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Autor(en): 
  • Lars Dittmer
  • New Evil - The Joker in "The Dark Knight" as a Prototype of the Post-September 11-Villain 
     

    (Buch)
    Dieser Artikel gilt, aufgrund seiner Grösse, beim Versand als 2 Artikel!


    Übersicht

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    Lieferstatus:   i.d.R. innert 7-14 Tagen versandfertig
    Veröffentlichung:  Oktober 2009  
    Genre:  Architektur, Archäologie, Kunst 
    ISBN:  9783640442317 
    EAN-Code: 
    9783640442317 
    Verlag:  Grin Verlag 
    Einband:  Kartoniert  
    Sprache:  English  
    Dimensionen:  H 210 mm / B 148 mm / D 8 mm 
    Gewicht:  163 gr 
    Seiten:  104 
    Zus. Info:  Paperback 
    Bewertung: Titel bewerten / Meinung schreiben
    Inhalt:
    Thesis (M.A.) from the year 2009 in the subject Film Science, grade: 1,3, University of Potsdam (Institut für Anglistik und Amerikanistik), language: English, abstract: My thesis "New Evil. The Joker in The Dark Knight as a Post-September 11-Villain" establishes a picture of Gotham City that is more "realistic" than in previous Batman films. The population of this city is realised in three parts: the mob consists of African Americans and other "Ethnic"-Americans, the JetSet is almost completely light-skinned. In between one finds Gothams police, mixed Ethnic/black and white, but also known to be corrupt. Indeed, the film follows subtle anti-state-sentiments in making the three highest officers in Gotham "Ethnic"-Americans: Garcia, Loeb and Surrillo. Only a disfunctional state makes the nightly operations of a vigilante like Batman - a person, who decides for himself what is good and what is bad - necessary. The predecessors of the Joker are the great villains of film- and culture history, starting with Shakespeares Iago up to slashers like Freddy Krueger. The Joker clearly does not fit into the three-part pattern in the first part of my paper. His malice is sourced by four different strands: references to Satan references to femininity references to disability and references to a terrorism clearly related to the one of Al-Qaeda and its supporter groups. In establishing a villain along these lines, the producers of the film address a mainstream which is in their view reactionary, latently racist and anti-emancipatory. Though the film makes exceptional statements (eg. Morgan Freeman), evil in their eyes is either black, disabled or feminin. In its displayed reaction to the new threat of the Joker - Batman sets up a surveillance systems that monitors all citizens of Gotham - the film can be interpreted as a defense of the Bush policies after 9/11.

      
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