<?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>2183-3575</journal-id>
<journal-title><![CDATA[Comunicação e Sociedade]]></journal-title>
<abbrev-journal-title><![CDATA[Comunicação e Sociedade]]></abbrev-journal-title>
<issn>2183-3575</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade - Universidade do Minho]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2183-35752022000200133</article-id>
<article-id pub-id-type="doi">10.17231/comsoc.42(2022).4013</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Crime, Hooded Crusaders, and (Private) Justice: Arrow and the Exoneration of Vigilantism in Contemporary Popular Media]]></article-title>
<article-title xml:lang="pt"><![CDATA[Crime, Cruzados Encapuzados e Justiça (Privada): Arrow e a Exoneração do Vigilantismo nos Média Populares Contemporâneos]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Jiménez-Varea]]></surname>
<given-names><![CDATA[Jesús]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Pineda]]></surname>
<given-names><![CDATA[Antonio]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Sevilla Facultad de Comunicación Departamento de Comunicación Audiovisual]]></institution>
<addr-line><![CDATA[Seville ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>12</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>12</month>
<year>2022</year>
</pub-date>
<volume>42</volume>
<fpage>133</fpage>
<lpage>156</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2183-35752022000200133&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2183-35752022000200133&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2183-35752022000200133&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract As a form of extralegal crimefighting, vigilantism involves relevant questions about crime, justice, and law enforcement, and it is a staple of popular media. In the 1980s, several popular culture products took a critical approach to vigilantism as a part of the deconstruction of the superhero genre, which included a critical reflection on the psychological and political implications of the motivations behind private justice enforcers&#8217; behavior. In this context, this paper focuses on the representation of vigilantism within the popular television show Arrow, and analyzes how it depicts, rationalizes, and ultimately exonerates vigilantism as a response to criminal activity. The empirical analysis focuses on the various rhetorical strategies used by Arrow to justify vigilantism, such as the representation of legal and governmental institutions as corrupt and inefficient, the multiple rationales whereby vigilantism is practiced, and the sanctioning of private crimefighting by institutions. The analysis indicates that the show delivers an apology for the vigilante ethos: Arrow mirrors superheroes&#8217; dark turn in the 1980s and their reflection of societal fears about crime. However, in the show&#8217;s worldview, these fears can only be appeased by private vigilantes. By portraying the state as inefficient and/or corrupt, the show boosts ideologies of individualism and anti-government neoliberalism.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Como uma forma de combate extrajudicial ao crime, o vigilantismo envolve questões relevantes sobre crime, justiça e o cumprimento da lei, tornando-se um elemento básico dos média populares. Na década de 1980, diversos produtos da cultura popular adotaram uma abordagem crítica ao vigilantismo, como parte da desconstrução do género de super-herói, que incluiu uma reflexão crítica sobre as implicações psicológicas e políticas das motivações por detrás do comportamento dos executores da justiça privada. Nesse contexto, este artigo concentra-se na representação do vigilantismo no conhecido programa de televisão Arrow (Flecha) e analisa a maneira como ele retrata, racionaliza e, em última análise, exonera o vigilantismo como uma resposta justificável à atividade criminosa. A análise empírica se concentra nas várias estratégias retóricas usadas por Arrow para justificar o vigilantismo, como a representação de instituições legais e governamentais como corruptas e ineficientes, as múltiplas razões pelas quais o vigilantismo é praticado e a sanção do combate ao crime privado pelas instituições. Os resultados indicam que o programa oferece uma apologia do éthos do vigilante: Arrow herda a virada sombria dos super-heróis na década de 1980 e o reflexo dos medos da sociedade sobre o crime, no entanto, na visão de mundo do programa, esses medos só podem ser aplacados por vigilantes privados. Ao retratar o estado como ineficiente e/ou corrupto, o espetáculo potencializa ideologias do individualismo e do neoliberalismo antigovernamental.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[crime]]></kwd>
<kwd lng="en"><![CDATA[justice]]></kwd>
<kwd lng="en"><![CDATA[vigilantism]]></kwd>
<kwd lng="en"><![CDATA[Arrow]]></kwd>
<kwd lng="pt"><![CDATA[crime]]></kwd>
<kwd lng="pt"><![CDATA[justiça]]></kwd>
<kwd lng="pt"><![CDATA[vigilantismo]]></kwd>
<kwd lng="pt"><![CDATA[Arrow]]></kwd>
</kwd-group>
</article-meta>
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