Explorando la afectividad, la identidad y el populismo en torno a Joker (2019) de Todd Phillips

Contenido principal del artículo

Nihar Sreepada
Gabriel Domínguez Partida

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. 

Detalles del artículo


Biografía del autor/a

Nihar Sreepada, Misssouri State University, USA

Es profesor adjunto en la Universidad Estatal de Missouri. Como académico, Sreepada estudia las manifestaciones de nacionalismo y populismo en diversos contextos, como atentados terroristas, disturbios políticos, flm y discurso político, a través de teorías y perspectivas del nacionalismo, la religión y la identidad. Actualmente imparte cursos de Relaciones Públicas en el departamento de Comunicación de la Judith Enyeart Reynolds College of Arts and Letters de la Universidad Estatal de Missouri.

Gabriel Domínguez Partida , Universidad Panamericana, Campus Guadalajara, Escuela de Comunicación

Es profesor y vicedecano de Producción Audiovisual y Comunicación en la Universidad Panamericana, Guadalajara. Su área de estudio se centra en cómo las representaciones mediáticas disponibles por los medios de comunicación impactan en la formación de la identidad cultural. Ha presentado sus proyectos de investigación en differentes Congresos Nacionales e Internacionales, además de publicar artículos y capítulos de libros sobre series de televisión y películas mexicanas. Además, es guionista certificado por la UCLA.

Citas

» El Joker, el nuevo símbolo de las protestas sociales [The Joker, the new symbol of social demonstrations]. (October 29, 2019). El Diario. En https://www.eldiario.net/

» Adorno, T., & Horkheimer, M. (2007). The culture industry: Enlightenment as mass deception. Stardom and celebrity: A reader, 34

» Ahmed, A., & Simmons, Z. (2013). Pseudobulbar affect: prevalence and management. Therapeutics and Clinical Risk Management, 9, 483.

» Alter, R. (2019, October 02). Don’t Get It Twisted: The Ultimate Guide to the Joker’s Origin Stories. Retrieved from https://www.vulture.com/2019/10/jokers-backstory-a-guide-to-the-jokers-origin-stories.html

» Araújo, M. P. N., & Santos, M. S. D. (2009). History, memory and forgetting: Political implications. RCCS Annual Review. A selection from the Portuguese journal Revista Crítica de Ciências Sociais, (1).

» Bonilla-Silva, E. (2006). Racism without racists: Colorblind racism and the persistence of racial inequality in the United States. Guilford, CT, USA, Rowman & Littlefeld Publishers.

» Bonilla-Silva, E. (2015). The structure of racism in colorblind, “post-racial” America. AQUI AQUI AQUI

» Bonilla-Silva, E., & Ashe, A. (2014). The end of racism? Colorblind racism and popular media. The colorblind screen: Television in

post-racial America, 57.

» Bordoloi, M. (2012). Re-packaging Disaster Post 9/11 and Christopher Nolan’s: The Dark Knight Trilogy. Journal of Creative Communications, 7(1-2), pp. 87-100.

» Cisneros, J. D., & Nakayama, T. K. (2015). New media, old racisms: Twitter, Miss America, and cultural logics of race. Journal of International and Intercultural Communication, 8(2), pp. 108-127.

» Clarke, L. (2019, November 02). Why Joker masks are the perfect political protest symbol. Retrieved from https://www.wired.co.uk/article/joker-masks-protests

» Collins, R. M. (2006). Transforming America: Politics and culture during the Reagan years. Columbia University Press. AQUI AQUI AQUI

» Devega, C. (2019). “Joker”: A harsh indictment of neoliberalism and gangster capitalism. Retrieved from https://www.salon.com/2019/10/09/joker-todd-phillips-indictment-neoliberalism-violence/

» Edelstein, D. (September 11, 2019). “The Resentment of Joker.” Vulture. Retrieved from https://www.vulture.com/

» Encyclopedia. (2020, July 07). Retrieved from https://www.encyclopedia.com/social-sciences/culture-magazines/1980s-lifestyles-and-social-trends-topics- AQUI AQUI AQUI news#CONSUMERISM_THE_NEW_GREAT_AMERICAN_PASTIME

» Faludi, Sarah (2007). The Terror Dream: Fear and Fantasy in Post-9/11 America. Excerpts. AQUI AQUI AQUI

» Ferber, A. L. (2012). The culture of privilege: Color-blindness, postfeminism, and christonormativity. Journal of Social Issues, 68(1), pp. 63-77.

» Flakin, N. (2019). Joker: The Despair of Capitalism and the Hope of Riots. Retrieved from https://www.leftvoice.org/joker-the-despair-of-capitalism-and-the-hope-of-riots

» Flood, M. (October 8, 2019). Joker makes for uncomfortable viewing – it shows how society creates extremists. The conversation. Retrieved from https://theconversation.com/

» Flores, L. A., Moon, D. G., & Nakayama, T. K. (2006). Dynamic rhetorics of race: California’s racial privacy initiative and the shifting grounds of racial politics. Communication and Critical/Cultural Studies, 3(3), pp. 181-201.

» History. (2018, August 23). The 1980s. Retrieved from https://www.history.com/topics/1980s/1980s

» Holoien, D. S., & Shelton, J. N. (2012). You deplete me: The cognitive costs of colorblindness on ethnic minorities. Journal of Experimental Social Psychology, 48(2), pp. 562-565.

» July, B. (October 11, 2019). In Joker, black women are visible, but they are not seen. Time Magazine. Retrieved from https://time.com/ A UI AQ UI AQUI

» Kaur, H. (2019, November 03). In protests around the world, one image stands out: The Joker. Retrieved from https://www.cnn.

com/2019/11/03/world/joker-global-protests-trnd/index.html

» Koller, V., & Heritage, F. (2020). Incels, in-groups, and ideologies: The representation of gendered social actors in a sexuality-based online community. Journal of Language and Sexuality, 9(2), pp. 152-178.

» Krivo, L. J., Peterson, R. D., Rizzo, H., & Reynolds, J. R. (1998). Race, segregation, and the concentration of disadvantage: 1980–1990. Social Problems, 45(1), pp. 61-80.

» Molina, F. (October 16, 2019). Joker: Nihilismo superfcial [Joker: superfcial nihilism]. La Razón.En https://www.la-razon.com/

» Munizaga, R. (2019). Un Joker para millennials [A Joker for millenials].” La Tercera. En https://www.latercera.com/

» Nacos, B. (2016). Mass-mediated terrorism: Mainstream and digital media in terrorism and counterterrorism. Guilford, CT USA, Rowman & Littlefeld.

» Newland, C. (September 2, 2019). Incel’ violence is horrific, but Joker is complex, and doesn’t take sides. The Guardian. Retrieved from https://www.theguardian.com/

» Ocaña, J. (October 7, 2019). Tiempos de indecencia [Times of indecency]. El País. En https://elpais.com/

» Phillips, M. (October 2, 2019). Joker’ review: Joaquin Phoenix creates an interior world of pain. His movie is a pain, period. Chicago Tribune. En https://www.chicagotribune.com/

» Plaut, V. C., Thomas, K. M., Hurd, K., & Romano, C. A. (2018). Do color blindness and multiculturalism remedy or foster discrimination and racism?. Current Directions in Psychological Science, 27(3), pp. 200-206.

» Roberts, S. (July 15, 1992). Shifts in 80’s failed to ease segregation. The New York Times. Retrieved from https://www.nytimes.com

» Schultze, Q. J., Anker, R. M., Schultze, Q., Bratt, J. D., Zuidervaart L., & Worst, J. (1991). Dancing in the dark: Youth, popular culture, and the electronic media. Wm. B. Eerdmans Publishing. AQUI AQUI AQUI AQUI

» Sharf, Z. (2019, October 28). The Face of Joaquin Phoenix’s Joker Is Turning Up at Government Protests Around the World. Retrieved from https://www.indiewire.com/2019/10/joker-government-protests-lebanon-hong-kong-1202185602/

» Sharf, Z. (September 20, 2019). Joker set in the past because of Todd Phillips wants nothing to do with the DCEU. Indiewire. Retrieved from https://www.indiewire.com/

» Smith, J. (2013). Between colorblind and colorconscious: Contemporary Hollywood flms and struggles over racial representation. Journal of Black Studies, 44(8), pp. 779-797.

» Szalavitz, M. (2017, July 5). Why do we think poor people are poor because of their own bad choices?. Retrieved from https://www.theguardian.com/us-news/2017/jul/05/us-inequality-poor-people-bad-choices-wealthy-bias

» Uetricht, M. (2019). Joker isn’t an ode to the far right – it’s a warning against austerity. Retrieved from https://www.theguardian.com/commentisfree/2019/oct/10/joker-far-right-warning-austerity.

» Wayne, M. L. (2017). Depicting the racist past in a “post-racial” age: the white, male protagonist in Hell on Wheels and The Knick.Alphaville: Journal of Film and Screen Media, (13), pp. 105-116.

» Weiner, R. G. & Peaslee, R. M. (2015). Introduction. In R. M. Peaslee & R. G. Weiner (Eds.), The Joker: A serious study of the clown

prince of crime. University Press of Mississippi, Mississippi, MO, pp. 14-30. AQUI AQUI

» Wellman, R. (n.d.). What caused consumerism in the 1980s in the US and what was its impact?. Retrieved from https://www.enotes.com/homework-help/what-caused-consumerism-us-whatwas-its-impact-1265264

» Whiteley, N. (1987). Toward a throw-away culture. Consumerism,’style obsolescence and cultural theory in the 1950s and 1960s. Oxford Art Journal, 10(2), pp. 3-27.

» Zacharek, S. (August 31, 2019). Joker Wants to Be a Movie About the Emptiness of Our Culture. Instead, It’s a Prime Example of It. Time. Retrieved from https://time.com/

Artículos más leídos del mismo autor/a