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Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Drama and Filipino Teleserye a Thesis Presented to T

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Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Drama and Filipino Teleserye a Thesis Presented to T Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Drama and Filipino Teleserye A Thesis Presented to the Department of Communication Of Assumption College In Partial Fulfillment of the Requirements for the Degree of Bachelor in Communication Major in Media Production Joelle Eila A. Robles Christelle I. Tolisora October 2014 PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA 2 ASSUMPTION COLLEGE MARIE EUGENIE SCHOOL OF INNOVATIVE LEARNING COMMUNICATION DEPARTMENT ______________________________________________________________________________ The thesis of Joelle Eila A. Robles and Christelle I. Tolisora entitled, “Proxemic and Haptic Expectancy Violations and Viewer Perception in Korean Drama and Filipino Teleserye”, submitted in partial fulfillment of the requirements for the Degree of Bachelor of Communication Major in Media Production is hereby approved. Prof. Clarisa L. Bartolome Thesis Adviser Atty. Maria Armee M. Javellana Prof. Florian C. Garcia Panel Panel Accepted as partial fulfillment of the requirements for the Degree of Bachelor of Communication Major in Media Production. Ana Lea R. Samin Chairperson, Communication Department Angela V. Regala, Ph. D. Dead for MESIL Sr. Ana Carmela S. Pesongco, r.a. Ed. D. President/College Dean ________________ Date PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA 3 Abstract The study’s main objective is to determine the commonalities in the proxemic and haptic expectancy violations depicted in selected Korean Dramas and Filipino Teleseryes, and find how the respective viewers of these dramas view these expectancy violations. The research methods utilized for this study were video content analysis and interview. To determine the commonalities in proxemic and haptic expectancy violations, fifteen (15) 1-hour episodes from Korean dramas (“Nice Guy”, “City Hunter”, and “Shining Inheritance”) and thirty (30) 30- minute episodes from Filipino teleseryes (“Walang Hanggan”, “Tayong Dalawa” and “Ina, Kapatid, Anak”) were selected and coded by three expert coders. To determine viewer perception, the researchers conducted in-depth interviews with five (5) Koreans and five (5) Filipinos. The researchers found that the most common forms of expectancy violations found in the aforementioned dramas were “Handgrabbing” or “Handholding”, “Hitting” and “Invasion of Personal Space”. Also, whether a gesture is seen by Koreans or Filipinos as an expectancy violation or not is highly dependent on the context in which the gesture takes place, or the kind of relationship they share with the perpetrator of the gesture. The researchers recommend that filmmakers and producers of Korean and Filipino drama series utilize the different forms of expectancy violations and “play” with the audience’s expectations. PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA 4 Acknowledgements This research paper would not be possible without the assistance provided by the following groups of people and for which the researchers are truly indebted: To Prof. Clarisa L. Bartolome, for being a supportive, committed and meticulous thesis adviser: thank you for cheering us on and supporting us in this journey. Your guidance has been instrumental in the success of this paper. To Ms. Joy Frances A. Villaluz, without whom this study would not have been possible: your expertise had been invaluable, as we certainly could not have done it without you. You were not just a mentor; you were also a great friend. Your encouragements, praises, and criticisms meant so much to us. Again, we are extremely grateful. To Atty. Armee M. Javellana and Prof. Florian C. Garcia, our panel members: for imparting with us their knowledge and experience for the improvement of this study. Also, thank you for taking the time to carefully read through our paper, for your constructive criticism and comments, and for your support. To Mrs. Editha Tolisora, Mrs. Bettina Zialcita-Araneta and Ms. Manilyn Miranda, our expert coders for this study: thank you for all the efforts you have put in for this study- undertaking the tedious task of coding. You were willing to help us despite having no reason to, not even asking for anything in return considering you lead busy and hectic lives. If not for your kindness and dedication, this thesis would not be possible. To Gabrielle Marie Novenario, Pia Nicole Viray, Karla Alexis Miranda, Christian April Duran, Ma. Elizaben Agarao, Jeon Eun Jung, Lee Gwan Uk, Choi Ji Woo, Kim Ji Hye and Helen Jeon, our interview respondents: for agreeing to be part of this study, for making time for us, PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA 5 despite your hectic and busy schedules, for your candid and honest insights, we are most thankful. To the beautiful ladies from the amazing block of 4B1-Media Production: thank you for for your overflowing support. Also, thank you to Erika Ditangan, Paula Dela Cruz, Hannah de Leon, Anne Chrysler Guillartes, and Meryl Rovillos for agreeing to be interviewed, for allowing us to take a considerable portion of your time. Your input may not be included in this study, know that we are tremendously grateful for what you have done for us. To our friends: for all your support and help. To Gabrielle Marie Novenario, Katrina Alyssa Torrefranca, Pia Nicole Viray, and Meryl Rovillo, thank you for all your assistance. To Jessica Jeon, Inah Rempillo and Miel Abong, thank you for your efforts in getting us our Korean respondents, especially when we had almost lost hope in ever getting in touch with any. To our parents and families: thank you for all your unending love and support-spiritually, emotionally and, of course, financially. This is for you. And above all else, To God Almighty: for the gift of life, friends and family. Thank You for giving us the strength to endure this seemingly impossible journey. Thank You for blessing us with family, friends and loved ones who lift us up with encouragement when we have reached a slump, and make us laugh when the stress and pressure almost get the better of us. Thank You for giving us each other, true partners who have stuck through thick and thin, being each other’s support in this journey which had tried us-mind, body and soul. Thank you for this and all the blessings you have bestowed upon us. PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA 6 Table of Contents Chapter I The Problem and Review of Related Literature Background of the Study………………………………………………………………………...12 Review of Related Literature…………………………………………………………………….15 Nonverbal Communication………………………………………………………………15 Television Dramas……………………………………………………………………….24 Audience Perception……………………………………………………………………..31 Theoretical Framework…………………………………………………………………………..40 Conceptual Framework…………………………………………………………………………..45 Statement of the Problem………………………………………………………………………...46 Scope and Limitation………………………………………………………………………….....47 Significance of the Study………………………………………………………………………...49 Definition of Terms……………………………………………………………............................50 Chapter II Method Research Design………………………………………………………………………….............54 Participants and Sampling Technique……………………………………………………………54 Research Instruments………………………………………………………………………….....55 Data Gathering Procedure………………………………………………………………………..56 Method of Data Analysis………………………………………………………………………...60 Chapter III Results and Discussion Results…………………………………………………………………………............................61 Discussion…………………………………………………………………………....................106 PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA 7 Chapter IV Summary of Findings, Conclusion and Recommendations Summary of Findings…………………………………………………………………………...116 Conclusion…………………………………………………………………………………...…119 Recommendations…………………………………………………………………………........119 Chapter V Project Description Creative Title…………………………………………………………………………………...121 Synopsis………………………………………………………………………………………...121 Sequence Treatment…………………………………………………………………………… 121 Production Schedule……………………………………………………………………………122 Production Budget……………………………………………………………………………...123 Production Process Evaluation…………………………………………………………………123 References…………………………………………………………………………...................124 Appendices Appendix A Letter for Coders………………………………………………………………….133 Appendix B Letter for Interviewees……………………………………………………………134 Appendix C Letter to Validator………………………………………………………………...136 Appendix D Code Book………………………………………………………………………...137 Appendix E Coding Sheet………………………………………………………………………143 Appendix F Reliability Calculator Results……………………………………………………..149 Appendix G Interview Guide…………………………………………………………………...154 Appendix H Data in Excel…………………………………………………………..………….156 Appendix I Coding Results……………………………………………………………………..169 Appendix J Interview Transcriptions……………………………………………..…………….181 PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA 8 Appendix K Interview Matrix………………………………………………………...….…….300 Appendix L Constructs Matrix………………………………………………………….……...368 Appendix M Production Script………………………………………………………….…...…399 Curriculum Vitae……………………………………………………………………………….405 PERCEIVED PROXEMICS AND HAPTICS IN KOREAN AND FILIPINO DRAMA 9 List of Tables Table no. Table title Page no. 1 Proxemic Expectancy Violation in Korean Dramas…………………….………62 2 Haptic Expectancy Violations in Korean Dramas………………………………63 3 Proxemic Expectancy Violation in Filipino Teleseryes………………………...64 4 Haptic Expectancy Violations in Filipino Teleseryes…………………………..65 5 Gender of Violator of Proxemic ExpectancyViolation…………………………65 6 Relationship of
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