<![CDATA[This study analyzes the reconstruction of political identity in Hit Me Anyone One More Time (2019) using Roland Barthes's two-level signification system and Erving Goffman's dramaturgical perspective as theoretical triangulation. Departing from traditional political film semiotics focused on electoral campaigns, this research examines the reshaping of political identity within a post-election bureaucratic environment. A qualitative constructivist approach is applied through non-participant observation and film scene documentation. Data are analyzed by mapping denotative meanings, interpreting connotations, and identifying myths to trace how political identity is represented and interpreted. The findings reveal that political identity reconstruction is represented as a gradual process; originating from daily behavioral changes, developing through repeated social interactions, and gaining legitimacy via public recognition. Kuroda's new identity is built on a more humanistic, accessible, and responsive attitude, reshaping public perception of his leadership. The front-stage and back-stage dynamics serve as the primary mechanism linking personal change to public acceptance. Concurrently, the film reproduces myths concerning the naturalness of bureaucratic elitism, leader centralization, executive supremacy, and fact manipulation to maintain governmental stability. These findings indicate that political identity is a continuous construction shaped by actions, social relations, and public interpretation. Theoretically, this study extends political semiotics by analyzing identity reconstruction once an actor is embedded in power structures. Practically, it fosters critical media literacy regarding the representation of state figures in popular media.]]>
