| Titre | Right The Ride: Jeepneys Against Misogyny (Film) |
| Brief | For thousands of Filipino commuters, the Philippine Jeepney is the most commonly used form of daily public transportation. It is also a beloved cultural symbol used as an icon to represent the country. But for decades, misogynistic and sexist imagery and messages have been the dominant design element in jeepneys, normalizing them and even celebrated as entertaining and witty. This needed to stop once and for all. “Right the Ride: Jeepneys Against Misogyny” was launched by the Philippine Commission on Human Rights, redesigning a fleet of Jeepneys plying major routes across Metro Manila. The familiar lewd images and objectionable signs were painted over and replaced with inspiring messages about equality, women empowerment, and safety for all. Symbols are powerful. In correcting what is wrong in jeepneys, they became literal vehicles for change in the Filipino mindset. Since then, the CHR has begun to implement the program in more cities nationwide. |
| Agence |
Wunderman Thompson
|
| Campagne |
Right The Ride: Jeepneys Against Misogyny
|
| Annonceur |
Commission on Human Rights of The Philippines
|
| Marque |
Commission on Human Rights of The Philippines
|
| Mise en ligne | Novembre 2022 |
| Secteur d'activité | Institutions / Interêt Public / Associations à but non lucratif
|
| Synopsis | Right the Ride: Jeepneys Against Misogyny was launched. Working withthe Philippine Commission on Human Rights, lewd imagery and sexistsignage on 22 jeepneys plying key major routes within Metro Manila (themost populous megacity in the Philippines) were painted over andcorrected to skew towards equality, women empowerment and safety forall. Symbols are powerful. In correcting what is wrong in jeepneys, theybecame literal vehicles for change in the Filipino mindset.The 22 Right the Ride jeepneys travelled daily in three major cities inMetro Manila and delivered progressive messages to thousands ofcommuters. While an online film and a series of social posts spreadawareness across the entire Philippines. |
| Type de média |
Etude de cas
|
| Réalisateur |
Cheska Ramos
|
| Réalisateur |
Gilbert Buen
|
| Directeur de la création |
Brandie Tan
|
| Senior Copywriter |
Irish Bautista
|
| Creative Director, Copywriter |
Niño Gupana
|
| Directeur adjoint de la création |
Tin Sanchez
|
| Directeur de création groupe |
Maan Bautista
|
| Producteur |
Regina Inocencio
|
| Associate Creative Director / Art Director |
Macky Sanchez
|
| Directeur artistique |
Elaine Catindig
|
| Concepteur / rédacteur |
Jonel Revistual
|
| Concepteur / rédacteur |
Jilian Librodo
|
| Producteur, agence |
Jem Lim
|
| Producteur, agence |
Toffee de Guzman
|
| Maison de production |
Film Pabrika
|
| Maison de production |
Ala Carte Digilab
|
| Producteur |
Marivic San Juan
|
| Son |
Hit Productions Inc.
|
| Directeur de clientèle |
Carla Dado
|
| Planner |
Sam Zetha
|
| Planner |
Rachelle Valera
|
| Monteur |
Gino Delos Reyes
|
| Chef décorateur |
Adelina Leung
|
| PDG |
Golda Roldan
|
| Colorisation |
Barebones Inc
|
| Responsable de budget agence |
Pam Bama
|