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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.

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