Papers by Gabriel Dominguez Partida
Revista panamericana de comunicación, Dec 16, 2022
Cultural identity has become a fluid concept in which several positionalities converge; most of t... more 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'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
Revista panamericana de comunicación, Dec 16, 2022
Cultural identity has become a fluid concept in which several positionalities converge; most of t... more 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'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
Miguel Hernández communication journal, Jul 29, 2021
Traditionally, audiovisual content in Mexico has represented and reinforced a nuclear family mode... more Traditionally, audiovisual content in Mexico has represented and reinforced a nuclear family model (father, mother, and children). However, La casa de las flores marked a watershed in this representation by showing an alternative vision of the family configuration, a fact stressed in its second season advertising campaign. The program proposes redefining and expanding the concept of family by including LGTBIQ+ couples and other role models. This study aims to identify the scope of this redefinition by looking at the narrative of the nine chapters that comprise the second season. A textual analysis of their plots, characters, and symbols employed by the series to frame family relationships is conducted to achieve this purpose. The article concludes that, despite the inclusion of different family configurations, a biparental model prevails. This model reinforces the maternal and paternal roles inherited from audiovisual representations of the family in Mexico, obscures problems experienced by other kinds of family, and hinders the reappropriation of symbols that may facilitate challenging dominant social structures that populate the Mexican audiovisual discourse.
Routledge eBooks, Aug 24, 2022
Mexican identity links to different conceptions related to the national governments in turn, whos... more Mexican identity links to different conceptions related to the national governments in turn, whose traits have been portrayed in the cinema produced in the country. Because of the international success of a Mexican film like Roma (2018) by Alfonso Cuarón, it becomes essential to distinguish which characteristics the audience identifies in the movie regarding Mexicanidad. Hence, this research is a qualitative study about young Mexicans' perceptions of Mexicanidad in Roma, comparing them with a textual analysis of the film. The discussion of this representation allows emphasizing two Mexican traits: the importance of the family and classism. Although the film's conversation highlights those issues, it also generates a series of contradictions among participants' perceptions concerning those topics, the film industry's status, and Mexicanidad. The point of convergence is a possibility to build a more competitive cinema closer to Mexicans and their identity.
Mexican identity links to different conceptions related to the national governments in turn, whos... more Mexican identity links to different conceptions related to the national governments in turn, whose traits have been portrayed in the cinema produced in the country. Because of the international success of a Mexican film like Roma (2018) by Alfonso Cuaron, it becomes essential to distinguish which characteristics the audience identifies in the movie regarding Mexicanidad . Hence, this research is a qualitative study about young Mexicans' perceptions of Mexicanidad in Roma , comparing them with a textual analysis of the film. The discussion of this representation allows emphasizing two Mexican traits: the importance of the family and classism. Although the film's conversation highlights those issues, it also generates a series of contradictions among participants' perceptions concerning those topics, the film industry's status, and Mexicanidad . The point of convergence is the possibility to build a more competitive cinema closer to Mexicans and their identity.
Miguel Hernández Communication Journal, Jul 29, 2021
Traditionally, audiovisual content in Mexico has represented and reinforced a nuclear family mode... more Traditionally, audiovisual content in Mexico has represented and reinforced a nuclear family model (father, mother, and children). However, La casa de las flores marked a watershed in this representation by showing an alternative vision of the family configuration, a fact stressed in its second season advertising campaign. The program proposes redefining and expanding the concept of family by including LGTBIQ+ couples and other role models. This study aims to identify the scope of this redefinition by looking at the narrative of the nine chapters that comprise the second season. A textual analysis of their plots, characters, and symbols employed by the series to frame family relationships is conducted to achieve this purpose. The article concludes that, despite the inclusion of different family configurations, a biparental model prevails. This model reinforces the maternal and paternal roles inherited from audiovisual representations of the family in Mexico, obscures problems experienced by other kinds of family, and hinders the reappropriation of symbols that may facilitate challenging dominant social structures that populate the Mexican audiovisual discourse.
Uploads
Papers by Gabriel Dominguez Partida