticulous approach allowed us to create a story that goes beyond the screen, reaching the minds and hearts of our audience. "Becoming Filipino" is not merely a commentary on the present; it is a form of storytelling that will be witnessed by our peers, children, grandchildren, and by history itself. This immortalized form of storytelling serves as a catalyst for social reflection and change, urging future generations to feel, sense, and experience the realities we've depicted, ensuring that history does not repeat itself. In this endeavor, the importance of experimentation prevails, ensuring that our story becomes a timeless vessel for understanding, empathy, and societal evolution.

As I move further into my (hopeful) career into film writing and different forms of digital storytelling, the journey with Becoming Filipino serves as a cornerstone, shaping my approach and perspective. The experimentation, amalgamation of horror elements, and the intricate process of semiotic stratification have deepened my understanding of the profound impact storytelling can have on societal reflections. The immersive experience of crafting a narrative that transcends the screen, coupled with the unconventional analog horror genre, has instilled in me a commitment to push the boundaries of traditional storytelling. It is within this juncture that I recognize the enduring power of stories to shape perceptions, evoke emotions, and, most importantly, prompt meaningful dialogue. Becoming Filipino stands as a testament to the transformative potential of storytelling in fostering awareness, understanding, and social change—an insight that I carry forward into the uncharted territories of my evolving career in the realm of digital narrative creation.

[coliearellano]

The ART of captions (and hashtags)

Who knew captions would be so integral?

In Becoming Filipino's distribution process, Dekada Productions have formulated a strategy, plan and timeline, in marketing the anthology to the public, particularly Filipino people. We had DP blasts, plug-ins, a whole dedicated TikTok page for reactions, among other things.

Becoming Filipino is live. Check it out here for yourself!

Diclaimer/Entrance | Philippine Credential System

Although not my main role, I've taken the task to create captions to create fun and witty captions to intrigue viewers into clicking and interacting with our site. While it all looks fun and games, with the heavy use of emojis, the witty roleplay of a #RegisteredFilipino who had just applied through PCS (our site) and as a government worker working under PCS, along with the excessive and overkill of hashtags...

I say, the ART of captions (and hashtags) are often overlooked.

Not only captions, this includes copywriting and even marketing as a whole!

THIS is digital storytelling.

While we think of digital storytelling as still and moving pictures, digital storytelling encompasses so much more than that...including, just words.

So much thought and knowledge is necessary in creating relevant but creative captions that help gather specific target audiences, and as well, making our work (our product or service) actually interesting.

While the work itself is good, how is it going to actually create traction from their first experience or acknowledgement of it. How are you going to make it...watchable without having to yet watch it?

Just through words of advertisement, there is a story to be unfolded.

This is digital storytelling.

Visit our TikTok page here:

See some of the captions used in Becoming Filipino's marketing:

[coliearellano]

The World of Storytelling...in a Café

Often times, when one hears about storytelling, the one thing that pops into mind almost immediately are films.

Films.

Usually one to two hour videos revolving around a plot, and one or few characters, developing and following a certain structure, either the three-act structure or in medias res or...there's a lot to choose from.

Films are great. They show a world of storytelling seen or never seen before, showcasing different experiences, joys, laughers, sadness where one feels and empathize without actually having to live that moment in the story. It's all there when you sit down, open up your television or laptop, and stay there idle, basking and enjoying as well as immersing yourself into the story.

However, there is so much more mediums or even forms of storytelling that one meets the eye.

The world of storytelling is vast and experimental.

Including in...marketing?

I know, I know--there's novels, television, video games, and even sports. The exploration is HUGE.

But as I venture into the marketing realm (possibly working part-time) at the café, I've been exploring not only the production and marketing world but as well as in storytelling.

My team and I have been in production, producing teasers for it's launching. While it could possibly be one of many cafes in the province or in earth, we wanted to really establish and highlight the cafe's main essence through a short video aside from just being a...café.

We wanted to highlight not only the the coffee, we wanted to display the classic interior, the cozy atmosphere, and importantly, the culture--the process, the art, the people.

We wanted to introduce the café as to who it is.

It's truly a fun experience exploring as well as experimenting the world of storytelling.

See below the first teaser posted:

https://fb.watch/oxdrb7SiSt/

[coliearellano]

Becoming Filipino: But why horror?

Our project, Becoming Filipino, (in hindsight) is a satirical film of the national ID registration with the incorporation of recent horror pop culture, analog horror. It exposes the harsh truth of the Philippine life, emphasized through eerie themes.

When we created the concept and plot of the project, we didn't really think much about the specificities. We discussed ideas, concepts, and how we were to combine the production group's individual proposals into one. From our exchange of ideas, we ended with this very concept, the idea of a horror film deeply ingrained in this film's overall creation.

However, don't get us wrong, the aesthetics and uniqueness was the least of our thoughts when we imagined horror. Instead...

It just felt right.

So, when were asked, why couldn't the process be smooth? Why does it have to be horror?

I realized, that with all the struggles one has being a Filipino, it has become engrained and "normalized" in us to associate this with horror, that...no one could or would ever question it.

The truth that we speak of is, in itself without our theatrics, already horrific or horror.

With the use of analog horror, we only emphasize the scary reality that we have been "normally" born into.

During my discussion in class about the storytelling evolution of books or novels, I explored the different storytelling narratives, techniques, and themes people during certain period utilized. During such period, notable events (especially disasters such as wars or revolutions) as well as culture are heavily contextualized into their novels.

On purpose or not?

All we know as readers is that the narratives we read are a peek into the author's reality.

And, as "authors" of Becoming Filipino's narrative and storytelling, we contextualize our experiences, culture and struggles through this project just how producers of storytelling have since time immemorial.

Now, with technology advancing and the future coming, the world continue to evolve and expand to various, unique and experimental storytelling.

[coliearellano]

Experiment. Experiment? Experiment!

I've been freelancing for awhile now. Slightly unrelated to my current project (Becoming Filipino) and my class, but I've been taking jobs on the side as a freelance screenwriter, and just (and still) now, I'm doing a developmental editing job - a job I didn't even know existed.

And honestly? I think I found my calling.

Developmental editing is a form of writing support, where editors work with authors/writers to see and resolve the bigger picture. With this, they look for plot holes, inauthentic character developments, or confusing structures, and basically, point it out and try to suggest ways on how to improve.

At the moment, the fantasy screenplay I'm editing is a bit different from usual. It doesn't follow the three-act play (introduction, body, conclusion). Instead, what I thought, the introduction was too long, the conclusion too short, and the body non-existent. It wasn't the usual literary narrative I was accustomed to (at least, on how I write).

I thought: No, no, no. This is a problem.

Until, in my recent class in Digital Storytelling, that I found myself humbly wrong.

In the classic literary narratives, there exists triangles (three-act play), inverted triangles (conclusion first), and in media res.

In 'in medias res', the story starts in the middle of things. It's a creative narrative approach that heavily NEEDS context, told as the story progresses, either through flashbacks or through the storytelling itself.

In medias res is usually used in fantasy stories, where there exists heavy lore.

This, I realized, is what this is.

I realized my close-mindedness, and how stories can actually be told differently, not limited to one. With their variations and difference, stories are told uniquely, more enunciated, more...better?

Depending on what you want to be told, you have to tell it without barriers, and with how it is meant to be told.

This exemplifies the importance of experiment. Experiment? Experiment!

Now in this different digital age, there are other way of narrative shown in multimedia. There is one progression and ones with narrative but no story to progress at all.

Digital storytelling is the future. And there is no form of narrative to command it.

[coliearellano]

Becoming Filipino: From My Learnings to Production

In my last blog post on my role in Dekada Production's Becoming Filipino, I discussed and mapped my basic contribution to the team as the script writer and the co-creator of its storyboard. While I mentioned what exactly it is that I did to generate such eerie scripts for the PSA, I haven't exactly delved deeper on how my writings came to be.

Let me explain!

For the past few weeks of my Digital Storytelling class, I learned so much. From umwelt to semiotic stratification and the principles of the reality machine; you name it. My mind had been opened to concepts (and deep words) I've never heard of before that - in reflection of how I did storytelling back then - just made sense. Storytelling just made sense.

SEMIOTIC STRATIFICATION

Before actually delving into the production stage of Becoming Filipino, various steps or stratification was undergone to create this story. This includes Discourse, Design, Production and Distribution. While I already discussed this in a previous post (See Story Design Proposal: Becoming Filipino), I would like to reiterate and insist on the stratification's importance in meaning-making. The careful consideration of each phase underscores my group Dekada Production's commitment to creating a digital story that goes beyond mere entertainment, aiming to raise awareness, challenge perceptions, and inspire reflection on the pressing societal issues we've addressed in our narrative.

But how did I actually write the script and storyboard?

UMWELT

Through Becoming Filipino, I was able to tell a different kind of story in an umwelt never seen before by the Filipino youth (and even, I admit, by me) just entering the overglorified life in the Philippines. While writing the script, I had to immerse myself both in the narrator and user's umwelt with both having completely differing perspectives. There, the (unreliable) narrator, an assumed AI of a government website, or PCS, that guides the users go through the glitch, and the users or the actual audience, who are in the hopes of finally acquiring their first "official Filipino pass" or their government-issued ID.

The Narrator

As the narrator, I had to be robotic and unalive, but at the same time, deceiving through my patriotic façade. To be completely honest, I had taken the infamous ChatGPT as my inspiration, at least in the way the AI talks and convey messages so formally and linear that not an ounce of humanity peeks through. The narrator was simply lifeless...or that's what it wants you think. When its true form appears in PSA 3, I had perceived the narrator as invasive and intruding. As if a completely different AI or being had taken over and is now questioning YOUR own very being.

The User

As the user, I had to invest and dig deep through "what" makes "what" scary. I had to consider our proposed design without (of course) losing integrity of Dekada's intended discourse of showing the horrors of the life of or of becoming Filipino.

With this, in PSA 1, I had utilized facts or actual statistics from official government websites and from Philippine educational textbooks to portray its horrors without the need to disfigure the truth or to make it scary when it already is. Simple facts. Reality. The truth! The truth already scary as it stands.

To further expound on this, PSA 2 outright releases real footages of the harsh reality of being a Filipino. These horrifying scenes are revolting and leaves a bad taste on the mouth. This shows that if there's nothing to be scared of, why is reality itself horrifying?

In PSA 3, we utilized the real process of receiving ones government ID - the biometric identification collection. In this, I incorporated one of our readings in class, specifically the Universal Principles of Design by Lidwell, Holden and Butler, and utilized this to the now purposely create what's scary, scarier to stimulate the feeling of mind break. While we usually use the universal principles of design for the aesthetics, I've idealized its meaning-making to make me the user uneasy or unsettled through the opposite or "wrong" use of its principles. An example is in usual horror stories, where what makes a monster horrifying is not by their simple jump scares but by their uncanniness or their unusual aspects in comparison what we're used to. This creates and leaves a successful horror to the user.

These umwelts are the basic factors to be considered in conceptualizing and producing Becoming Filipino. However, aside from the semiotic stratification and umwelts, there are elements of storytelling that further enhanced this story of horror. Without this, the story would be a bland motionless and flat story and object that leaves no room for self criticisms and reflection as an audience member to the real world. This is...

PRINCIPLES OF REALITY MACHINE

There are three principles in what makes a story "real", this includes: Somatic Simulation, Paracosm, and Pharmakon.

Somatic Simulation - This principle is embodied in the immersive experience the protagonist undergoes while navigating the fictional Philippine Credential System (PCS) Website. The digital journey through the registration process, encountering unexpected prompts, and interacting with the automated messages creates a sensory and physical engagement. It simulates the experience of applying for a government-issued ID, making the audience feel as if they are going through the process themselves.

Paracosm - This is evident in the creation of a parallel world within the story. The fictional Philippine Credential System (PCS) Website, designed as a government agency portal, is a paracosm that exists within the larger narrative. It functions as an alternate reality where the protagonist and viewers explore and engage with a simulated version of the bureaucratic system. The paracosm concept is central to the story's structure and serves as a vehicle for conveying complex societal issues.

Pharmakon - The pharmakon principle is manifested in the use of analog horror and unsettling storytelling elements. The glitch in the registration process, the unexpected redirection to PSA videos, and the eerie atmosphere of the videos themselves serve as the pharmakon, a mixture of poison and antidote. While the process is disorienting and unsettling, it also acts as a means to raise awareness and provoke critical thinking about the issues portrayed in the PSAs. The unsettling nature of the story serves as both the poison and the antidote, challenging viewers to confront uncomfortable truths and question their own identity and society's norms.

With all these learning applied to not only in my role in production but as well in the meaning-making through discourse and design, I believe I created a successful storytelling with the use of the concepts of semiotic stratification, umwelt and principles of reality machine in my formation of Becoming Filipino's script and storyboard.

[coliearellano]

Becoming Filipino: Production as the Script Writer

In my role in the production of "Becoming Filipino," I undertook the crucial responsibility of crafting the script and storyboard, pivotal elements of the pre-production process for our web series. Despite my experience in the realm of storytelling (encompassing short stories and screenplays), venturing into the horror genre, particularly analog horror, was an entirely novel and uncharted territory for me. This creative journey, marked by its unique challenges and fresh perspectives, proved to be an enlightening and transformative experience.

To embark on this creative endeavor, I embarked on an extensive research journey, delving into various horror genres and the sub-genre of analog horror, all in pursuit of inspiration for our script. I also explored a diverse array of videos, ranging from personal narratives to thought-provoking social commentary and scientific storytelling, all with the aim of enriching the content and thematic depth of our series. In the following sections, I will delve into the intricacies of the scripts and storytelling approaches I employed in each of the Public Service Announcement (PSA) episodes, where I dissected complex issues while maintaining an eerie atmosphere.

PSA 1 "Me and You". As the creative mind behind this segment, I meticulously crafted the script and developed a two-column script for the storyboard. This particular PSA adopts a scientific approach, delving into the demographic and socio-economic facets of being a Filipino in the contemporary age. Drawing inspiration from TEDTalks, I meticulously integrated various statistical data about the Philippines, factoring in critical elements such as gender and social status from reliable sources. In this inaugural episode, my intention was to introduce the concept of a government-established service for issuing IDs. The initial phase was designed to serve as an eye-opener, shedding light on the challenging realities faced in the Philippines. It aimed to unsettle the audience through the presentation of stark content. Despite the facade and deceptive elements, I strived to maintain an undercurrent of normalcy, with the actual content, truth, and harsh realities serving as the unsettling and thought-provoking components.

PSA 2 "Behind the Smile (is the Struggle)". In the second PSA, I played a critical role in creating the two-column script for the storyboard. The original script, authored by Booc, was already comprehensive and meticulously crafted, which minimized the extent of additional writing required. My primary focus in the two-column script was to enrich the visual and auditory aspects of the narrative. This segment was centered on unearthing genuine horror through the incorporation of found footage, thereby building upon the established storyline.

PSA 3 "Why are you Filipino?". For the third and final PSA, I assumed responsibility for both scripting and developing the two-column script for the storyboard. Our overarching objective was to stimulate viewers to engage in a profound exploration of their own identities within the context of a perplexing and fragmented society. By satirizing the authentic process of acquiring a government-issued ID, the third video was meticulously designed as the "ultimate step," intended to evoke contemplation about the viewers' true selves and their stance in relation to the Philippines. This segment aimed to vividly depict and sensitize the viewers to the mental turmoil and perplexity they might encounter. It delved deeply into profound themes of identity and allegiance, raising poignant questions about whether one would stand up for their nation or choose a different path. The visual and sensory elements played a pivotal role in conveying the mind-bending experience, underscoring the complexity of the narrative.

Our production journey seamlessly weaved together the digital storytelling techniques of our web series with the unique nuances of analog horror. This collaborative venture was born from a shared aspiration to challenge existing perceptions, incite introspection, and encourage viewers to explore the intricacies of their own identities within the backdrop of a multifaceted society. "Becoming Filipino" is more than a series; it is a testament to the remarkable power of storytelling in conveying profound societal truths and kindling meaningful dialogue.

[coliearellano]

Photo Experimentation: Everything tells a story

Looking at these series of pictures, one would think:

No sense...

Weird!

Complete and utter, random.

I would have to admit, as I took these pictures during our Digital Storytelling class when we were told to do this photo experimentation around the campus, I thought of this as sporadic and aimless as well. I spontaneously took pictures (using my blurry camera and outdated phone) of the most meaningless objects I could see.

It just did not make sense.

However, while I did take these photos, I recalled being drawn to these pictures...to snap and enunciate these objects despite the outer-me calling BS.

Looking through these now, in a new lens, all of these pictures actually created a story - or in other words in the discussion of semiotic stratification, a discourse.

I start to wonder: What happened before this? What is this? What exactly happened? How did it get here? Why is it like this now?

So many questions start to bombard me, trying to piece together its existence and presence in that area then and there, that eventually...

I created my own discourse.

All these objects have a story.

Everything tells a story.

[coliearellano]

Story Design Proposal: Becoming Filipino

The concept behind "Becoming a Filipino" is a captivating fusion from diverse individuals with unique and brilliant ideas coming together to craft a cohesive piece of art and digital storytelling. As a key member of Dekada Production, I witnessed our journey of exploring this project, and it became apparent that each team member's personal narrative was intricately woven into our collaborative masterpiece. Prior to embarking on this collective endeavor, we each harbored distinct stories we wished to tell.

One team member envisioned a website that would serve as a digital canvas for their creative ideas, while another sought to capture their life as a chess enthusiast in the form of a compelling film. Yet another member was deeply passionate about shedding light on the struggles faced by marginalized communities, and I, personally, was driven to address the pervasive gender stereotypes that affect women in the Philippines. My contribution took the form of an experimental, narrative-driven still-life film (See post on Choose Your Character).

Through this collaborative process, we discovered both our shared interests and our individual distinctions. We amalgamated our ideas and concepts, ultimately giving birth to the project we proudly christened now as "Becoming Filipino."

In this blog, I would like to explore our awakenings and conceptualization of the web series, and my contributions in its pre-production of its scripts and storyboards. This will be divided into two main domains: The Discourse and The Design.

The Discourse

At the heart of our narrative lies the journey of a young adult, presumably of Filipino descent, who embarks on the significant task of applying for a Government-issued Identification Card. His initiation into this process unfolds in a digital realm as he navigates a dedicated website designed for registration. However, just as he begins the registration process, an unforeseen online glitch disrupts his progress, compelling him to click on a link that redirects him to a distinct subsite.

Within this digital detour, he encounters a unique and unexpected series of events. Here, he is introduced to a trio of engaging Public Service Announcement (PSA) videos, each of which imparts valuable insights and essential information required before he can proceed with his registration. These three videos serve as guiding beacons, each shedding light on different facets of what it truly means to be Filipino, while simultaneously aiding our protagonist on his journey toward obtaining his Government-issued Identification Card.

With this, this digital storytelling takes form in a website, then directed to three mandatory videos in a form of a glitch or error. While it may seem like a lengthy process from getting one part of the story to another, the indirect redirection of each section is quite linear and fast-paced as each videos are timed of at least one to two minutes, and the website to one.

PCS Website. The narrative revolves around an individual, presumed to be Filipino, as they embark on the process of acquiring a National ID through the fictional Philippine Credential System (PCS) Website. This website, presented as a government agency portal, houses a wide array of public information and records, encompassing official documents, articles about government officials, and government agendas in the Philippines. However, as the viewer attempts to register for their National ID, they encounter unexpected prompts within the registration form, leading them to a chat box with automated messages and a supposed glitch they must navigate to complete the process.

PSA 1. The storyline is further enriched through a series of Public Service Announcement (PSA) videos. The first PSA, "Me and You," explores the scientific aspects of storytelling, shedding light on Filipino gender roles and the social class system. It aims to guide viewers in understanding traditional gender identities and societal norms while examining prevailing social qualities in the Philippines.

PSA 2. In the second PSA, "Behind the Smile (is the Struggle)," sensory experiences are employed to showcase the lived experiences of various societal sectors. It begins with a cheerful introduction but soon reveals the hardships faced by workers and farmers in the Philippines, highlighting issues such as rising commodity prices and limited access to social services. The viewer is led to recognize the grim realities of life in the country.

PSA 3. The third and final PSA, "Why are you Filipino?," prompts viewers to reflect on the content of the preceding videos and consider the challenges of living in the Philippines, leading to a profound introspection and sensory experience. This phase also involves the collection of biometric identification data for the National ID. However, it ends with a haunting question, asking the viewer to confront their identity as a Filipino. The narrative comes full circle as the viewer's digital National ID displays a blank face, leaving them with a profound sense of existential questioning.

The web series is primarily aimed at young adults who are grappling with the challenging realities of growing up in a nation marked by a significant power imbalance, evident in its oppressive sociopolitical and economic structures.

This horror narrative choice, although potentially discouraging to some viewers, is deliberate because of its emotional impact and its potential to spark meaningful discourse. Becoming Filipino is intended for mature audiences who may find horror an engaging form of entertainment and is likely to pique the curiosity of those interested in analog horror, a genre that has gained popularity among online media consumers, particularly youth. It's important to note that the series deviates from typical horror conventions like jump scares, instead relying on subject matter and nostalgic elements to evoke a sense of unease and unsettlement, rather than sheer terror.

The Design

As an avid watcher of horror and analog horror, I was thrilled to participate in the creation of Becoming Filipino. What truly encourages me to watch such videos is not for cliched jump scares and haunted houses or people plot lines in horror films, but the unusual storytelling, visuals, plots, and indirect scare and horror through the content and audio creating a well-served horrific ambience to the form of storytelling.

To further explain, analog horror is a unique storytelling style that harnesses analog technology from the past and employs the found footage technique to evoke feelings of dread and fear within a digital context. It achieves this by incorporating elements of nostalgia and anachronism, creating a striking juxtaposition between old and new.

What sets analog horror apart is its ability to tap into deep-seated, primal fears deeply rooted in human psychology. The use of outdated analog technologies like VHS tapes, audio cassettes, and CRT monitors evokes a sense of nostalgia and eerie familiarity. The dissonance between what is known and what is unknown intensifies the unsettling experience. Watching a low-quality VHS-style film with distorted visuals and audio can trigger an uncanny sensation, aligning with our inherent fear of the unknown. This unique fusion of the familiar and the uncanny makes analog horror a powerful vehicle for instilling fear and unease, enabling creators to tap into primal anxieties that transcend cultural boundaries.

Analog horror thrives on emotional engagement, drawing viewers into the narrative through visual and auditory cues. The flaws and imperfections of analog technology establish an immediate and visceral connection with the audience. Cracking old cassette tapes, flickering CRT monitors, and the distortion of analog video contribute to the audience's immersion in the story. Additionally, the analog format often demands active participation from viewers as they piece together fragmented information from distorted visuals and audio, further deepening their interest and emotional investment in the unfolding narrative. Viewers become investigators, solving the mysteries alongside the characters and developing a stronger connection to the storyline as it evolves.

"Becoming Filipino" is a project that embodies the collaborative effort of diverse individuals, each contributing their unique and brilliant ideas to create a cohesive piece of art and digital storytelling. As part of Dekada Production, we embarked on a journey to explore this project, and it became evident that each team member's personal narrative was intricately woven into our collaborative masterpiece. Before coming together, we all held distinct stories we wanted to tell, from exploring creative ideas through a website to delving into the struggles faced by marginalized communities and addressing gender stereotypes in the Philippines.

The series, driven by a desire to spark meaningful discussions about social inequality and cultural identity, employs the unconventional genre of analog horror to engage the audience in a thought-provoking way. This narrative choice, while potentially discouraging to some, intentionally relies on emotional impact and a distinct sense of unease to drive discourse. "Becoming Filipino" is tailored for mature audiences who appreciate horror as a form of entertainment and is likely to captivate those interested in the unique storytelling style of analog horror.

[coliearellano]

Story Design Proposal: Choose Your Character (CYC)

Choose Your Character: A Filipino Woman (or CYC) is a short film that serves as a social commentary on gender roles in Philippine culture depicted through the lens of a video game. In this narrative, the audience becomes an active participant in exploring the stereotypes faced by individuals, boy or girl, in the Philippines, allowing them to experience the joys, challenges, and societal expectations faced by individuals on traditional gender norms. In a world where cultural expectations shape destinies, this cinematic commentary serves as both a mirror and a call to action, inviting viewers to critically engage with the complex issues at hand and envision a more inclusive future.

With this,  CYC applies semiotic stratification to offer a critical examination of the societal expectations and challenges faced by individuals adhering to traditional gender roles through the short film, emphasizing the urgency of dismantling these stereotypes for a more equitable society. In this story design proposal, the short film is specifically expounded through: discourse, design, and production and distribution.

The Discourse

In discussing the discourse of CYC, this section will delve deeper into the background, storyline, and  the application of the idea of mechanism of reality machine.

Background

Set in the early 2000s rural Philippines, CYC combines elements of nostalgic drama and social commentary to emphasize themes of societal change shown through traditional symbols of gender and cultural expectations. The main characters will consist as the audience as the player, promoting interactivity,  and the video game character Girl or Inday, whose life the player will represent and explore. There will also be supporting characters that represent the societal norms, family, and community influences that shape her life.

2. Storyline

The film opens with an enticing scene, introducing the concept of a unique video game called "Life." The player, representing the audience, is presented with a crucial decision: choosing their gender, either "Boy" or "Girl." Opting for the "Girl" character, the player embarks on a journey through the life of a Filipino girl named Inday, from birth to adulthood. Initially, life as a girl in the Philippines is depicted as joyful and filled with optimism, mirroring the early years of innocence and hope. However, as the game progresses, it starts unveiling the complexities and challenges tied to gender roles in Philippine society. The audience experiences the girl's life becoming progressively burdened with societal expectations, stereotypes, and limitations imposed on women. As the girl character ages, the storyline delves deeper into issues such as gender inequality, traditional gender roles, and discrimination. Life takes a darker turn, mirroring the real struggles faced by many Filipino women. The player is confronted with difficult decisions and experiences that challenge the character's autonomy and freedom. The game gradually becomes more oppressive and unbearable. At the climax, when the character's life seems completely unbearable, the player has to decide, whether to give up or continue the journey. For the second playthrough, the audience selects the "Boy" character, taking a different path through life. However, the film ends in a cliffhanger, leaving the player intrigued of what the Boy’s life has to offer.

3. Reality Machine

At the heart of CYC lies the ingenious mechanism of the reality machine, a narrative device that functions as a conduit connecting the audience with the lived experiences of the protagonists.

Somatic Simulation. The film enables viewers to viscerally feel the emotional highs and lows of the characters, forging a profound empathic bond between audience and narrative.

Paracosm. In crafting a vivid paracosm reflective of the Philippine cultural landscape, the reality machine immerses viewers into a world where societal norms and traditions manifest as tangible forces, providing a visceral understanding of the characters' struggles.

Pharmakon. Acting as a potent pharmakon, it not only critiques harmful gender stereotypes but also prescribes a path towards dismanstling them, presenting the audience with both the problem and the solution, thereby making it a compelling catalyst for critical reflection and societal change.

The Design

This section discusses CYC’s design in terms of cinematography, sound, and editing, as well as symbolism and subtext, and examples of multimedia works.

Cinematography

The cinematography in CYC will employ a unique blend of video game aesthetics and traditional filmmaking techniques to convey its narrative. The film's visual journey begins with a video game menu, immediately immersing the audience into the gaming world, creating a meta-layer of storytelling. Once inside the video game itself, the cinematography will utilize a mix of still backgrounds and images to represent various scenes and stages of life experienced by the characters. These visuals will serve as both a narrative canvas and a symbol-laden backdrop, allowing for the seamless integration of symbolism and subtext.

2. Sound

The film's soundscape and music will play a pivotal role in evoking emotions and enhancing the audience's engagement. Drawing on the theme of nostalgia, the sound design will incorporate nostalgic sounds and ambient audio, transporting viewers into the past while reflecting on the characters' personal histories. The occasional use of brief dialogue from supporting characters will facilitate story progression, offering insight into the characters' experiences and the societal expectations they face. By carefully selecting sound cues and musical compositions, the film will aim to elicit empathy and resonance, fostering a deep emotional connection between the audience and the characters as they navigate the complexities of gender roles and societal expectations within the Philippine cultural context.

3. Editing

As for the editing, the footage will be pixelated post-production to emphasize the video game theme. The early stages of the girl’s life will be characterized by a sense of innocence and simplicity, with smooth transitions and vibrant colors, mirroring the joy of childhood. As the girl encounters discrimination and challenges, the editing will gradually become more fragmented, employing quick cuts and juxtapositions to reflect her growing confusion and emotional turmoil. This fragmentation will be most pronounced during pivotal moments, such as her confrontation with gender bias at school. Later in the film, as she seeks to break free from societal expectations, the editing will evolve to signify her empowerment, with more deliberate and purposeful cuts, reinforcing her determination to challenge the status quo.

4. Symbolism

In the girl's perspective, symbolism and subtext will be intertwined to offer a nuanced portrayal of her experiences within the context of Philippine culture. Throughout her journey, objects and symbols will carry hidden meanings. For instance, her childhood toy, a once-beloved doll, will become a symbol of the societal pressure to conform to traditional gender roles as she reluctantly puts it aside. A recurring motif will be the traditional dress she wears during cultural events, which symbolizes the expectations placed upon her. Subtext will manifest through her internal monologues, wherein she reflects on her desires, dreams, and the limitations imposed upon her by societal norms. In a powerful climactic moment, as she defies convention and takes off her traditional dress, it will symbolize her bold rejection of restrictive gender roles, offering a moment of catharsis and empowerment. Symbolism and subtext, intertwined with the girl's perspective, will underscore the film's message of resilience, self-discovery, and the journey toward breaking free from the constraints of cultural expectations.

5. Examples of multimedia works

Examples of multimedia works that resonate with the approach taken in CYC include "Look Both Ways", "South Park: The Fractured But Whole" and “Skinamarink.”

Look Both Ways. The narrative explores the divergence of the main character's life based on a pivotal decision, much like the player's choice of gender in the short film. Both works employ this branching narrative structure to offer distinct outcomes and perspectives. However, CYC distinguishes itself by focusing on gender-related issues in the Philippines, shedding light on the unique challenges and societal pressures faced by individuals adhering to traditional gender roles, without comparing which gender has it worse.

South Park: The Fractured But Whole. This game's satirical use of a difficulty slider linked to skin color cleverly critiques real-world disparities in privilege and systemic racism. While this approach resonates with the idea of using interactive elements to convey social commentary, the short film takes a different path by concentrating solely on the girl's perspective within the context of gender roles in Philippine culture. It serves as a poignant exploration of the challenges faced by individuals living within those societal norms, emphasizing empathy, understanding, and the need for cultural change.

Skinamarink. In this horror film, it skillfully employs a combination of still images, videos, and dialogues, serves as another compelling example of multimedia storytelling. In "Skinamarink," the narrative unfolds through a haunting and fragmented visual landscape, immersing the audience in a suspenseful and unsettling experience. This approach to storytelling resonates with the use of visuals in CYC, as both films leverage the power of imagery and dialogue to convey complex themes and emotions. However, while "Skinamarink" creates an atmosphere of terror and dread,  CYC strives to evoke empathy and reflection, highlighting the versatility of multimedia storytelling in conveying diverse narratives and eliciting a wide range of emotional responses from the audience.

The Production and Distribution

The production of CYC is set to be an efficient yet creative endeavor, with the film's duration ranging from 3 to 5 minutes. The production process will utilize a combination of readily available online images and videos, carefully selected to represent the different stages of the characters' lives within the narrative. In addition to online resources, self-captured images and videos, shot using smartphones, will add a personal touch to the storytelling. Sound elements, comprising nostalgic sounds and ambient audio, will also be sourced from both online libraries and self-produced recordings to enhance emotional resonance.

Post-production editing will play a pivotal role in shaping the final narrative. Different applications and software will be employed to achieve the best possible outcome, ensuring seamless transitions, visual cohesiveness, and a compelling audio-visual experience for the audience.

In terms of distribution, the short film aims for wide accessibility and impact. It will be strategically distributed on popular social media platforms such as Facebook and YouTube to reach a broad and diverse audience. By utilizing these online platforms, the film seeks to engage viewers from various backgrounds and spark meaningful conversations about gender roles and societal expectations within the Philippines, fostering a wider cultural dialogue on these critical issues.

Choose Your Character: A Filipino Woman (CYC) is a thought-provoking short film that cleverly uses the concept of a video game to explore gender roles in Philippine culture. Through the engaging narrative, viewers actively participate in the life of a Filipino girl named Inday, experiencing the joys, challenges, and societal expectations tied to traditional gender norms. The film serves as both a mirror and a call to action, urging viewers to critically engage with these complex issues and envision a more inclusive future. CYC employs semiotic stratification, integrating elements like discourse, design, production, and distribution to deliver a compelling and immersive storytelling experience that encourages empathy, reflection, and cultural dialogue about gender roles and expectations in the Philippines.