<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2683-2208</journal-id>
<journal-title><![CDATA[Revista panamericana de comunicación]]></journal-title>
<abbrev-journal-title><![CDATA[Rev. panam. comun.]]></abbrev-journal-title>
<issn>2683-2208</issn>
<publisher>
<publisher-name><![CDATA[Centros Culturales de México A.C., Universidad Panamericana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2683-22082022000200177</article-id>
<article-id pub-id-type="doi">10.21555/rpc.v4i2.2713</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Exploring affect, identity, and populism in and around Todd Phillips&#8217; Joker]]></article-title>
<article-title xml:lang="es"><![CDATA[Explorando la afectividad, la identidad y el populismo en torno a Joker (2019) de Todd Phillips]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Sreepada]]></surname>
<given-names><![CDATA[Nihar]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Domínguez Partida]]></surname>
<given-names><![CDATA[Gabriel]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Misssouri State University  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>USA</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad Panamericana  ]]></institution>
<addr-line><![CDATA[Guadalajara ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2022</year>
</pub-date>
<volume>4</volume>
<numero>2</numero>
<fpage>177</fpage>
<lpage>193</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2683-22082022000200177&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2683-22082022000200177&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2683-22082022000200177&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract. Cultural identity has become a fluid concept in which several positionalities converge; most of them are influenced greatly by popular culture, causing a constant individual negotiation between their real lives and the image on the screen. In 2019, Todd Phillips&#8217;s Joker achieved worldwide success not only at the box office but also in critical appraisal. Unlike previous representations of this villain as a disruptive social persona, Joker showed the main character as a political figure that gives agency and voice to the people who are socially repressed. The impact of this representation transcended Anglo cultures to the extent of symbolizing a populist uprising and a growing anti-government sentiment. Nevertheless, this figure&#8217;s appropriation brings two problematic ideological standpoints to the goal these groups aim: violence as the only alternative to restoring equality in society and color blindness that silences the struggles that cultures face depending on their context.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen. La identidad cultural se ha convertido en un concepto fluido en el que convergen varias posiciones; la mayoría de ellas están fuertemente influenciados por la cultura popular, provocando una constante negociación individual entre la vida real y la imagen en la pantalla. En 2019, Joker de Todd Phillips logró el éxito mundial no solo en la taquilla sino también en la evaluación crítica. A diferencia de las representaciones anteriores de este villano como un personaje social disruptivo, Joker mostró al personaje principal como una figura política que da voz y agencia a las personas socialmente reprimidas. El impacto de esta representación trascendió las culturas anglosajonas hasta el punto de simbolizar un levantamiento populista y un creciente sentimiento antigubernamental. Sin embargo, la apropiación de esta figura trae dos puntos de vista ideológicos problemáticos al objetivo que persiguen estos grupos: la violencia como única alternativa para restaurar la igualdad en la sociedad y el daltonismo que silencia las luchas que enfrentan las culturas según su contexto.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Social identity]]></kwd>
<kwd lng="en"><![CDATA[representation]]></kwd>
<kwd lng="en"><![CDATA[Joker]]></kwd>
<kwd lng="en"><![CDATA[violence]]></kwd>
<kwd lng="en"><![CDATA[color blindness]]></kwd>
<kwd lng="es"><![CDATA[Identidad social]]></kwd>
<kwd lng="es"><![CDATA[representación]]></kwd>
<kwd lng="es"><![CDATA[Joker]]></kwd>
<kwd lng="es"><![CDATA[violencia]]></kwd>
<kwd lng="es"><![CDATA[daltonismo]]></kwd>
</kwd-group>
</article-meta>
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