From Crisis to Credibility: Institutional Isomorphism and the Evolution of Indian Fact-Checking Organizations
Article
In the Global South, particularly in populous democracies like India, misinformation and disinformation have become persistent features of public discourse. False narratives in this country don’t just appear during moments of political tension, they’re often deployed strategically to tap into identity-based divisions and sway public sentiment. Understanding how institutions respond to these dynamics, this study investigates the organizational trajectories of fact-checking entities operating in India’s National Capital Region (NCR) using the lens of Institutional Isomorphism. The study examines how external pressures and normative influences have shaped their institutional behaviour. The three dimensions of the theory —coercive, mimetic, and normative, were employed to understand the forces guiding their evolution. Coercive pressures from elections, communal unrest, and the COVID-19 pandemic pushed many into reactive, short-term responses, and over time, with international standards and lessons borrowed from global peers, these organisations were encouraged towards more stable institutional practices like multilingual outreach, broader thematic coverage, and new verification tools based on platform-integration and Artificial Intelligence & Machine Learning. Drawing on 24 interviews across 13 NCR-based organizations, the findings suggest a discernible shift from reactive crisis response to strategic institutionalization, positioning fact-checkers as emerging pillars within India’s media accountability ecosystem.
Ang Liga ay Buháy: Ang Pagtatagpo ng Teleserye at Anime sa Barangay 143
Article
Abstrak
Hindi na mabilang ang anime na naipalabas sa Pilipinas, “Tagalized” man o nasa orihinal nitong wika sa Hapon o ang salin nito sa Ingles. Gayunpaman noong 2018 lamang nagkaroon ng tinaguriang “unang Pilipinong de-seryeng anime” at naipalabas sa free TV sa bansa, ang Barangay 143. Naipahayag ang antisipasyon sa palabas na ito sapagkat sa unang pagkakataon maitatampok ang kultura ng ating bansa sa isang anyong popular sa kabataan at mailalahad din ang pagkahumaling ng mga Pilipino sa basketbol. Subalit isa sa mga pinakapopular na komento at puna sa nasabing anime ay ang pagsunod nito sa pormula ng dramang pantelebisyong sa Pilipinas, ang Pinoy teleserye. Maliban sa pagtalunton sa ilang batayang pagpapakahulugan sa teleserye at anime, sinuri ng papel na ito ang maaaring mga dahilan kung bakit itinuring na teleserye ang Barangay 143 at gayundin naman, sinuri din kung papaano ginamit ang mga katangian ng anime upang iangkop ito sa karanasan at panlasa ng Pilipinong manonood.
Abstract
Countless animé series have been aired in the Philippines whether “Tagalized”, in its original Japanese language, or its English translation. However, it was only in 2018 that Barangay 143, the first animé series produced by Filipinos, aired on free TV in the country. Anticipation on this show was heavily manifested because for the first time, our own culture will be featured in a popular form among the youth and the Pinoys’ fascination with basketball will also be shown. However, one of the most popular comments and criticisms about the said anime was its adherence to the formula of Philippine television drama, the Pinoy teleserye. Aside from the exploration of some basic definitions of teleserye and anime, this paper analyzed possible reasons why Barangay 143 was considered a teleserye and examined how anime characteristics were used to adapt it to the experience and taste of Filipino viewers.
