MANILA: Alphabet Inc’s Google said on Wednesday it will ban political advertising on its platform in the run-up to Philippine elections in May next year to choose a successor to President Rodrigo Duterte.
The move comes amid pressure on social media platforms over their handling of political advertising during the US presidential election in 2020.
Social media platforms have become political battlegrounds in the Southeast Asian nation, with studies showing Filipinos top the rankings globally for time spent on social media.
Election advertisements that promote or oppose any political party or the candidacy of any person or party for public office, would not be allowed to run between Feb. 8 to May 9, 2022, Google said in an update to its political content policy.
The dates cover the period of campaigning in the Philippines up to election day on May 9.
Google said notifications would be sent to affected advertisers about the policy update.
Google has banned political advertising on its platform before, including in Canada’s federal election in 2019 and before an election in Singapore in 2020.
Social media platforms like Facebook have helped strengthen Duterte’s support base, with analysts regarding them as instrumental in his election victory in 2016 and a rout by his allies in mid-term polls last year.
The Philippines will choose a successor to Duterte, who under the constitution is not allowed to seek another term, but will be standing for a senator’s seat.
Google to ban political advertising ahead of Philippine elections
https://arab.news/wr8kp
Google to ban political advertising ahead of Philippine elections
- Move comes amid pressure on social media platforms over their handling of political advertising during the US presidential election in 2020
To infinity and beyond: Grendizer’s 50 years of inspiring Arabs
- 50 years after its creation, the Grendizer anime series continues to capture Arab imagination
- Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet
LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.
Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.
But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.
The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.
Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.
Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.
The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.
By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.
Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.
Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.
Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.
