Cinematic Constructs of Power: A Comparative Analysis of Gender-Based Violence In "Virgin People" (1984) And "Selina's Gold" (2022)

Gender-based violence (GBV) remains a persistent social issue frequently mirrored and reinforced by cinema's portrayal of gender and power. This study investigated the cinematic representation of GBV in two Filipino films produced in distinct socio-cultural eras: Virgin People (1984) and Selina’s Gold (2022). By examining these works, the research sought to understand how specific filmic elements contribute to the construction and normalization of violence against women. The study employed a qualitative relational content analysis to systematically examine the portrayal of GBV. Data were gathered through repeated viewing and rigorous coding of the films using a structured content analysis framework. The analysis focused on three primary dimensions: verbal cues, non-verbal cues, and cinematographic techniques. The findings revealed that both films utilize language and visual storytelling to uphold patriarchal norms and male dominance. Verbally, dialogue is weaponized to manipulate, objectify, and assert control over female characters. Non-verbally, the films emphasize the female body as a site of vulnerability, using body language to convey fear and the psychological burden of survival. Furthermore, cinematographic elements—specifically voyeuristic camera angles, tight framing, and atmospheric lighting—are used to reinforce power imbalances and the objectification of the female form. The results suggest that across four decades, these cinematic techniques continue to depict women as systemic victims whose primary agency is limited to submission or emotional adaptation. The study concludes that while the historical contexts of Filipino cinema have shifted, the underlying cinematic grammar often remains complicit in the normalization of gender-based inequality. These findings highlight the need for a more critical engagement with how visual media reproduces cycles of violence and the importance of deconstructing the "male gaze" in contemporary Philippine film.