Censorship in the Philippines...
Censorship in the Philippines…

Censorship in the Philippines

Censorship is defined as “restraining the publication and public display of books, plays, films, and other works” (Black’s Law Dictionary, 1999). It can be done by a variety of people or organizations, including the government, the media, or the author in the case of self-censorship. Messages that are regarded as representing a major danger to the current political, social, or moral order are typically censored by the government. Before restraint refers to the government’s act of censorship against the media or any form of speech prior to publication or distribution to the public. Mass media organizations may regulate their members’ media products to ensure that they adhere to professional standards and guidelines established collectively for the benefit of broadcast professionals. Finally, radio and television producers, directors, marketers, and other management may choose to alter their programs and products in order to avoid censorship or obtain a more general rating for their shows. Only the first sort of censorship will be covered in this essay.

Censorship of broadcasting and all media in the country occurred during two different periods: the Japanese occupation during World War II and martial law. During the war, the Japanese gained control of the media in order to propagate propaganda and limit the flow of information. Radio was especially guarded since broadcast signals were thought to be more lethal than firearms. [See Radio Broadcasting in the Philippines (1941-1945) for more information.] During the martial law period, the Marcos government closed or seized privately held newspapers, periodicals, radio and television stations, and other means of media transmission. Several renowned journalists from all media platforms were imprisoned for allegedly providing “aid and comfort” to political opponents. [See Radio and Television Broadcasting in the Philippines (1972-1986) for more information.]

The shutdown and control of all forms of mass media, including broadcast, essentially denied journalists and broadcasters the freedom of free expression and expression. The chilling impact on the remaining media workers in the field was severely limited by the Secretary of Public Information’s capacity to review and clear publications and broadcasts before their public release. The Bureau of Standards for Mass Media was established, and media groups needed to get a certificate of authorization from the Bureau’s chiefs: the Press Secretary and the Secretary of National Defense, before operating. As a result, broadcasters made certain that no shows might offend, insult, or otherwise irritate the government. They were hampered in their vocation, unable to properly contribute to the promotion of truth, the arts, morals, education, and responsible government. Programs that made it a point to nudge or shame the government into doing what is right and best for its constituents have vanished.

The removal of Marcos in 1986 restored the constitutionally protected freedoms of speech, expression, and the press. However, such protection does not apply to certain types of speech and expression, such as those deemed defamatory, obscene, posing a clear and present danger to the government or threatening immediate lawless action. The rules against libel and slander empower the government to legally punish someone who makes defamatory statements. Similarly, because of their repulsive and sexual nature, obscene speech and expression, defined as the use of vulgar terminology with no literary, artistic, political, or scientific value, are not protected. Under the state’s right to protect and defend itself, speech that is seen as a clear and present danger to the government or as a threat to immediate illegal action can be limited or punished.

Even if speech and expression are guaranteed by the Constitution, the broadcast medium is afforded less protection than other kinds of mass media. For example, the government may not pay much attention to a literary article printed in a newspaper, but the same article may be judged potent enough to incite revolt and cause trouble if aired over the airwaves. Furthermore, the government may interpret a film’s communication to a specific portion of the audience as permissible while deeming it inappropriate for transmission. The tighter standards for broadcast are related to the medium’s nature. Radio and television are ubiquitous in the lives of the general public, with a radio or television set in every home, as well as business premises, public transportation, and other areas of public service and enjoyment. It is simple to receive broadcast signals, whether purposefully or unintentionally, unlike newspapers, which must be purchased and read, or films, which must be queued for and sat through. When it comes to transmitting information to a big audience nearly instantly, the power of broadcast outperforms that of other media formats. Also, broadcasters are reminded that radio and TV are easy for minors to get to, and that the law protects their innocence.

The government censors television and film through the Movie and Television Review and Classification Board (MTRCB), which classifies motion pictures, television programs, and related materials, such as promotional materials, using contemporary Filipino cultural values as a general standard, and by considering the treatment of factors such as theme, violence, language, nudity, sex, horror, and illegal drugs. There are four categories of television: G for “General Patronage,” when the MTRCB determines that the material is not unsuitable for children; PG for “Parental Guidance,” when the MTRCB determines that the program may contain adult material that is permissible for children to watch under adult supervision; SPG for “Strict Parental Guidance,” when the MTRCB determines that the program is unsuitable for children unless more vigilant parental supervision is present; and X for “Disapproved for” (MTRCB 2004). In June 2012, the episode “Manika” (Doll) in the ABS-drama CBN’s anthology Maalaala Mo Kaya (Will You Remember) received the X classification due to what the MTRCB deemed a serious rape scene. The program was only allowed to air after it had been trimmed and rated SPG.

In the instance of live television broadcasts where the MTRCB is unable to apply prior restraint, a violation results in the suspension of the program, its host, or both. Among the most well-publicized examples of such suspensions is the 20-day suspension of the religious program Ang Dating Daan (The Former Path) in August 2004 owing to its host, Eliseo Soriano’s, usage of what the MTRCB deemed defamatory and derogatory language. Because of this, media companies and their employees may self-censor in order to avoid suspensions or, even worse, expensive libel suits.

Despite this, broadcasters appear to have remained unafraid of government censure and prior restraint since 1986. Many people who lived through the martial law years are zealously defending the constitutionally granted freedom of the press and stretching the law’s limitations.

 

By Vanessa Sandoval

Marikina - Vanessa Sandoval, from Marikina Polytechnic College, carved a niche in journalism with her coverage on local craftsmanship and industry. Her stand-up routines delve into Marikina’s identity as the Shoe Capital, mixing anecdotes of local artisans with observations on consumer culture, blending journalism and comedy seamlessly.