By Robert Moses Peaslee, Robert G. Weiner
Along with Batman, Spider-Man, and Superman, the Joker sticks out as some of the most recognizable comics characters in pop culture. whereas there was loads of scholarly recognition on superheroes, little or no has been performed to appreciate supervillains. this can be the 1st educational paintings to supply a complete examine of this villain, illustrating why the Joker seems so suitable to audiences today.
Batman’s foe has cropped up in hundreds of thousands of comics, a number of lively sequence, and 3 significant blockbuster characteristic motion pictures on account that 1966. really, the Joker debuted in DC comics Batman 1 (1940) because the regular gangster, however the personality advanced progressively into essentially the most ominous within the heritage of sequential artwork. Batman and the Joker virtually looked as if it would outline one another as opposites, hero and nemesis, in a type of mental duality. students from a big selection of disciplines examine the Joker in the course of the lens of function movies, games, comics, politics, magic and mysticism, psychology, animation, tv, functionality experiences, and philosophy. because the first quantity that examines the Joker as complicated cultural and cross-media phenomenon, this assortment provides to our figuring out of the function comedian e-book and cinematic villains play on the earth and the methods quite a few media impact their interpretation. Connecting the Clown Prince of Crime to our bodies of suggestion as divergent as Karl Marx and Friedrich Nietzsche, individuals display the scary ways that we get the monsters we need.
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Extra info for The Joker: A Serious Study of the Clown Prince of Crime
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Coogan, 72. 42. Moore and Bolland. 43. , Punisher/Batman in D C/Marvel: C rossover C lassics II (New York: DC/Marvel, 1998), 99. 44. Kevin Smith and Walter F. Flanagan, Batman: Cacophony (New York: DC C omics, 2009), 93–95. 45. See Coogan, 78. 46. Wallace, 105. 47. John Broome and Bob Brown, Detective Comics #388, June 1969 (New York: DC Comics), 11. 48. Batman: The Movie, directed by Leslie Martinson (1966; New York: Fox Video, 1989), VHS. 49. Robert G . Weiner, “Theatre o f th e A bsurd: The 1966 Batman M ovie,” in Gotham C ity 14 Miles: 14 Essays on Why the 1960s Batman TV Series Matters, edited by Jim Beard (Edwardsville, IL: Sequart Research & Literacy Organization, 2011), 200–18.
14 While Wyatt is correct that Nicholson’s presence shapes viewer expectations in certain ways, his argument relies upon several misguided presumptions a bout h ow a ctors c onvey m eaning. W yatt a ssumes th at a star ’s v ery presence within a film transmits a stable set of personality traits to the audience. However, a ctors n ever c onvey th eir c haracters b y m erely stan ding in front of the camera. ”16 When it comes to comprehending precisely how the Joker’s gestural and vocal choices convey a sense of excess, however, W yatt’s d escription o f N icholson’s s creen p ersona remains overly broad and vague.
264–65. 43. , 52, 360. 44. Dennis McDougal, Five Easy Decades: How Jack Nicholson Became the Biggest Movie Star in Modern Times (Hoboken, NJ: Wiley, 2008), 294. 45. Tim Burton, interview by Alan Jones, in Tim Burton: Interviews, edited by Kristian Fraga (Jackson: University Press of Mississippi, 2005), 26. 46. McDougal, Five Easy Decades, 295. 47. Ibid. 48. Brian Robb, Heath Ledger: Hollywood’s Dark Star (London: Plexus Publishing, 2008), 10. 49. , 166. 50. Ibid. 51. , 175. 52. ” 53. htm. T he Joker a s Perfor man ce Style fro m R o mero to L edger 17 54.
