A Phenomenological Study of Filipino Actors in Global Screen Productions

Abstract

This study investigates the lived experiences of Filipino actors in global screen productions, employing a pragmatic phenomenological approach that integrates Heideggerian hermeneutic phenomenology with an applied orientation toward cultural insight and policy relevance. Anchored in Martin Heidegger’s concept of being-in-the-world (In-der-Welt-sein), the research recognizes that human existence (Dasein) is fundamentally embedded in historical, cultural, and relational contexts. Filipino actors, as creative laborers within transnational media structures, encounter a unique interplay of identity, visibility, and labor. Through in-depth interviews with seven purposively selected actors, namely Susan Africa, Chai Fonacier, Mercedes Cabral, Sue Prado, Soliman Cruz, Richard Quan, and Bong Cabrera, the study examines how they navigate foreign cultural terrains and professional landscapes while remaining grounded in their personal and cultural histories. The analysis surfaces core existential structures — being-in-the-world, thrownness, care, authenticity, interpretation, and publicness— that shape their experiences from pre-production, production, to post-production stages. Participants described challenges such as typecasting, cultural stereotyping, and marginalization, alongside affirmations of artistic agency, ethical responsibility, and cultural pride. Despite systemic constraints, they maintained a deep commitment to their craft and representation. This research foregrounds the ontological dimension of acting as cultural labor and contributes to broader discourses on diaspora, representation, and identity in global cinema. It further advocates for culturally responsive labor policies aligned with SDG 8 (decent work) and SDG 10 (reduced inequalities), underscoring the need for inclusive and ethical participation of Filipino artists in the international screen industry.