PDF - Journal of Management Sciences

Journal of Contemporary Management Sciences
Volume 3 (8) 17- 39
JCMS Publication, 2015
Journal of
Contemporary
Management
Sciences
Compliance of Tagalized Cartoons in ABS-CBN, GMA and TV5 to
the Ratings and Provisions Set by MTRCB
Bolante, Wella Rose L.
Sabelita, Meljoy R.
Address/ Affiliation:
De La Salle University- Dasmarinas, Cavite, Philippines
Abstract
For this study, the proponents observed and analyzed two (2) tagalized cartoons from each three major TV networks
namely Slam Dunk and Hayate, The Combat Butler of GMA7, Little Battlers Experience and SpongeBob
Squarepants of ABSCBN 2 & 23 and Kick Buttowski and Adventure Time of TV5. These selected cartoons are all
rated PG or Parental Guidance to which MTRCB defines it as “it may contain materials not suitable for children‟,
however requires the presence of parent or adult”. This study used content analysis for these selected tagalized
cartoons. Frequency table and coding sheet are also used in determining the compliance and violation manifested in
both visual and audio of the cartoons. Interview of Program Supervisors from major TV Networks, dubbers and a
representative of MTRCB are used as a support to the findings of the proponents. Semiotic Theory is mainly used,
particularly its denotation- connotation in analyzing the context; both visual and audio of the selected tagalized
cartoons. In addition, based from the findings, tagalized cartoons from the TV networks mostly complied, both
visual and audio, with the provision of Theme of MTRCB. Whereas, Violence, Nudity and Language are provisions
that are violated by these selected tagalized cartoon, both from its visual and audio as well.
Keywords: Cartoons, Visual, Audio, Compliance, Violation, TV Network
Introduction
Background
Televised cartoons in the Philippines: The prevalence of tagalized cartoons
The inception of cartoon programs in the Philippines television networks became surprisingly popular to the
Filipinos during 1980‟s. All cartoons being televised during that time were delivered or dubbed in English language.
American cartoons were rampant those days whereas other foreign cartoons, particularly from Japan, were only
dubbed or translated in Tagalog context. Some of these early cartoon programs were The Simpsons, Alvin and the
Chipmunks, Knots Landing, Transformers, Super friends, The Real Ghostbusters, Teenage Mutant Ninja Turtles,
Garfield, Visionaries: Knights of the Magical Light, Care bears, Astroman, Voltes V, Daimos and etc. Dragon Ball
Z. Among of the first local television networks that were known for airing cartoon programs during 1980‟s were
ABS-CBN, GMA, IBC-13 and RPN-9.
IRC-2015 SINGAPORE
Page 1
However, English cartoons gradually replaced, as tagalized cartoons started to embark during 1990‟s. A related
study from Pasig Catholic College entitled The Effects of Watching Tagalized English Movies in the Philippines
(2013) defined tagalization as the process of converting foreign language into Filipino language or it is the
translating of text into Filipino. From the website of Genyo, an online website for learning education, it states that
“local TV network owners not only use Filipino or Tagalog in public affairs programs, sitcoms, drama anthologies
and other shows, they also re-dub imported cartoons in Filipino. The purpose, it is said, is to reach the masses,
which,
after
all,
constitute
the
majority
of
the
viewers
and
consumers”
(retrieved
from:
http://genyo.com.ph/section_article.asp?a=na).
In relation to cartoon programs, the language used by the characters was translated into Tagalog by means of audio
dubbing. Dubbing is defined by Baker (1998) as “the replacement of the original speech by a voice track which
attempts to follow as closely as possible the timing, phrasing, and lip movement of the original dialogue.”. Dubbing
is quite essential in processing foreign programs, or „canned shows‟ that is later aired in local TV channels. It
provides better and clearer understanding for the viewers since the latter are more comfortable in watching or
listening programs with a language that they know of.
Tagalized Cartoons
This concept of „tagalizing‟ or translating cartoons in Tagalog context has enjoyed by most Filipino audiences,
especially of the children. However, changing in the meaning of the program also occur. To compare some cartoon
programs with its original content to its tagalized ones, changes in the context of it especially the manner it is
verbally delivered by the cartoon characters is quite manifested, and this could probably result adverse effects to
children. Nida (2001) stated that some problems arise because people think of translating and interpreting as being
two entirely different kinds of operations, one written and the other spoken. To adapt specific concepts of the culture
and find the adequate idiomatic expression in order to avoid literal translations, possible misunderstandings and
inaccuracies in relation of comprehending such programs (De Juan. 2013).
The tone or the way the cartoon is delivered also affects the meaning of the program. Either it is overly delivered or
dubbed in by means of using unusual and alarming tone, or perhaps it could be the tagalog words that are really
inappropriate. This could result of developing new meaning from original meaning. In the case, Rodriguez (2000)
states that it is clear that words have meaning, but a different tone of voice conveys a different shade and color of the
meaning, which comes from the emotional involvement of the speaker. Tone of voice accounts for 30% of the
perception of the message (Jameson, 2002, pg. 138).
The use of some improvised terms such as „kanto‟, „kalye‟ or „balbal‟ words which are informal Filipino words that
sound indecent at times, also a big factor as well. That is, the proponents assume that this concept falls under wrong
choice of words, thus creating misinterpretation to its audience. Saritha Pujari (2013) said that because of the
obscurity of language there is always a possibility of wrong interpretation of the messages. This barrier is created
because of the wrong choice of words, in civil words, the wrong sequence of sentences and frequent repetitions
(Pujari, 2013).
IRC-2015 SINGAPORE
Page 2
MTRCB and Tagalized Cartoons
In the Philippines, the Movie and Television Review and Classification Board or MTRCB, a local regulatory board,
that performs monitoring and classifying programs, shows or films to be broadcast in local television or cinemas
according mostly to the appropriate age classification of the viewers. This idea primarily concerns the perspective of
children, for they are susceptible to any effects brought about by the television (Napoli, 2003). The board of
MTRCB classifies television programs as General Patronage or „GP‟, Parental Guidance or „PG‟ and Strictly
Parental Guidance or „SPG‟ in defining the appropriate audience of certain shows. In relation to the cartoon
programs aired in local TV networks at present time, since cartoons are deemed to be child-friendly for its mild and
unrealistic content, they are only classified as General Patronage (G) or Parental Guidance (PG).
Classification ratings under General Patronage (G) and Parental Guidance (PG):
Theme
Languag
Rated G
Rated PG
Not containing violence, threat, abuse,
More serious issues may be tackled but the
horror or other themes that may cause fear
treatment must be suitable to children below thirteen
Promoting positive values is encouraged.
(13) years old.
Use of swear words or gestures, profane,
offensive and sexually-suggestive language
e
Very mild swear words only shall be allowed. Use
of a strong expletive in a sexual context not allowed.
or gestures are not allowed.
Nudity
Occasional natural nudity is permissible as
long as there is “no sexual or demeaning
Occasional natural nudity, with no sexual activity,
is permissible.
context to it.
Sex
Depicts sexual activity or any scene
containing sexual content is not allowed.
Graphic depiction of sexual activity shall not be
permitted. Sexual activity may be implied but with no
details shown.
Violence
Horror
Violence shall only be “mild, brief,
No glamorization of weapons and crimes, or
infrequent and unlikely to cause undue
prolonged showing of violence or suffering. There
anxiety or fear to young children.
should be a redeeming social value at the end.
Only “mild, brief, infrequent and unlikely
Scary sequences must be mild and brief.
to cause undue anxiety or fear to young
children.”
Drugs
There should be no depiction or, or
reference to, prohibited drugs or their use.
Material that does not condone, encourage or
glamorize drug and/or substance use and it should be
necessary to the theme and characterization.
IRC-2015 SINGAPORE
Page 3
Theoretical SupportTo be able to understand the complex structure of these variables, Agenda- Setting Theory and Semiotic Theory
served as the theoretical supports of the study.
Semiotics Theory
Following the Peirce's Semiotics Model, the theory is associated to the good and bad values, actions and words that
could be seen and heard in some tagalized television cartoons that are being aired by GMA7, TV5 and ABS-CBN2.
Most words, as they pass from context to context, change their meaning. These things could affect the personal
views and understanding of young audiences by the usual viewing of some tagalized TV cartoons. Children could
create their own perception towards many different things because of the signs that they could observed from these
cartoons. They might see things in various interpretations depending on how the elements in the cartoons are
presented and connected with each other. With the combination of the audio (words), video (actions), signs and
symbols in the content of tagalized cartoons, the message and the meaning will be analyzed.
Agenda- Setting Theory
ABS-CBN, GMA and TV5 are very influential to wide audiences that served as the gatekeeper as suggested by the
Agenda-Setting Theory by McCombs and Shaw (1968). While the theory affirms that the media is often
unsuccessful at telling the audiences what to think, it asserts that the media is nonetheless often successful at telling
its audiences what to think about. In relation to the study, TV networks decide on what agenda or what tagalized
cartoons to present and how it should be looked at by its audience.
In this study, Agenda-setting theory sees the factors that affect the agenda of the local TV networks in airing a show,
particularly a tagalized cartoon. It includes the themes or the message that the program desire to convey, the concept
and visuals and audios presented in the program which all have vital role in considering the agenda. The process of
selecting the medium and the agenda of TV networks are relayed through TV programs. Thus, for this study, the
proponents were looked at the agenda or goal of TV networks in translating cartoons into Filipino as well as on what
do they want to show in terms of translating or tagalizing these through themes, words, visual, audio and meaning.
Research Problems
General Problem Statement: How do the cartoons‟ audio and visual contents televised in ABS-CBN, GMA and
TV5 fare in terms of compliance with the ratings and provisions set by MTRCB?
Specific Problems:
1.
What are the visual contents (actions, signs and symbols) in the scene of tagalized
cartoon programs that comply with the provisions and ratings of MTRCB?
2.
What are the visual contents (actions, signs and symbols) in the scene of tagalized cartoon programs
that violate the provisions and ratings of MTRCB?
IRC-2015 SINGAPORE
Page 4
3.
What are the audio contents (word‟s meaning, tone and usage of tagalized words) in the scene of
tagalized cartoon programs that comply with provisions and ratings of MTRCB?
4.
What are the audio contents (word‟s meaning, tone and usage of tagalized words) in the scene of
tagalized cartoon programs that violate the provisions and ratings of MTRCB?
Methodology
A. Study Design
This study is a descriptive research as the proponents described the content of selected tagalized cartoons televised
in ABS-CBN, GMA and TV5. The tagalized cartoons that were observed are Slam Dunk and Hayate, The Combat
Butler (GMA7), Little Battlers Experience and SpongeBob Squarepants (ABSCBN) and Kick Buttowski and
Adventure Time (TV5). The visuals and audios of these cartoons were identified whether they complyor not to the
provision and rating of MTRCB.
The study is a content analysis of both visuals and audios presented in these tagalized cartoons. In visual content,
cartoons were analyzed based on the scene presented whether they have scenes that appeared violating or not
abiding by MTRCB, portrayal of violence, sex, profanity, drugs and etc. In audio content, the translation/ the way
the cartoons were dubbed in Filipino context was studied. The tone, language or choice of words is analyzed if they
affect or change the original cartoon. The value presented by a certain character or the programs as general was
analyzed as well. Also, it counted the frequency or number of times that a certain value was presented and to where
it corresponds from the provision of MTRCB.
B. Data Collection Techniques and Procedures
This study determined if the tagalized cartoons in GMA, TV-5 and ABSCBN comply with ratings and provisions set
by MTRCB. The proponents chose morning cartoons televised every Tuesday, Thursday and Friday (T-TH-F) from
these three networks starting from May 27 to June 6. Also, weekend days (Saturday) of June 28 and July 12 were
used to record the weekend cartoons. For the three TV networks, six tagalized cartoon programs with total of two
episodes each were analyzed.
For weekdays cartoons, Slum Dunk for GMA7 televised every 10:15-10:45AM, Kick Buttoswki of TV5 from
11:00-11:30AM and Little Battler Experience of ABS-CBN23 televised every 9:00-9:30AM. Weekend dates June
28, and July 5 were also recorded. Camera and audio recorder were used for further analysis. Specific scenes from
tagalized program which either comply or violate the MTRCB were print screened for the validity of the analysis.
Guide questions and coding sheets were used in analyzing each episode of a tagalized cartoon.
The proponents interviewed program supervisors from GMA, Radley Manalo and TV5, Judith Bauer about the basis
of the networks in airing cartoons, dubbers Pocholo Gonzales and Ely Martin the process of dubbing, a
representative from MTRCB, Atty. Jonathan Presquito for details regarding their ratings and provisions as well as
the process in categorizing programs such as cartoons, and a linguist, Dr. Constantino Ballena to determine the right
IRC-2015 SINGAPORE
Page 5
usage of words in translating a language to another so that the new meaning from its original one will be developed.
The interviews were recorded and transcribed. Transcriptions were reviewed and used to identify information that
supported or negated the findings of the study.
C. Data Analysis
The proponents analyzed the content of each program including the audio and visual. Using a coding sheet, the
proponents identified if a certain scene, including its visual and audio from six tagalized programs that were
observed comply or not to the provision of MTRCB. The scenes were described in connotation or denotation form
of semiotics (denotation- connotation analysis). Denotation, the literal scene whilst connotation its underlying
meaning. These were used to easily determine if the visual presented complies or violates. Afterwards, it determined
to what provision from MTRCB did a certain scene included in coding sheet complied with or violated. Also,
interview from program supervisors of the three networks, (ABS-CBN, GMA and TV5), dubbers who have wide
experience in tagalog dubbing, MTRCB who helped to determine whether the imposed ratings to tagalized cartoons
are complying and a linguist verified the research are used to uphold the details included in this paper.
III. Results
The study found out that visual contents (actions, signs and symbols) observed in tagalized cartoons that comply
with the MTRCB provision are mainly under the theme such as helpfulness, friendship, bravery or courageous,
trust, and care.
Helpfulness
Table 1. Value of Helpfulness Presented in each cartoon
CHANNEL
CARTOON
DESCRIPTION
 ENCOURAGING A SICK PERSON TO RECOVER
FROM HER SICKNESS
LITTLE BATTLERS EXPERIENCE
ABS-CBN2
 LETTING AN INNOCENT MAN ESCAPE
 HELPING EVEN IN THE MOST INCONVENIENT
AND
23
TIME
 HELPING SOMEONE TO GAIN FRIEND
SPONGEBOB SQUAREPANTS
 EASING THE FEELINGS OF OTHERS
 SHOWING CONCERN TO AN INJURED PLAYER
GMA7
SLAMDUNK
 BRINGING AN INJURED PLAYER TO THE CLINIC
HAYATE, THE COMBAT BUTLER
 CHECKING IF SOMEONE IS HURT
 WILLINGNESS TO PROTECT OTHERS
 FIXING A FRIEND‟S BIKE
IRC-2015 SINGAPORE
Page 6
KICK BUTTOWSKI
 OFFERING A HOUSE TO STAY
 COMFORTING A FRIEND
TV5
ADVENTURE TIME
 CHEERING UP OTHERS
 RESCUING YOUR FRIEND
Friendship
Table 2. Value of Friendship Presented in each cartoon
CHANNEL
CARTOON
DESCRIPTION
 TAKING CARE OF THE OTHERS
LITTLE BATTLERS EXPERIENCE
 STAYING AT EACH OTHER‟S SIDE
 HUGGING
ABS-CBN2 AND 23
SPONGEBOB SQUAREPANTS
 PROTECTING A FRIEND
 GREETING EACH OTHER
SLAMDUNK
 CHEERING FOR THE TEAM
 HIGH FIVE AND TAPPING OF HEAD/BACK
GMA7
HAYATE, THE COMBAT BUTLER
 CARING IF SOMEONE IS HURT
 PATTING SOMEONE‟S SHOULDER
KICK BUTTOWSKI
 LETTING SOMEONE SLEEP IN HIS BED
 LOOKING AT THEIR PICTURES
TV5
ADVENTURE TIME
 WAITING FOR THE RETURN OF ONE‟S
FRIEND
 GIVING A GIFT TO ACHIEVE A FRIEND‟S
DREAM
Bravery
Table 3. Value of Bravery Presented in each cartoon
CHANNEL
CARTOON
LITTLE BATTLERS EXPERIENCE
DESCRIPTION
 PROTECTING SOMEONE
 TAKING
ABS-CBN2 AND 23
BECAUSE
RESPONSIBILITY
OF
THE
TO
FIGHT
INCAPABILITY
OTHERS
GMA7
SPONGEBOB SQUAREPANTS
 PROTECTING OTHERS
SLAMDUNK
 BEING OPTIMISTIC IN THE GAME
 TAKING RESPONSIBILITY
HAYATE, THE COMBAT BUTLER
IRC-2015 SINGAPORE
 KNOWING WHEN TO APOLOGIZE
Page 7
OF
TV5
 DOING SOMETHING YOU DON‟T WANT
KICK BUTTOWSKI
FOR THE SAKE OF THE HAPPINESS OF A
FRIEND
 KNOWING WHEN TO SAY SORRY
 RESCUING OTHERS
 SAVING A PRINCESS
ADVENTURE TIME
 RESCUING OTHERS
Care
Table 4. Value of Care Presented in each cartoon
CHANNEL
CARTOON
DESCRIPTION
 ENCOURAGING A SICK PERSON TO RECOVER
ABS-CBN2 AND 23
LITTLE
BATTLERS
FROM HER SICKNESS
 BEING VULNERABLE TO OTHER‟S FEELING
EXPERIENCE
 EASING THE FEELINGS OF OTHERS
 HUGGING
SPONGEBOB SQUAREPANTS
 PROTECTING A FRIEND‟S THING TOWARDS
SOMEONE WHO WANTS TO DESTROY IT
 WORRYING TO AN INJURED PLAYER
GMA7
 BRINGING AN INJURED PLAYER TO THE CLINIC
SLAMDUNK
HAYATE,
THE
COMBAT
 CHECKING IF SOMEONE IS HURT.
BUTLER
 OFFERING YOUR BED TO YOUR FRIEND
KICK BUTTOWSKI
 ASSISTING A FRIEND‟S PERFORMANCE
 BEING SENSITIVE TOWARDS THE FEELING OF
TV5
ADVENTURE TIME
OTHERS
 WANTING TO SAVE A FRIENDS THAT HAS BEEN
ABDUCT
The study found out that visual contents in tagalized cartoons that violate with the MTRCB provision are mainly
under the theme such as violence, bullying, greediness, nudity, dishonesty, disrespect, envy and vengeance.
IRC-2015 SINGAPORE
Page 8
Violence
Table 5. Violence Presented in each cartoon
CHANNEL
CARTOON
DESCRIPTION
LITTLE
BATTLERS
EXPERIENCE
 FIGHTING OF ROBOTS USING WEAPONS AND
ACTIONS SUCH AS KICKING AND PUNCHING.
 ATTEMPTING TO KILL SOMEONE.
 GRIPPING AND THROWING PEOPLE AWAY.
 SHOWING OF HARD MATERIAL (CAN CAUSE
ABS-CBN2 AND 23
PHYSICAL INFLICTION) TO SCARE SOMEONE.
SPONGEBOB SQUAREPANTS
 INFLUENCING A FRIEND TO DO ILLEGAL
DEEDS.
 GETTING SOMEONE‟S FOOD WITHOUT THE
CONSENT OF OTHERS. STEALING.
 SMACKING ON HEAD
SLAMDUNK
 WOMAN DEFENDING THEIR CRUSHES IN
VIOLENT WAY
GMA7
HAYATE,
THE
COMBAT
BUTLER
 ROBOT ABOUT TO PUNCH A YOUNG GIRL
 SHOOTING, KICKING, PUNCHING AND HITTING
USING HARD MATERIAL TO DEFEND SOMEONE
 HITTING BALL ON SOMEONE‟S FACE
 USING SOMEONE‟S FACE TO KNOCK THE DOOR
KICK BUTTOWSKI
 FORCING SOMEONE TO STEAL IN VERY
TV5
VIOLENT WAY
 USING OF CHAIR TO THROW AT SOMEONE
ADVENTURE TIME
Bullying
Table 6. Bullying Presented in each cartoon
CHANNEL
CARTOON
LITTLE
DESCRIPTION
BATTLERS
EXPERIENCE
TAKING FOR GRANTED THE CONDITION OF
SOMEONE
WHO
IS
INCAPABLE
TO
DEFEND
HIMSELF.
 USING HIS POSITION AS A POLICE OFFICER TO
ABS-CBN2 AND 23
SPONGEBOB SQUAREPANTS
GET HIS FOOD ORDER IMMEDIATELY.
 DESTROYING SOMEONE‟S HOUSE BECAUSE HE
IS MAD, OR JUST FELT LIKE TO.
IRC-2015 SINGAPORE
Page 9
 TELLING MADE-UP STORIES TO SCARE HIS
BROTHER AND LEAVING HIM ALONE IN THE
TV5
KICK BUTTOWSKI
MIDDLE OF THE FOREST.
 FIRING SOMEONE FROM HIS JOB BECAUSE HE
WAS RELATED TO HIS ENEMY.
Greediness
Table 7. Greediness Presented in each cartoon
CHANNEL
CARTOON
DESCRIPTION
 GREED FOR MONEY
ABS-CBN2 AND 23
SPONGEBOB SQUAREPANTS
 WANTING TO GET THE SECRET RECIPE OF HIS
OPPONENT IN ORDER FOR HIS FOOD TO BE
FAMOUS AS HIS OPPONENT‟S
 WANTING TO BE RECOGNIZED FOR WHAT HE
DID, ESPECIALLY WHEN HE DID POINTS IN HIS
SLAMDUNK
TEAM.
GMA7
FAME.
HAYATE,
THE
COMBAT
BUTLER
TV5
AN ATTENTION-SEEKER. A DESIRE FOR
KICK BUTTOWSKI
 WANTING TO BE RECOGNIZED BY HIS OWN
MASTER.
 SELLING HIS OWN SELF IN EXCHANGE OF
MONEY.
WILLINGNESS TO ENSLAVE HIMSELF
TO OTHERS FOR LUCRATIVE PURPOSE.
Disrespect
Table 8. Disrespect Presented in each cartoon
CHANNEL
CARTOON
ABS-CBN2 AND 23
SPONGEBOB SQUAREPANTS
DESCRIPTION

COMPLAINING TO HIS OWN BOSS
 TALKING BACK RUDELY TO HIS ELDER
GMA7
SLAMDUNK
TEAMMATES, AS WELL AS OTHER OFFICIALS
DURING BASKETBALL TOURNAMENT SUCH
AS COACHES, REFEREES ETC
 TALKING BACK AND YELLING AT YOUR OWN
KICK BUTTOWSKI
TV5
PARENTS AND OTHER ELDERS.
 POINTING AT YOUR FINGER TO PARENTS
ANGRILY
 STILL FIGHTS AND TAKES THE CLOTHES OF
IRC-2015 SINGAPORE
Page 10
ADVENTURE TIME
THEIR
KING. DOING BAD THINGS TO A
PERSON WHO IS SOCIALLY RESPECTFUL
Dishonesty
Table 9. Dishonesty Presented in each cartoon
CHANNEL
CARTOON
DESCRIPTION
AFTER BEFRIENDING HIM, HE BETRAYED
LITTLE BATTLERS EXPERIENCE
THIS BY TRAPPING HIM INSIDE OF A ROOM
 TELLING MADE UP STORIES IN EXCHANGE
ABS-CBN2 AND 23
OF FRIENDSHIP
SPONGEBOB SQUAREPANTS
TV5
 FABRICATING STORIES
 DOING
KICK BUTTOWSKI
CHEATING
IN
EXCHANGE
OF
VICTORY
Nudity
Table 10. Nudity or Any Act Contains Malice Presented in each cartoon.
CHANNEL
CARTOON
DESCRIPTION
-
OLDER MAN ADMIRING A VERY YOUNG
GIRL
LITTLE BATTLERS EXPERIENCE
 SHOWING OF LADY WEARING A TUBE
CLOTHE; EXPOSING MUCH OF HER UPPER
BODY SKIN.
ABS-CBN2 AND 23
SHOWING OF:
 BUTTCRACK
SPONGEBOB SQUAREPANTS
 CLEAVAGE
 A GUY WEARING HIS UNDERWEAR.
The study found out that audio contents in tagalized cartoons that comply with the MTRCB provision are
mainly under the theme such as showing Care, Acceptance of Mistakes and Encouragement.
Care
Table 11.Audio Contents that Presented Care
CHANNEL
CARTOON
USAGE OF TAGALIZED WORDS/PHRASE
 SOLDIER GIRL PERTAINING TO YAGAMI: “HINDI
LITTLE
IRC-2015 SINGAPORE
BATTLERS
NATIN
MAGAGAWA
YUN.
NAGPASYA TAYO NA
Page 11
ABS-CBN2 AND 23
SUSUNDAN NATIN SYA ANUMANG MANGYARI”
EXPERIENCE
CAN‟T DO THAT.
(WE
WE DECIDED TO FOLLOW HER
NO MATTER WHAT.)
 SAM TO PATRICK: “ATE SAM GUSTONG GUSTO
GUMAWA NG BAHAY PARA SA KAPATID NYA.”
SPONGEBOB SQUAREPANTS
(SISTER SAM REALLY, REALLY WANTS TO MAKE
A HOUSE FOR HER BROTHER.)
 “AKO ANG BAHALA. AKO MUNA ANG PAPALIT SA
GMA7
PWESTO NYA.”
SLAMDUNK
(I‟LL TAKE CARE OF IT. I WILL
TAKE OVER HIS PLACE.)
 “MASWERTE TAYO DAHIL SI LADY NAGA ANG
NAKAPULOT SATIN, PERO HINDI ITO ANG TAMANG
HAYATE,
THE
COMBAT
PARAAN PARA TAPUSIN ANG LAHAT.
BUTLER
KAILANGAN
NATING GUMAWA NG PARAAN PARA ILIGTAS SI
8.”
(WE‟RE LUCKY BECAUSE LADY NAGA IS THE
ONE WHO ADOPTED US, BUT THIS IS NOT THE
RIGHT WAY TO FINISH IT ALL.
WE NEED TO DO
ANYTHING TO RESCUE 8.)
 KICK: “WADE, TITIRA KA SA BAHAY NAMIN
KABAYARAN SA LAHAT NG ORAS NA TINULUNGAN MO
TV5
AKO.”
KICK BUTTOWSKI
(WADE, YOU WILL LIVE AT OUR HOUSE TO
REPAY ALL THOSE TIMES THAT YOU HELPED ME.)
 KICK TO GORDIE: “HINDI AKO MAKAKAPAYAG NA
GANYANIN MO ANG KUYA KO!”
(I WON‟T LET YOU
DO THAT TO MY BROTHER.)
 FINN:
ADVENTURE TIME
“PERO…
KAILANGANG
GUMANA!
KAILANGAN. PARA KAY JAKE.” (BUT… THIS MUST
WORK. IT MUST. FOR JAKE.)
Table 12. Audio Contents that Presented Acceptance of Mistake
CHANNEL
CARTOON
DESCRIPTION
 SAM TO PATRICK: “NAKOKONSESYA NA NGAYON
ABS-CBN
SPONGEBOB SQUAREPANTS
SI
ATE SAM, SORRY SINAKTAN NYA PATRICK.”
(SISTER SAM IS FEELING GUILTY. SORRY I
HURT PATRICK.)
SLAMDUNK
IRC-2015 SINGAPORE
 “PASENSYA KA NA” (I‟M SORRY)
Page 12
 “NAGING PABAYA AKO AT TINAPON KITA BILANG
GMA7
HAYATE,
THE
COMBAT
NON-COMBUSTIBLE
TRASH.
SORRY
SANA
MAPATAWAD MO KO SA GINAWA KO.” (I‟VE BEEN
BUTLER
IRRESPOMSIBLE AND THROWN YOU AS A NONCOMBUSTIBLE TRASH.
SORRY, I HOPE YOU‟LL
STILL FORGIVE ME AFTER WHAT I‟VE DONE.)
 KICK TO WADE: “WADE! WADE, PATAWARIN
TV5
KICK BUTTOWSKI
MO SANA AKO.
HINDI KO DAPAT SINABI ANG
LAHAT NG YUN.
GUSTO KONG BUMALIK KA NA.”
(WADE! WADE, I HOPE YOU‟LL FORGIVE ME. I
SHOULDN‟T HAVE SAID THAT.
I WANT YOU
BACK.)
Table 13.Audio Contents that Presented Encouragement
CHANNEL
CARTOON
DESCRIPTION
 RINA TO LUNA: “LUNA, MAGTIWALA KA. KUNG
ABS-CBN2 AND
PARA SA IKAGAGALING MO, HANDA ANG ATE MO
23
LITTLE
BATTLERS
GAWIN ANG KAHIT NA ANO.”
(LUNA, JUST KEEP
YOUR FAITH. IF IT‟S ABOUT YOUR HEALTH, YOUR
EXPERIENCE
SISTER WILL DEFINITELY DO ANYTHING FOR IT.)
 SPONGEBOB TO SQUIDWARD: “WAG KANG MAGSPONGEBOB SQUAREPANTS
ALALA,
SQUIDWARD. KAYA KA NAMAN NAMIN
PASAYAHIN EH.”
(DON‟T WORRY, SQUIDWARD.
WE COULD MAKE YOU HAPPY.)
 “TAYO NA SHOYO DI TAYO SUSUKO.”(LET‟S GO
SHOYO. WE‟LL NOT GIVE UP.)
SLAMDUNK
 “WAG KANG MAGALALA, KUNG MAGPAPAKITA SILA
GMA7
HAYATE,
THE
BUTLER
COMBAT
DI KO HAHAYAAN NA TAKUTIN KA NILA,
MS.
MARIA.” (DON‟T WORRY. IF THEY SHOWED UP, I
WON‟T LET THEM FRIGHTEN YOU, MS. MARIA.)
 KICK: “ISANG ARAW NA KASAMA MO SI JACKIE.
KAYA MO TO. PARA KAY GUNTHER.” (ONE DAY
KICK BUTTOWSKI
WITH JACKIE.
YOU CAN DO IT. FOR GUNTHER‟S
SAKE.)
TV5
 FINN
TO
MANALAMIN
IRC-2015 SINGAPORE
LSP:
“HINDI
PARA
MALAMANG
MO
KAILANGANG
MAGANDA
KA.
Page 13
MAGANDA NAMAN ANG KALOOBAN MO TULAD NG
LAMAN NG UTAK MO.”
(YOU DON‟T NEED TO
LOOK AT THE MIRROR TO KNOW IF YOU‟RE
ADVENTURE TIME
BEAUTIFUL.
YOU HAVE A BEAUTIFUL SOUL AS
WELL AS A BEAUTIFUL MIND.)
The study found out that audio contents in tagalized cartoons that violate MTRCB provision are under the theme and
language such as denotative words like hangal, walang kwenta, bwisit, dudurugin, engot, bansot, punggok,
bruha, lokaret, mokong, lampungan, epal, gunggong and connotative words like peste, matanda, labo, gorilya,
muka, basura, maputlang longganisa, bugok.
Table 14. Audio Contents that Presented Hangal, Pulpol, Mahina ang utak, Gunggong, Bugok Mokong or Any
Words/ Phrases that Conveyed Stupidity of Someone/ Something
CHANNEL
USAGE
CARTOON
LITTLE
TAGALIZED
WORDS/PHRASE

ABS-CBN2 AND 23
OF
KWENTA!” (YOU ARE USELESS!)
BATTLERS
EXPERIENCE
CAPTAIN TO ITS FOLLOWERS: “MGA WALANG

ZENDO TO GAUDA: “HANGAL!” (STUPID!)

SQUIDWARD PERTAINING TO HOWARD, PATRICK
& SPONGEBOB: “KAYA KO PANG PALAGPASIN
ANG DALAWANG NAKAKAINIS NA MAHINA ANG
SPONGEBOB
UTAK
PERO
TATLO!”
SQUAREPANTS
HINDI KO
MAPAPALAGPAS
ANG
(I CAN ENDURE TWO SLOW-HEADED
PEOPLE, BUT I CAN NO LONGER TAKE ANOTHER ONE)

MITSUI: SINO KA? BAKIT AKO NAHIHIRAPAN SA
WALANG KWENTANG PLAYER NA TO.
YOU?
GMA7
SLAMDUNK
(WHO ARE
WHY AM I HAVING HARD TIME WITH THIS
STUPID PLAYER?)

RUKAWA:
IKAW
GUNGGONG.
(YOU
JINX
[STUPID]))

BRAD TO KICK AND GUNTHER: “DALAWANG
MOKONG NA NAKAUPO MALAPIT SA CAMPFIRE”
(TWO MORONS SITTING NEARBY THE CAMPFIRE)
TV5
KICK BUTTOWSKI

KENDALL TO KICK: “KAPITBAHAY MO KAYA KO
TANGENGOTSKI” (I AM YOUR NEIGHBOR, STUPID!)

ADVENTURE TIME
IRC-2015 SINGAPORE
MUKHA MO! ORAS NA PARA UMINOM TAYO.
MUKANG IKAW NA YUNG BUGOK AT AKO YUNG
Page 14
COOL GUY!
DRINK.
(IN YOUR FACE! IT IS TIME FOR US TO
YOU LOOK LIKE STUPID AND I’M THE COOL
GUY)
Table 15.Audio Contents that Presented Boastfulness
CHANNEL
CARTOON
LITTLE
USAGE OF TAGALIZED WORDS/PHRASE
BATTLERS 
ZENDO TO GAUDA: “HANDA KA NA BA PARA
MAGING ALIPIN KO HABANG BUHAY?”
EXPERIENCE
ABS-CBN2 AND 23
(ARE YOU
READY TO BECOME MY SLAVE FOREVER?)

SPONGEBOB
“MAGAGAWA KO NA ANG PLANO KO AT DI KO NA
KAILANGAN GAMITIN ANG MGA NAGBABAIT-BAITAN
SQUAREPANTS
NA KAGAYA NIYO.
(I WILL NOW DO MY PLANS AND I
WON’T NEED TO USE TRYING-HARD-TO-BE-NICE TYPE
OF PEOPLE LIKE YOU!)

SAKURAGI TO THE TEAM: “SABI SAYO EH. SI
HANAMICHI THE GENIOUS ANG BAHALA HABANG
WALA KA.”
GMA7
SLAMDUNK
(I TOLD YOU. HANAMICHI THE GENIOUS
CAN MANAGE IT WHILE YOU ARE GONE)

SAKURAGI: ALAM KO WAG MO KO TURUAN MAS
MATALINO AKO KESA SAYO.
(I KNOW. DON’T TEACH,
I’M SMARTER THAN YOU.)

GORDIE: “AKALA MO BA MAY PANAMA YANG
BASURA NA YAN SA BAGONG SET NG WHEELS KO.”
KICK BUTTOWSKI
TV5
(DO YOU THINK THAT PIECE OF TRASH HAS MATCH TO
MY NEW SET OF WHEELS?)
Table 16. Audio Contents that Presented Threat (cruelty), Violence, Hatred and Disrespectful
CHANNEL
CARTOON
USAGE OF TAGALIZED WORDS/PHRASE

LITTLE
EXPERIENCE
CAPTAIN
TO
YAGAMI:
"HAHANAPIN
KITA‟T
DUDURUGIN” (I WILL FIND AND CRUSH YOU!)
BATTLERS

SUZY TO BAN: “PESTENG BATA KA! BUMABA KA
DYAN AT PUPULBUSIN KITA! (YOU STUBBORN KID! GET
DOWN AND I WILL PULVERIZE YOU!)

PLANKTON
PERTAINING
TO
KRABBY
PATTY
RESTAURANT: ITO ANG ARAW NA NANAKAWIN KO
ANG SEKRETO NG CRABBY PATTY MULA KAY KRABS.
SPONGEBOB
IRC-2015 SINGAPORE
(THIS WILL BE THE DAY I WILL STEAL THE SECRET OF
Page 15
ABS-CBN2 AND
SQUAREPANTS
CRABBY PATTY TO KRABS!)

23
SPONGEBOB TO RANDOM GUYS: “MASYADONG
MAGANDA ANG SPEEDBOAT NIYO PARA SA MGA
BILUGANG KATULAD NIYO.
AT ANG IBIG SABIHIN NG
BILUGAN, MATATABA ANG TYAN.
HAHAHAH” (YOUR
SPEEDBOAT IS TOO GOOD FOR CIRCLE TYPE OF PEOPLE
LIKE YOU GUYS.
AND WHEN I SAID CIRCLE, IT MEANS,
PEOPLE WITH FAT TUMMIES!)

SLAMDUNK
SAKURAGI
TO
RUKAWA:”HINDI
PWEDE
NA
LAMANGAN NA NAMAN NIYA KO. WAG MO KO TIGNAN
NG GANYAN GUNGGONG.”
(HE CAN’T SURPASS ME.
DON’T LOOK AT ME, IDIOT)

SAKURAGI: HINDI MO KO KAYA UNGGOY! (YOU CAN’T
DEFEAT ME, MONKEY!)

HAYATE,
THE
COMBAT
WATARU
TO
NAGI:
MAGKAKAINTERES
NA
“SINO
NAMAN
MAGBIGAY
SAYO
ANG
NG
REGALO!!”(WHO WILL HAVE AN INTEREST TO GIVE YOU
BUTLER
GMA7
PRESENT?)

NAGI PERTAINING TO HIS GRANDFATHER: “ BIGAY
SAKIN NG
“MATANDA” NUNG BIRTHDAY KO. (THIS
ONE GAVE MY BY THE OLD MAN ON MY LAST BIRTHDAY)

BRAD TO DAD: “PABAYAAN MO NGA AKO DAD!
HAHANAPIN KO SYA OKAY?! HAHANAPIN KO SYA!
WAG MONG KWEKWESTYUNIN ANG UNBREAKABLE
TV5
KICK BUTTOWSKI
BOND NG DALAWANG MAGKAPATID!
KAHIT KELAN!”
(LET ME, DAD! I’LL FIND HIM, OKAY?! I’LL FIND HIM!
DON’T QUESTION THE UNBREAKABLE BOND OF TWO
BROTHERS, EVER!)

MS. CHICARELLI TO HIS DOG: “HINDI KA NAMAN
KASING TUBBY WUBBY KATULAD NG OVERSIZE
PRINCIPAL NA YUN.
HAHAHAHHA!” (YOU ARE NOT
TUBBY WUBBY COMPARE TO THAT OVER-SIZE PRINCIPAL.
HAHAHA)

ADVENTURE TIME
EWAN KO SAYO! IKAW ANG SISIRAIN KO! (I DON’T
KNOW TO YOU. I WILL DESTROY YOU!)

DAPAT MAHIYA KA NAMAN! BWISIT KA. (YOU
SHOULD FEEL ASHAMED. YOU IDIO!)
IRC-2015 SINGAPORE
Page 16

JAKE! NAKO BWISIT. AKIN NA NGA YANG LAMB!
(JAKE, STUPID. GIVE ME THE LAMB!)
DISCUSSION
On the visual contents observed on selected cartoons of each TV network namely Little Battlers Experience and
SpongeBob Square pants of ABS-CBN, Slam Dunk and Hayate, The Combat Butler of GMA and Kick Buttowski
and Adventure time of TV5 from May 27 to July 5, the values that are found out from these cartoons that are
complying with the provisions set by MTRCB, particularly under the Theme are (1) Helpfulness, (2) Friendship, (3)
Bravery or Courage, and (4) Care, as seen in Tables 1 to 4. Visuals help to establish meaning of a certain visual text
to the viewers or audiences. Saroyan (1939) says, “One picture is worth a thousand words,”. The proponents
analyzed the context of the cartoons using denotation and connotation of Semiotics. The descriptions of images in
denotative aspect are look in literal manner. As stated by Kim (1996), there is no ambiguity in denotative meaning
because it is objective and concrete. The interpretation is based on the image or the video presented with no inferred
thoughts. Connotation, on the other hand, is the interpreted meaning from the image or video. They are subjective
meanings in which people add to signs, based on their idiosyncratic experiences and feelings. Connotation reflects
subjective values tht aare arbitrarily added to a sign by an interpreter (Kim, 1996). To apply it to the visual
representation above, these images are now interpreted beyond its level of literality.
Basically, choosing certain cartoon to be televised is really important. Hence, the role of the Program Supervisor
will provide what the public or audience wants and needs. According to Radley Manalo, Program Supervisor of
GMA and Judith Bauer, Programming Manager of TV5, choosing cartoon program to televise starts with the process
of a research. Knowing the highest rated cartoons in the foreign countries is one of their standards in choosing
cartoons to be televised. Other than that, “storylines are being checked to identify if certain cartoons will fit in the
Filipino audiences,” However, regardless of the popularity of a certain cartoons, TV networks have to make sure as
well that their cartoons to be televised should also comply with the standards of MTRCB. To make sure it abides by,
the latter provides reviewing, in which they required the networks to submit sample episodes of their programs.
Atty. Jonathan Presquito, Chief legal counsel of MTRCB said, “Meron kasing mga cartoons na one time lang
naman, for example in one season meron kang 13 episodes so you will submit to us a sample episode of the 13
episodes. This will be the representation of the 13 episodes,” (“There are cartoons that are only one time, for
example in one season you have 13 episodes so you will submit to us a sample episode from that 13 episodes. This
will be the representation of the 13 episodes”).
Applying the Agenda-Setting Theory, the agenda or goal of the three major networks in the chosen cartoon
programs translated in Filipino are analyzed first by its visual presentation. The agenda of TV5 as stated from the
interview is to “to show programs that kids will benefit and can learn from.” In this case, the function of TV5 is to
make sure that the chosen cartoon caters the interest of children. “High rating in the US is also an added factor in
IRC-2015 SINGAPORE
Page 17
choosing cartoon programs to be shown in the station,” added by the Programming Manager of TV5. On the other
side, GMA ensures that cartoons should be “understandable to common viewers.” Similar with the process done by
TV5, GMA also starts with research to “take in consideration programs rating abroad.” Storylines are then reviewed
if it will fit and be understood by Filipino audiences.
Tables 5 to 10 showing visual contents of selected cartoons from three major networks mostly violates the provision
of MTRCB in terms of the Theme and scenes which promote Violence. Starting from the storyline, commonality of
the cartoon programs presents violence and themes not suitable for young audiences. These selected tagalized
cartoons have common violations in presenting: (1) Violence, (2) Bullying, (3) Greediness (4) Nudity, (5)
Dishonesty, (6) Disrespect, (7) Envy and (8) Vengeance. Another violation presented on visual content is nudity or
showing obscene visual materials as observed in Table 14. Nudity may not be an advisable global strategy because
values, attitudes and norms related to sexuality, and advertising regulations vary substantially across cultures
(Boddewyn 1991; Lass & Hart 2004; Mueller 2004). Likewise, MTRCB explained that showing such scenes are not
possible for cartoons, “yung cartoons do not mean na if it‟s a cartoon program ay safe na for bata. Maraming
cartoons na na-X [rating] rin. Kasi may cartoons na may sex, na pornographic pero cartoons,” (“[watching]
cartoons does not mean it is safe for children. There are many cartoons that are rated “X”. Because some of these
contained sex, or any pornographic matef). For these cases, MTRCB usually rated it PG for tolerable delicate and
private scenes, depending on the gravity of the scene and at times “X” for very explicit contents inappropriate for
young audiences.
In considering exported cartoons, culture has to be considered. Culture, including the context and idiom, are
different from one country to the other. Cartoons may be alright in their own culture but when exported, the meaning
became different. Example of this is the culture of Japanese cartoons like Slam Dunk from GMA, which portrays
violence or acts like punching, kicking and slapping as a humorous thing. Western cartoons on the other hand are
more liberated in terms of presentation of a mature theme and language like SpongeBob Squarepants (ABS-CBN),
Kick Buttowski and Adventure Time (TV5). Western Hofstede (1980) states that culture is learned, not inherited. He
offers culture as a construct processed by “human mental programming.” Meaning, if connected to the foreign
cartoons being adopted by Filipino audiences, the culture of that other country could become a cultural invasion on
Filipino viewers especially for young audiences who are more vulnerable for such visual presentation.
Cutting is done when there are materials in a content that are not suitable for audiences, especially to children.
Danny Mandia, Dubbing Director since 1981 of ABS-CBN said it is their task to monitor, check and edit if
necessary the cartoons, both its visual and audio, before they submit it for classification. Constantino Ballena,
professor from Language and Literature Department of De La Salle University- Dasmarinas said it is quite difficult
to make up or alleviate the cartoon especially if the violating visual is obvious, “The point is, it is already visuals
even how it embellishes your language, and it‟s already there. It is a tease itself without the lines”. The process of
cutting is purely done by the network itself. MTRCB is firm that they do not perform cutting of episodes or scenes
by themselves but merely suggesting it to the networks instead. Further, there is a certain way called “Passive
creativity”, where the translators use their creativity to hide, delete or change things in the original which appear to
be improper in the target language culture..
IRC-2015 SINGAPORE
Page 18
For the tagalized audio of these selected cartoons of three major networks, most of the values imbued in these are
about (1) Care, (2) Acceptance of Mistakes and (3) Encouragement which are all observed on table 16 to 18. These
tagalized audios are complying with the provision of Theme of MTRCB for they promote good values through its
program. In tagalized cartoons, it is the audio that replaced in a process called dubbing. Dubbing means mixing the
sound for a project. It is replacing the original language of Filipino with another language, (Wright and Lallo, 2009).
In terms of the tone used by the dubbers, analysis regarding this showed that tone or the way it was delivered is still
the same from the original cartoon up to the tagalized version. According to Albulger (2011), the tone of voice is
“the sum total of pacing, volume, range, articulation, diction, tempo, rhythm, phrasing, attitude and subtext”..
Indeed, dubber Ely Martin mentioned that even the tone comes from different cultures to where a certain canned
program came from. As a dubber, they have to make sure they deliver the lines in a way that the audience will
understand. Likewise, linguist Ballena stated, “it is easier to translate emotions than words and meanings.” Relying
to the tone of the original and the lip movement, one could already assess what kind of emotion and tone a character
demands.
On the other hand, as observed in tables 14 to 16 in which its audio contents are deemed to be violating in context
for these deal with (1) Boastfulness, (2) Violence, (3) Discrimination and (4) use of words pertaining to the stupidity
of someone. Words like Hangal, Bansot, Punggok, Bwisit, Bobo, Peste, Tangengotski, Gunggong etc are insulting,
making for these to violate the provision of MTRCB, particularly the Theme.
Problems in terms of translation are experienced because of wrong choice of words, wrong sequence of sentences or
failure to understand the context which gives a double impact on the casualty that it could give to young Filipino
audiences because of the familiarity to the Filipino culture or context. Ballena, said here are three things that should
be considered: Context, Meaning and Idiom. “Idioms in English are different from idioms in Filipino in the same
way idiom in Japanese are different from idioms in Filipino. Hence, when the cartoons in English is to be tagalized
then the meaning of the idiom should be translated, not the words of the idioms.” In addition, there are such
circumstances when translators, also known as pool of writers have problems with their script which sometimes
leads the dubbers to change such words or phrases. One of these is the tongue twister phrases being presented on the
script. “Nirerevise namin yun o bibigyan namin siya ng ibang approach pero same din yung meaning,” (We revise
[such words] and give it a different approach while keeping the same meaning) as stated by a dubber, Ely Martin.
Therefore, there is a possibility for some kind of disparity that means that “the translation is okay but the time it was
dubbed it is different”.
On the other hand, the interviewed dubbers stated that translators would find an equivalent word or phrase that
would support the context. “Pag sinabi mong 'tanga' , pag sinabi mong 'gago' sya masyadong direct to the point,
masyadong head on yung atake mo, derogatory yun. So, itong mga writers iisipan nila ng mga salita na uso that
time. hahanapan mo sila ng mild at medyo magegets ng tao,” (If you said stupid, if you said he’s an idiot it’s so
direct [and] derogatory. So, writers will think of popular words that time. They will find words that are mild and
will be understand by the viewers) said Ely Martin, a dubber. Likewise, the word „gunggong‟ that is prevalently used
in cartoon Slam Dunk (GMA) to which Mandia explained that it is a term from the native language of Marinduque.
Those unfamiliar words are, in fact, used as an alternative and to conceal the real meaning of a certain word. Mandia
IRC-2015 SINGAPORE
Page 19
also stated that it is a way of promoting culture or ones dialect. However, Linguist Ballena said that the selection of
words should be carefully deliberated even if these are unfamiliar words for audience. Also, in the process of toning
down words or phrases like „kanto‟ words, cursed words and name calling, Mandia explained the process of the way
ABS-CBN tone down words. The description of how they tone down words or phrases shows that words that are not
known or unfamiliar to general audience are chosen, it may be a deep usage of Filipino words. GMA, on the other
hand, defended the use of „kanto‟ words by treated it in a comedy approach.
Using the semiotics theory, different range of meanings can be seen, from how it is shown from neutral to denotative
and neutral to connotative. In analyzing denotative scene of selected cartoons, literal meaning is shown. On the other
side, connotation is deriving or attributing a deeper meaning. In denotation, words like: hangal, walang kwenta,
bwisit, dudurugin, engot, bansot, punggok, bruha, lokaret, mokong, lampungan, epal, gunggong could be heard. On
the other side, peste, matanda, labo, gorilya, muka, basura, maputlang longganisa, bugok are words that could be
insulting when applied in a context which aims to degrade others. Denotative words stated above are literal insults in
the Filipino context, it may be deep Filipino words but listed words are used to insult and degrade others.
Connotative words listed above are words that have different meanings, not basically an insult but when used in the
tagalized cartoons mixing it with the context of the usage and how they are delivered, the meaning became
derogatory.
CONCLUSION
In answering the general problem statement of the study, analyzing the tagalized cartoons, the agenda of the three
major networks as well as the frequency count conducted by the proponents shows that in terms of visual content,
ABS-CBN 2 & 23‟s Little Battlers Experience complies with the MTRCB‟s Provision of Theme, and violated in
terms of Violence, Nudity and Language. SpongeBob Squarepants of ABSCBN2 as well, shows that in terms of
visual content, it is mostly complied with Theme however it also violates the same provision under visual contents.
Provision of Violence, Language and Nudity are also violated by the said cartoon. TV5‟s Kick Buttowski also did
complied with the theme but violated the Violence, Language and Nudity provision of MTRCB. On the other hand,
GMA mostly complied with the provision regarding the visual content under the provision of Theme and violated
the provision of Violence and Language. In relation to semiotics, visual contents from these tagalized cartoons that
violate MTRCB‟s provisions Violence and Nudity mostly fall under denotation, in which the violation is already
observed even from the visuals presented. Connotation, on the other hand, mostly applied for complied visuals
pertaining to the provision Theme, in which the latter is identified using different interpretation. In terms of the
audio, usage of denotative words like: walang kwenta, bwisit, engot, bansot, punggok, bruha, mokong, epal,
gunggong are literal insults in the Filipino context used to insult and degrade others. On the other side, peste,
matanda, labo, gorilya, muka, basura, maputlang longganisa, bugok are words that could be insulting when applied
in a context which aims to degrade others based on the usage of the word.
The result of the frequency counts shows that Japanese cartoons like Little Battlers Experience (ABS-CBN) and
Slam Dunk and Hayate, the combat Butler (GMA) did comply with the theme or the context of the values of the
Filipino context rather than Western cartoons like SpongeBob Squarepants (ABS-CBN) and Adventure Time (TV5)
IRC-2015 SINGAPORE
Page 20
that had gotten greater violation on the theme. Regardless of the nationality, all cartoons did violate the provision of
MTRCB regarding the portrayal of Violence and Nudity. Also, the agenda of the three major networks in tagalizing
cartoons, “making it more appealing to the viewer‟s especially kids and for them to understand and appreciate it
better” do not jive with the usage of inappropriate “kanto” or “kalye” words and for some extent, „curse‟ words.
Therefore based on the frequency count, violation is recorded from ABS-CBN, GMA and TV5 under the provision
of MTRCB regarding the language.
IRC-2015 SINGAPORE
Page 21
References
1- Berger, A. (1987). Television in Society. New Jersey, USA: Transaction Inc. Bibi, A.& Zehra, R. (2012).
Effects of Cartoons on Children’s Psychology and Behavior Patterns. Retrieved from:
http://www.thenews.com.pk/Todays-News-6-128111-Effects-of-cartoons-on-children%E2%80%99spsychology-&-behaviour-patterns.
2- M. (2013). The Role of Translation in English Learning (An Analysis). Retrieved from:
http://www.slideshare.net/magMagdalenaBobekMAELT/the-role-of-translation-in-english-languageteaching Chester, A., Salvador, N.G.S and Gambier, Y. (2000). Translation in Context: Selected
Contributions from the EST Congress. Philadelphia, USA: John Benjamins Publishing
Company.
3- Donghuan, X. (2013). Cartoon violence has near fatal consequences in the real world. Retrieved from:
http://www.scmp.com/lifestyle/family-education/article/1299505/cartoon-violence-has-near-fatalconsequences-real-world Fong, G. C. F and Au. K. L (2009). Dubbing ans Subtitling in a World Context.
Sha Tin, N.T., Hongkong: The Chinese University of Hong Kong
4- Fielding, R. (1967). A Technological History of Motion Pictures and Television. Los Angeles, California:
University of California.
5- Hassan, A. and Daniyal, M. (2013). Cartoon Network and Its Impact on Behavior of School Going
Children: A case study of Bahawalpus, Pakistan. Retrieved from:
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2241824
6- Hellgren, E (2007). Translation of Allusions in the Animated Cartoon: The Simpsons. (Unpublished
Master‟s Thesis). University of Helsinki, Finland.
7- Hellgreen, Esko (2007). Translation of Allusions in the Animated Cartoon. Retrieved from:
http://www.snpp.com/other/papers/eh.paper.pdfě
8- Keith, K. and Curchy C. (1995). Video Projects for Elementary and Middle Schools. Pp17. United States of
America: Libraries Unlimited Inc.
9- Kitley, P. (2003). Television, Regulation and Civil Society in Asia. London, England: Routledge Curzon
Publishers Koucka, Andrea (2007). The Role of Mother tongue in English Language Teaching.
(Unpublished Master‟s Thesis). University of Pardubice, Czech Republic. Retrieved
from:https://dspace.upce.cz/bitstream/10195/25702/1/Koucka_The%20role%20of%20mother_2007.pdf
IRC-2015 SINGAPORE
Page 22
10- Manganello, J., Franzini, A. and Annenberg, A. M. (2008) Sampling Television Programs for Content
Analysis of Sex on TV: How Many Episodes are Enough. (Unpublished Master‟s Thesis). University at
Albany, Rensselaer, NY.
11- Rodriguez, M.V (2000). Perspective of Communication and Communicative Competencies. India: Concept
Publishing Company Silverman, D. (2007). You can’t Air that: Four Cases of Controversy and Censorship
in American Programming. Syracuse, NY: Syracuse University Press.
12- Skutnabb- Kangas, T. (1981) Bilingualism or Not: The Education of Minorities. Bristol, UK: Multilingual
Matters Press Stabile, C.A. and Harrison, M. (2003). Prime Time Animation: Television Animation and
American Culture.Routledge.71. Kentucky, USA: Psychology Press.
13- Pelletier, Mireille (2012) Subtitling and Dubbing– An Overview of a few EU Countries Pujari, S. (2013).
Four Different Types of Barriers to Effective Communication. Retrieved from:
http://www.yourarticlelibrary.com/business-communication/4-different-types-of-barriers-to-effective
communication/1004/
14- Timoteo, N.S & Ubongen, P.R.A. (2012). Seeing Children’s TV (SEECTV): The Values Presentation of the
Children’s Shows of ABS-CBN2, GMA7 and TV5. (Unpublished Master‟s Thesis). University of the
Philippines, Philippines.
IRC-2015 SINGAPORE
Page 23