Joker

Joker (2019): Film Psychoanalytical Review Joker (2019), directed by Todd Phillips is a film with an amalgamation of profound aesthetic and political density, which is accompanied by an imagistic beauty that presents the specters of a Social-Psychological Renaissance. The film is a story of a man who dreams of becoming a successful comedian i.e., the protagonist, Arthur Fleck (Joaquin Phoenix). His story showcases the process of genesis of the original supervillain in an oppressive society, set in the '80s of the comic Gotham City. Here, I will attempt to psychoanalyze the specters that emerge in the course of the film, by identifying the "repressed moment" or the "prägung" and the signifiers along with examining the "father figures" of Arthur's life to unfold some psychoanalytic and semantic meaning out of the character's psyche and self (Lacan, 1988). The beginning of the film reveals the first specter of the repressed emotion, with the intense scenes of Arthur Fleck's laughing condition. The pseudo-bulbar affect (PBA), essentially a neurological condition that is characterized by an uncontrollable outburst of laughter or cries, reveals the signifier which is the mask that Arthur wears as he aims to be a comedian. Arthur's laugh, which is essentially a condition, presents an emptiness in his shared language with the society, as he uncontrollably laughs after identifying himself as a comedian in front of his audience. This unmotivated laughter can soon be identified in terms of pain, as he begins to choke on his own laughter. In the film, the society often misinterprets this laughter and fails to understand, as one would say in terms of a psychiatric discourse, the disassociation between words and objects i.e., the signifier and the signification-mutual feelings and the revelation of the expression that affects him. The society fails to identify the repressed emotion during the spectral moments of Joker's uncontrollable laughter. It is a laughter that alienates Arthur from his surroundings, as he becomes a painful subject constantly trying to locate and integrate himself into the 'normal' society. The film is

Todd Phillips’ Joker (2019) is an origin story which not only portrays a psychological drama but also forms a good example of a detailed character study case. The film embodies two main layers which are psychological and social. Within the context of the psychological layer, the viewers witness the gradual metamorphosis of a mentally ill person into an evil villain. This article aims to analyse Todd Phillips’ Joker from a Jungian and Nietzschean perspective. By interpreting Arthur Fleck’s mental condition through the window of Jungian archetypes, the article reveals that Arthur experiences an intense inner struggle against his shadow, which he ultimately loses. His efforts to resist these attacks using his persona, ego, and self are in vain. To that end, Jung’s views are interconnected with Friedrich Nietzsche’s notion of nihilistic delusions which are referred to with an overview of Nietzsche’s nihilism. In addition, the nihilistic delusions are associated with the cotard syndrome and the notion of depersonalization within the field of psychiatry. The study also exposes the common ground between Nietzsche and Jung by exploring the interactions in specific periods of their lives. Thus, it has been concluded that Arthur’s nihilistic delusions are the ultimate cause of the events leading to the supremacy of the shadow in Joker.

Abstract
The new “Joker” movie, directed by Todd Phillips, was released in 2019 and brought a range of fervent and controversial discussion both in critics and audiences. Nevertheless, the “Joker” persona is tightly associated with comics and the superhero movie genre, and usually depicted in a particular way. However, the new movie differs in vital points. This study aims to explore the differences that lie between the “Joker”, and his depiction in the superhero genre. In order to investigate this inquiry, we conducted an exploratory research, and used latent content analysis. From our results, we extrapolate that the new movie constructs a more humane and approachable image of the “Joker”, as opposed to the “nameless” and “cold-blooded” villain. Simultaneously, we concluded that the movie adopts a more realistic and less entertaining approach towards violence, a prominent characteristic in superhero movies.
Keywords: Joker, Arthur Fleck, killer clown, media ecology, superhero genre, supervillain, CGI, advanced technology, content analysis, violence.

Three Jokers reviewed by Marco Favaro, In: Casper C.-C., Ingold J., Lungershausen G., Schwertfeger S. (eds.), CLOSURE. Kieler e-Journal für Comicforschung #8. Nicht-narrative Comics.  12.2021. ISSN 2363-7765, Christian-Albrechts-Universität zu Kiel, Kunsthistorisches Institut.
https://www.closure.uni-kiel.de/closure8/start

Dalam sejarah festival Oscar Academy Award yang berlangsung sejak 1929 sehingga 2019, tiada seorang pun tokoh dalam bidang lakonan dari adaptasi adiwira komik yang berjaya menjulang piala tersebut kecuali seorang, Joker versi Heath Ledger. [Naim 2019]

Pada tahun 2020 pula muncul pula filem Joker (2019) yang dibintangi oleh Joaquin Phoenix yang membawa watak sebagai Joker yang penuh dengan thriller dan sadisme. Dengan kejayaan Phoenix membawa watak ini, beliau telah berjaya memiliki piala Oscar pada di bawah label Best Actor yang mana seperti yang saya katakan tadi tiada seorang pun watak adiwira yang berjaya menjulang anugerah tersebut sebelum Heath Ledger (1979-2008) melalui filem The Dark Knight (2008).

Sebelum Phoenix membawa watak Joker ini, desas-desus berbunyi bahawa adakah beliau dapat memainkan watak ini dengan cemerlang kerana ramai peminat Joker di luar sana yang membandingkan Joker versi Heath Ledger.

Batman and Joker are two of the most famous characters born on the pages of a superheroic comic book. Their popularity goes far beyond the paper world they are from: it reaches every mass culture’s corner. The symbolic strength of those characters and their resonance on the collective imagination is not restricted to entertainment phenomena but reaches psychological, literary, anthropological and philosophical themes and concepts. It is from the philosophical point of view that I intend to analyse the relationship between the dark knight and the clown prince of crime.
I will refer to Friedrich Nietzsche’s philosophy, namely his analysis of the Apollonian and Dionysian concept, in order to analyse the relationship between Batman and his nemesis. Joker as a chaotic and irrational force on the one side and Batman, who tries with all his strength to oppose the chaos and absurdity, marking his life since the murder of his parents on the other side. I will show how this fight embodies the eternal struggle between the two Nietzschean principles.
First, I will investigate Batman and Joker’s birth: why do they create a whole new identity? How is Joker’s reaction to suffering and irrationality different from Batman’s one? I will then dig deeper into the relationship and the fight between the two enemies, focusing mainly on the balance of their morbid relationship. Finally, taking into consideration the Nietzschean concept of the Übermensch, I will try to understand if one of the two characters comes to incarnate the Beyond-Man described by the German philosopher.
I will mainly refer to the most emblematic stories lived by the two characters, which are: Alan Moore’s The Killing Joke, The Dark Knight Returns and Batman: Year One by Frank Miller, Grant Morrison’s Arkham Asylum and The Death of the Family and End Game by Scott Snyder.

Draft

The motion picture Joker unfolds a character study of Arthur Fleck, a middle-aged and mentally ill man living with his mother in financially unstable conditions in the fictive town of Gotham City, which resembles New York City of the 1980s. At first glance, the reason for their precarious situation is Arthur’s constant trial and failure as a comedian, but the criticism reaches deeper than that. Despite being a white heterosexual man, Arthur is part of a marginalised group: he is a failure in a system that does neither tolerate nor support him. “I hope my death makes more cents than my life.” is the central quote, which evolves into a criticism of the devaluation of artists, the ‘poor’, and mentally ill persons in US society with Arthur being part of one of the most overlooked groups. The aim of this paper is to highlight how the protestant ideology of predestination entwined with the last taboos of Western Christianity – mental illness, death, and suicide – bars access to the American Dream by restricting equality of opportunity for mentally ill men. Appropriate examples from the motion picture will be analysed first by close reading and then contextualising them according to the protestant ideology of predestination and the concept of natural rights enshrined in the Declaration of Independence.

El fenómeno clown nos permite ver parte significativa de la importancia que el juego tiene en la vida social de los grupos populares, específicamente como una figura oblicua cuyo poder permite ejercer una reflexividad en torno a los presupuestos ideológicos de ciertos sectores sociales. A través de los payasos teatrales y actores de Comparsa la Bulla observaremos en sus experiencias performativas su particular visión de la calle, del humor en la cultura urbana popular y de la construcción de un cuerpo extra-cotidiano como arma de resistencia.

Besides the doltishly clumsy, amusingly simple and happily idiotic type of clown, there is the evil violent clown. Violent clowns can be traced back to the (circus-)pantomimes of the nineteenth century, to circus tradition and circus literature. Thus, on the basis of the popular corpo-eccentric clown-theatre presented by the French Théâtre des Funambules between 1819 and 1846, as well as the pantomimes of the brothers Hanlon-Lee, this article presents Batman’s Joker as descendant of a specifically violent circus tradition and its reflection in literature. Baudelaire and Adorno understand the aesthetic of violence characteristic of these circus pantomime clowns as the essence of modernity. The appearance and playful rearrangement, montage and reinterpretation of historical (circus) clown elements are typical for Batman’s Joker. Thus, he can be described as a neo-modern clown of violence.


Jürgens, A.-S. (2014): The Joker, a neo-modern clown of violence, in: Journal of Graphic Novels and Comics 5/4, 441–454.

Frederic Wertham’s 1954 treatise, Seduction of the Innocent sparked a witch hunt that changed the landscape of American comics for decades. The medium has come a long way since the creation of the Comics Code Authority. We no longer worry about the subliminal homosexual influence of single adult male Bruce Wayne raising an impressionable teenaged Dick Grayson. We do not fear that our children will be driven to suicide in a romantic quest to experience the glory of hanging. We certainly don’t worry that they will be driven to Satanism by seeing the word “Zombie” on a cover. However, we continue to fear the depiction of sexuality and especially sexual violence. We loathe women in refrigerators! Sexual assault is rare in mainstream comics; rape is all but unheard, and sparks mass controversy whenever it is addressed. And yet, sexual violence is one of the most prevalent issues facing out society today.
DC Comics' 2016 animated adaptation of 1988’s Batman: The Killing Joke set off an Internet fervor over the glamorization of sexual violence in comics. Similarly, fans were outraged when DC solicited a commemorative cover that referenced the event for Batgirl #41 in 2015. The cover was eventually pulled. While increased concern by both fans and creators over the problem of rape and sexual assault as well as the objectification of women is commendable, perhaps downplaying the issue is the wrong solution.
Other popular media frequently address the issue. Television shows like Law & Order: SVU and Game of Thrones feature rape and its aftermath as major plot points. It is a driving narrative behind films like Girl With the Dragon Tattoo, Room, and The Accused. Yet, very few rapes and sexual assaults actually occur in mainstream comics. Barbara Gordon is likely the most famous survivor. The events of The Killing Joke may be disturbing. Some may argue that it is a prime example of Women In Refrigerator Syndrome. But the story, its aftermath and her subsequent transformation from Batgirl into Oracle present one of the very few survivors tales of the superhero world. And yet, the film adaptation was still commonly critiqued as reducing her even further into a sexual object — And with good reason. In many ways, Barbara is the least significant character in the story. The focus on Batman, Joker and her father arguably reduce her to a nearly insignificant bystander in a story that should by all rights be the most traumatic event in her life.
Have comics lost something by white washing rape from the medium? In ignoring the crime do we disavow the victims? Is there a responsible way to address and explore the issue of sexual assault in mainstream comics? And if there is not then perhaps it is our responsibility to find one. Can we read this narrative, and the relative few other survivors' tales like Marvel’s Alias, as more than the thoughtless objectification of women? Can comics deal with sexual crime? Or must we be content to wipe it all away?

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When one thinks of the archetypical hero versus villain in the world of comics, Batman and The Joker often come to mind. They connect to the concept of the eternal battle between oppositions. Choosing a side, however, is relative. Heroes can look like villains through the eyes of a hero’s villain. It is an argument that The Joker uses to challenge Batman, in Arkham Asylum. He is tricked into accepting The Joker’s invitation to the Feast of Fools, which was a theatrical event that dates as far back as the Middle Ages. Its contents usually revolved around social and moral criticisms of their time. The fact that an accusation full of reason comes from the mouth of a madman, is an attempt to obscure its contents through comical absurdity. According to Foucault, by the end of the Middle Ages, European literature had stigmatized the madman as a satirical figure by attributing to him the lack of reason to the rest of his repertoire, which consisted of poverty, crime, and ugliness. By reducing the rejects of society to the point of comical absurdity, it often helped reinforce the position of reason, but sometimes it backfires. The absurd claim of the insane is actually a useful tool in philosophical logic. A reductio ad absurdum is a process of refutation on grounds that an absurdity will follow the entailment if we were to accept a certain claim. Morrison claims that Batman would only be mentally unstable if he did not wear a costume and channeled his pain through violence, but so does The Joker, and he is labeled insane. The whole structure rests on the hidden premise that the rich are superior to the poor, who are monsterized like the fool is ridiculed. Nietzsche himself thought that if a person was ugly, they were automatically also criminals. What a reader is subjected to, in the Batverse, is a class warfare between the rich and the poor, authority and the whistleblower, or the wolves and the sheep. There is a tacit agreement at play, and it is The Joker who engages the reader to question that agreement.

Žižek's Jokes:
(Did You Hear the One about Hegel and Negation?)

جوک‌های ژیژک
(آن یکی که در مورد هگل و نفی است را شنیده‌اید؟)


Originally published: February 21, 2014
Author: Slavoj Žižek
Genre: Joke
Editor: Audun Mortensen
Series: The MIT Press
Hardcover: 168 pages
Publisher: The MIT Press
(February 21, 2014)
Language: English
ISBN-10: 0262026716
ISBN-13: 978-0262026710


ژیژک در مقام یک کُمدین: جوک در خدمت فلسفه.

«می‌توان اثر فلسفی جدی و خوبی نوشت که سراسر جوک و شوخی باشد.» - لودویگ ویتگنشتاین

Joker (2019) is set against an exterior world mirroring the New York City of the 1980s, with its crumbling economy and neo-liberal policies, woven together with the interior world of the rapidly deteriorating mind of its protagonist Arthur Fleck, who has a mental health condition. The article analyses the mild-mannered Fleck’s transition into the slick and charismatic Joker by tracing acts of violence inflicted on him and those that he commits violence upon. Interrogating violent scenes in the film reveals how Joker glorifies and legitimises specific forms of violence, situating the story in a backdrop devoid of historical and political rootedness.

EPW Vol. 55, Issue No. 12, 21 Mar, 2020

In this essay, I will discuss some of the opportunities offered by Todd Phillips's Joker (2019) to engage in an "interpretative play," to use the term of Noël Carroll, with this particular work of art, and consider some of the emotional responses that the movie elicits. The perspective in this free-associative essay is subjective, and the aesthetic and non-aesthetic responses to the film elaborated here concentrate on the following selected themes: emotions and sexuality as part of the Joker's origin story and the Joker's role as an archetypal trickster in the Jungian sense.

To access the essay, please go to http://widerscreen.fi/numerot/ajankohtaista/learning-to-feel-an-essay-on-death-sex-and-tricksterism-in-todd-phillipss-joker-2019/ (published January 23, 2020)

It was noted in the previous post, that the underlying plotline structuring Sam Esmail’s Mr. Robot bears a notable resemblance to David Fincher’s Fight Club (1999). Certainly, the comparison has been duly noted and even openly acknowledged by Esmail, with the film serving as inspiration for the series (Sullivan, 2015). In the case of seasons 1 and 2, this inspiration fuels Elliot and fsociety’s attempts to erase the commercial debt that has been accumulated by E Corp. Lines from the characters are riddled with references to the increasing divide between rich and poor, and to the declining significance of democracy in the face of a social and political climate steered by liberal capitalism’s unending and unequal pursuit of wealth. As noted, these ills are embodied in the conglomerate E Corp, or, as Elliot refers to it, ‘Evil Corp’. E Corp can be thought of as a reflection of Apple, with its technology, digital payment services and loan/credit portfolios always encroaching on the lives of the series’ characters. Accordingly, while The Narrator in Fight Club seeks to bring down capitalism, by exploding the headquarters of its leading companies, Elliot seeks to reset the balance by hacking E Corp’s computer database and eradicating the consumer debt it holds. … Read more – https://cstonline.net/mr-robot-part-one-our-democracy-has-been-hacked-critiquing-mr-robot-by-jack-black/

This paper proposal explores the uses and implications of history and comedy in Joker (2019) through queer theory of failure (Edelman 2004; Halberstram 2011) and a comedy theory of broken thingness (Bergson 2003; Brown, 2001)-the interplay of the film's use of comic timing and signifiers of historical time in its diegesis. I argue that The Joker uses its black humour to probe a disjointed affective relationship to masculine dressage, and the repeating crises of a city coded as 1970s New York. While arguably courting the ironising nihilisms of the Alt-Right (Nagel, 2017), multiple points of disruption undercut a protagonist who is framed more as 'lucky fool' than 'canny trickster.' Repeated comic and diachronic failure, I argue, exposes the ambivalent thingness of postwar urban masculinity-critically, derivitively, problematically and foolishly.

« Au cinéma, on n’y voit désormais plus rien – que du feu.

Aveuglés par l’enchaînement effréné d’indénombrables artifices numériques, l’on semble aujourd’hui ne pouvoir y assister qu’à une sorte d’ignescence généralisée : des films dits "d’auteurs" aux blockbusters, on ne compte en effet plus (et saura-t-on, d’ailleurs, jamais en faire le décompte ?) les séquences au travers desquelles le cinéma paraît dorénavant incliner à sa propre incinération.

Or, si tant est que l’on n’entende pas assimiler trop hâtivement cette consomption cinématographique à un énième et réducteur effet mercantile – ce qu’elle est sans doute aussi, par ailleurs –, il apparaît que ce qui s’avère être en passe de s’y écranifier, ce soit non moins que l’éruption d’une phase aiguë, voire inédite, de "la société de consommation" (Baudrillard) ; phase que l’on serait dès lors porté à qualifier de phase de "consumation" et dont le cinéma, en tant qu’art éminemment populaire, voire que "seul grand art populaire" (Derrida), ne paraît pouvoir manquer de porter les ardents stigmates ».

Lacan, imgesel, simgesel ve gerçek süreçleri çerçevesinde Freud'un libido teorisini yeniden ele almıştır. Bu üç sürecin temeline de ayna evresini konumlandırmıştır. Lacan'ın ortaya koyduğu kavramlar, özne ve arzusu arasındaki ilişkiyi anlaşılır kılma gücüne sahiptir. İnsanı ve insanın toplumsal çerçevedeki davranışlarını anlama noktasında önemli ipuçları sunan Lacan'ın psikanaliz teorisi, Joker filmini araştırma nesnesi olarak benimseyen bu çalışma kapsamında da önemli bir rol üstlenmiştir. 2019 yılında gösterime giren Joker filmi, ana karakteri Arthur bağlamında özne ve arzu çerçevesinde derinlikli bir anlatıya sahiptir. Bu bağlamda bir özne olarak Arthur üzerinden Joker filmini ele alan bu çalışma; Lacan'ın imgesel, simgesel, gerçek ve arzu kavramları bağlamında anlatıyı çözümlemiştir. Gerçekleştirilen inceleme sonucunda, şiddeti arzu nesnesi olarak benimseyen Arthur'un; simgesel ve gerçek evrelerine tutunamama durumuna karşı bir meydan okumada bulunduğu ortaya koyulmuştur. Bu meydan okumayı, simgeselin taşıyıcısı olan baba figürüne ve onun aracılığıyla da düzeni sağlayan normlara karşı gerçekleştiren Arthur, özne olarak sağlıklı bir biçimde ilişki kuramadığı dış dünyaya, şiddet aracılığıyla buradayım demeye çalışmıştır. Sonuç olarak şiddetin öznesine dönüşen Arthur karakteri ile Joker filmi; simgesel ve gerçek evreleriyle uyumsuz bir öznenin yaşamını, Lacan'ın kavramlarına örnek oluşturan bir biçimde yansıtmıştır.

Todd Phillips’in yönetmenliğini yaptığı Joker (2019) filminde ünlü süperkahraman Batman’in ezeli düşmanı ve karşıtı olarak yaratılan Joker’in her zamanki gibi bir kötü adam olarak değil, geçmiş hayatındaki gerçek kimliği Arthur Fleck üzerinden, yaşadığı yabancılaşmış toplumun ve tekinsiz kent atmosferinin etkisi altında bir anti-kahraman olarak tasarlandığı görülür. Dünya çapında 1 milyar dolar hasılatı geçen filmin popülaritesinin temelinde, kitlelerin Joker’i bir anti-kahraman olarak benimseyip çağın gerçekliğini yansıtabilmesi bulunur. Filmdeki başkişinin hikâyesi, klasik kahraman anlatılarından farklıdır. Batman ve Joker arasındaki çatışmada da görüleceği gibi, tarihin her döneminde bulunan kahraman anlatılarında çoğu zaman kahramanın kötülüğe ya da suçlu bir karaktere karşı olan mücadelesi iyi-kötü ekseni çerçevesinde ve zıt ikilikler düzleminde ele alınır. Modern kahraman anlayışının değişimiyle beraber, postmodern dönemde kitlelerin kahraman arayışları değişime uğrar. Böylece modern kahraman, hikâyelerdeki başkişi rolünü 21. yüzyılda postmodern çağda kitlelerle daha çok bağ kurabilen anti-kahramana bırakmaya başlar. Hakikatin kaybolduğu, iyi ve kötü arasındaki ayrımın aşındığı ve kitle iletişim araçlarının yarattığı simülasyonun iletilerinin gerçeğin yerini aldığı postmodern dönemde anti-kahramanların popülerleştiği görülür. Bu çalışmada, modernlikten postmodernliğe uzanan süreçte hikâye anlatılarındaki kahramanların zaman içerisinde değişen özellikleri sosyokültürel bağlamda ele alınacak ve Joker filmindeki esas karakter Arthur Fleck’in Joker personasına dönüşümü postmodernite perspektifinden incelenecektir.

Il buffone, il giullare, il menestrello, il joker…diverse accezioni di un significato comune. Lo stereotipo collettivo di queste figure è frutto di anni e anni di storia, affonda le sue radici nell'istrione e nel mimo del Tardo Impero Romano o forse nella tradizione attorica delle culture barbare, raggiungendo la sua apoteosi certamente nel Medioevo. Il giullare è l'indiscusso protagonista delle feste, dei banchetti, della piazza in cui il popolo si riconosce e condivide tempo di svago e di conoscenza. E' colui che allieta i signori di corte, le abbiette taverne della città, ma anche gli ecclesiastici. Varie sfumature e distinzioni sono state fatte di questa figura, che socialmente non ha mai avuto una dignitosa collocazione, ma esiste su un piano altro, pur essendo emblema di continuità per tantissimi secoli. Recepito come folle, fuori dagli schemi, moralmente degradato, il giullare è stato però un'indiscus-sa compagnia per tutte le sfere sociali, che per un motivo o per l'altro l'hanno recepita come figura imprescindibile della società. Allietava persino cortei funebri, signori distrutti dai dolori della vita, e quando non abusava della sua corporeità, motivo frequente d'accusa da parte della Chiesa, era anche un mezzo utile per trasmettere insegnamenti religiosi e raccontare vite dei Santi ai meno colti. Il giullare è spesso anche un nano, uno storpio, uno zoppo, e per questo costituisce il capro espiatorio per molti re e potenti, che confrontandosi con loro si sentono automaticamente migliori e più forti agli occhi dei loro sudditi. Una specie di sadismo misto a divertimento per mascherare insicurezze personali e sociali. Un piacevolissimo buffone di nome Ribi, protagonista anche di una pagina del Decameron di Boc-caccio, ci viene raffigurato, come sovente accade, alla continua ricerca di doni e ricompense, e per questo decide di farsi rammendare le vesti con un pregiato panno scarlatto per ricoprire i buchi. Questo effetto bizzarro delle sue vesti, al cospetto di alcuni signori lombardi desta un certo stupore tanto che anche loro contribuiscono a ricoprire i suoi panni con altrettanti tessuti pregiati. Ribi è così l'anticipatore della maschera bergamasca di Arlecchino. Nomadismo e cosmopolitismo sono altri due tratti caratterizzanti del buffone. L'universalità delle sue tecniche rende i suoi spettacoli esportabili anche al di fuori dell'ambito culturale in cui è nato. Per questo si potrebbe quasi parlare di un nomadismo istituzionalizzato come sua peculia-rità. Il giullare giramondo è infatti in continua ricerca, assorbe ed esporta molteplici culture, egli stesso è un essere multiplo perché multiple sono le sue capacità spettacolari. Non ha identità su un piano produttivo e consueto. É spiazzato, ha un nome d'arte, è instabile in quanto nomade, a meno che non inizi a fare parte di una corte. Una figura quasi romantica se si pensa al viandante che erra sempre verso qualcosa di nuovo. Anche se forse a muovere il giullare è più un bi-sogno di ricompensa che di ispirazione esistenziale. Le maschere che usa sono svariate e scelte in maniera ardita. Sonagli e campanelli, creste di gal-lo, sai monacali…impossibile non riconoscerlo. La dimensione della festa è la sua prescelta, dove i rituali stabiliti e gerarchizzati, specialmente quelli medioevali, della quotidianità vengono stravolti. Non a caso in molte ricorrenze, come ad esempio il Carnevale, era frequente un vero e proprio capovolgimento dell'ordine sociale, i giullari diventavano re, signori, principi, e viceversa. Il buffone da sempre vuole infatti rompere gli schemi, fare ridere, e forse è proprio questa la sua fortuna: l'evasione che produce. L'evasione dal tempo lineare e consueto. Motivo per cui prima della Quaresima il carnevale simboleggia l'ultimo momento di svago prima di un lungo pe-riodo di penitenza. Un folle che gira il mondo tra miseria e ricchezza, che aiuta ad evadere il tempo e la sua pesan-tezza. Quello che noi oggi conosciamo come joker, il cattivo, l'emarginato sociale e di conseguen

Why does the joker dance? As two dancers from two different parts of the world, New Delhi and Guatemala City, we started a dialogue, not about the dance itself, but perhaps the meaning of dance in the film, not only as a tool in the movie, but as an immanent characteristic of the Joker as a character himself. This exchange of ideas expressed through a social media platform (without a proper start or ending), the internet became our ‘site ’ for an inter-subjective appreciation of the film started to emerge.

"Schreber kesinlikle bir yazar, ama bir şair değil. Bize yeni bir deneyim boyutu sunmaz" diyor Jacques Lacan, Psikoz üzerine olan Seminer 3'te (akt. Bruce Fink). Ben de bu yazıda yazarlıktan şairliğe yükselmeye çalışan, psikoz içerisinden psikozla birlikte kendine yol arayan, yani Arthur Fleck'ten Joker'e giden yolu aktarmaya çalışacağım.

Qual è il compito degli eroi in una catastrofe? Quando la società entra in crisi e c'è bisogno di criticarla e cambiarla, forse persino distruggerla e rivoluzionarla, la figura dell'eroe e del supereroe - difensore dello status quo par excellence - perde il suo significato. Sorge invece, dalle ceneri della catastrofe, l'antieroe. Questo non propone soluzioni, ma piuttosto porta la crisi alle estreme, catastrofiche conseguenze. Eppure, da questa distruzione, può essere creato qualcosa di nuovo. Un nuovo significato può essere ritrovato anche tra le rovine rimaste dopo la catastrofe.

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https://www.malorarivista.it/2021/01/24/un-mondo-senza-eroi-catastrofi-per-futuri-incerti/

From the very beginning of his adventures in the DC universe, the Joker has been associated with science, particularly (bio)chemistry and microbiology. Exploring some recently published narrative examples of Joker science together with the insight provided by virology and chemistry, this paper examines the scientific and cultural ideas of science conveyed by the violent clown and his scientific extravaganzas. Psychopathic, mannerist Joker science, this paper shows, is intrinsically linked to the realms of hypnotism, hysteria, ecstasy and the 'hysterical realities' of different historical, physical, medial and cultural settings. Joker science is not only about how chemistry and virology might affect the human body but it also explores notions of possession and control-contemporary notions of what was once investigated as 'criminal suggestion' or 'hypnotic crimes' on science stages and in early film. Joker science 'jokerises': it leads to loss of motor control, muscular contortions, cramps, fatal convulsions and frenetic, deadly laughter, reminiscent of the 'strange spectacle' of hysterics and the 'science performances' and 'hystericulture' developed by the showman and researcher Charcot and his many fictional revenants, all characterised by a peculiar position between science, entertainment and the occult.
***co-authored with virology Prof David Tscharke and chemistry Prof Jochen Brocks***

Examining facets of modernist visions of our technological future and of theatricalized city and stage spaces in the 1993 animated film 'Batman: Mask of the Phantasm', this article explores the cultural meaning of technology in graphic fiction. The confrontation scene between Batman and Joker in the grounds of Gotham’s World’s Fair, the author argues, echoes the 1939 New York World’s Fair with its modernist urban optimism and pop cultural fascination with new visionary technologies, as well as the modern history of moving pictures and multi-media spectacle. The article spotlights the power of the Batman story to participate in, and contribute towards, complex cultural inquiry and transmedial discourses around technology and popular entertainments. Through the exquisite medium of animation – which allows animated characters to be placed on an abstract architectural city stage – 'Mask of the Phantasm' also embodies modernist visions of the ‘ideal’ stage character in a medium that creates non-realist art and more complex possibilities for movement, thus transporting modernist thinking into the 20th century.

The Batman is a popular american superhero created by Bob Kane and Bill Finger back in 1939 whose popularity still resonates today, as we are surrounded in massive pop-cultural phenomenons. The character has a double life: Bruce Wayne by day, the Batman by night, altough he is somehow different from the other superheroes who obviously share the same hidden life: he always seems to be one step ahead, to know more than the others. And the more he knows about others, the less they seem to know about him. Gotham City, its infamous Rogue Gallery and the Batfamily mirror his idea of identity, herarchical anonimity and shared secrets. This essay is an attempt to anaylze them, as well as the Batman god-like persona and the strategies his backround and context apply in order to deal with the double-edged concepts of identity and anonimity.

Nel 2019 è uscito un film che probabilmente conserverà la sua fama per molto tempo, e ci sono vari motivi per sostenere ciò. Questo film è Joker. La sua importanza si spiega con due motivi: la capacità straordinaria di questo film di raccontare una storia già conosciuta ma comunque molto affascinante, e perciò riesce a rinarrare questa in maniera tale da accrescere sempre di più il mito in cui si va a collocare. L’altro elemento interessante da prendere in analisi è la forza comunicativa di questo film, che è stata tale da plasmare il pensiero collettivo di diversi gruppi sociali, e una sua manifestazione tangibile la si può riscontrare in casi di protesta nelle piazze in cui Joker è stato designato come simbolo. Nel primo caso la grandezza narrativa di Joker sta in primo luogo nel fatto che già il mito di questo personaggio è in sé ricco di elementi.

2019 senesinde gösterime giren Joker filmi, küresel çapta izleyici kitlesine ulaşmış olan popüler bir sinema filmidir. Filmin gösterime girdiği sene, Joker (2019) filminin başrolündeki Joker karakterinin yüz boyası, maskesi ve kostümü farklı ülkelerde gerçekleşen eylemlerde eylemciler tarafından Avatar aktivizmi kapsamında kullanılmaya başlanmıştır. Bu çalışmanın teorik kısmında, Castells'in ağ toplumu yaklaşımı benimsenerek, Avatar aktivizminin yerel ve küresel çaptaki iletişim boyutu ve etki alanı ele alınmakta ve Joker (2019) karakteri özelinde irdelenmektedir. Çalışmada, eylemcilerin Avatar aktivizmi ile, görmezden gelinen sorunlarını daha görünür kılmayı, yerel ve küresel ölçekteki kitlelere seslerini duyurmayı ve medyanın eylemlere olan ilgisini daha uzun süre canlı tutmayı amaçlaması bir iletişim taktiği olarak değerlendirilmektedir. Bu kapsamda, çalışmada Lübnan, Şili ve Çin'de gerçekleşen eylemlere, Avatar aktivizmi kapsamında Joker yüz boyası, maskesi veya kostümüyle katılan eylemcilerin, bu görünümü tercih etmelerinin nedenleri ve amaçları üzerine gazetelere ve medya kuruluşlarına yaptıkları açıklamalar nitel bir veri analizi yöntemi olan doküman analizi ile incelemeye tabi tutulmuş ve ilgili açıklamalardan doğrudan alıntılar yapılarak çalışmanın teorik ve kavramsal alt yapısı desteklenmiştir. Bu çalışma sonucunda, 2019'da Lübnan, Şili ve Çin'de eylemlere katılan eylemcilerin Joker görünümünü tercih etme neden ve amaçlarına ilişkin benzer açıklamalar yaptığı ve Avatar aktivizmi kapsamında, Joker görünümü ile görmezden gelinen sorunlarını daha görünür kılmayı amaçladıkları ortaya konmaktadır.

Este artigo busca compreender, através da trajetória do personagem Arthur Fleck no filme "Coringa", lançado no ano de 2019, a relação entre exclusão social, violência e crime. No trabalho, realizou-se um estudo exploratório, de natureza qualitativa, com coleta de dados que utilizou a ferramenta da análise fílmica. Os resultados obtidos indicam a relação entre as formas de exclusão social, através das desigualdades em sociedades capitalistas, com os diversos tipos de violência (simbólica, institucional e estrutural) e os atos criminosos. Portanto, para se pensar em soluções à violência, atenta-se para a necessidade das garantias de direitos e acesso à cidadania para aqueles em condições de vulnerabilidade social.

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E' un saggetto veloce che mostra come il film Joker sia in qualche modo una rivisitazione del romanzo di Hugo "L'uomo che ride" di Todd Philipps. Mostra però anche come la grandiosa utopia coltivata da Victor Hugo (e Rousseau), quella secondo cui il male è un prodotto sociale, si è sempre più banalizzata.

Já é sabido que Joker, um projecto do realizador Todd Phillips e de Joaquin Phoenix, entre outros, não é o típico comic book movie. Será mais correcto descrever o filme como pertencente ao sub-género dramático de filmes sobre psicopatas, como Taxi Driver (Martin Scorsese, 1976) e Silence Of The Lambs (Jonathan Demme, 1991), ambos com Jodie Foster-sendo que o primeiro inspirou o atentado contra o presidente Ronald Reagan, em 1981-assim como Psycho (Alfred Hitchcock, 1960), A Clockwork Orange (Stanley Kubrick, 1974), Blue Velvet (David Lynch, 1986), M (Fritz Lang, 1931), entre outros. De acordo com o próprio realizador de Joker, a intenção era fazer um filme com as características desse género-apresentando um estudo de carácter, uma dedicada descrição da alienação e, estilisticamente, planos demorados-mas vendê-lo como um comic book movie. O projecto acabou por ser inteiramente bem-sucedido, conforme é amplamente reconhecido tanto pela crítica que enaltece a obra como pela que a considera imperfeita ou duvidosa. Durante a maior parte do filme, as alusões ao universo da banda desenhada-como as menções a outras

2019 senesinde gösterime giren Joker filmi, küresel çapta izleyici kitlesine ulaşmış olan popüler bir sinema filmidir. Filmin gösterime girdiği sene, Joker (2019) filminin başrolündeki Joker karakterinin yüz boyası, maskesi ve kostümü farklı ülkelerde gerçekleşen eylemlerde eylemciler tarafından Avatar aktivizmi kapsamında kullanılmaya başlanmıştır. Bu çalışmanın teorik kısmında, Castells'in Ağ Toplumu yaklaşımı benimsenerek, Avatar aktivizminin yerel ve küresel çaptaki iletişim boyutu ve etki alanı ele alınmakta ve Joker (2019) karakteri özelinde irdelenmektedir. Çalışmada, eylemcilerin Avatar aktivizmi ile, görmezden gelinen sorunlarını daha görünür kılmayı, yerel ve küresel ölçekteki kitlelere seslerini duyurmayı ve medyanın eylemlere olan ilgisini daha uzun süre canlı tutmayı amaçlaması bir iletişim taktiği olarak değerlendirilmektedir. Bu kapsamda, çalışmada Lübnan, Şili ve Çin'de gerçekleşen eylemlere, Avatar aktivizmi kapsamında Joker yüz boyası, maskesi veya kostümüy...

Autorka artykułu za cel stawia sobie odnalezienie różnych postaci katastrof w tekstach kultury audiowizualnej, nazwanie ich oraz zdiagnozowanie w odniesieniu do poczucia tego, co nazywa „futurystyczną dekadencją”. Tło jej rozważań stanowią kłopoty z narracją tożsamości współczesnego człowieka w kontekście technologicznego rozwoju oraz upowszechniania postawy ponowoczesności. Wizualne teksty, po które sięga, to film Joker oraz trzy seriale: Czarnobyl, Cudotwórcy i Koniec dzieciństwa.