By Robert Moses Peaslee, Robert G. Weiner
Along with Batman, Spider-Man, and Superman, the Joker stands proud as probably the most recognizable comics characters in pop culture. whereas there was loads of scholarly awareness on superheroes, little or no has been performed to appreciate supervillains. this is often the 1st educational paintings to supply a finished research of this villain, illustrating why the Joker appears to be like so proper to audiences today.
Batman’s foe has cropped up in millions of comics, various lively sequence, and 3 significant blockbuster function motion pictures because 1966. really, the Joker debuted in DC comics Batman 1 (1940) because the usual gangster, however the personality developed gradually into probably the most ominous within the heritage of sequential paintings. Batman and the Joker nearly looked as if it would outline one another as opposites, hero and nemesis, in one of those mental duality. students from a big selection of disciplines examine the Joker in the course of the lens of characteristic 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 realizing of the function comedian publication and cinematic villains play on this planet and the methods quite a few media have an effect on their interpretation. Connecting the Clown Prince of Crime to our bodies of inspiration as divergent as Karl Marx and Friedrich Nietzsche, members show the scary ways that we get the monsters we need.
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Additional resources for The Joker: A Serious Study of the Clown Prince of Crime
When asked about his method, Ledger would reply, “I don’t have a technique . . I’ve never been a believer in having one set technique on how to act. There are no rules and there is no rulebook. ”48 Ledger framed his approach to the Joker in similarly impulsive language: “Somewhere inside of me, I knew instantly what to do with [this c haracter] . . I di dn’t have to search, I h ad a plan of attack. 51 Urban legends persist to this day that this immersion into his “inner clown” deepened the dependence on the prescription antidepressants that lead to his untimely death in January 2008.
The Batman Superman Movie, directed by Toshihiko Masuda (1997; Burbank, C A: Warner Home Video, 1998), VHS. 31. Longmeadow Pr ess, Stacked D eck: G reatest Joker S tories E ver Told, Deluxe L eatherbound Series (Stamford, CT: Longmeadow, 1990). xxx I ntrodu ction 32. Martin H. , Further Adventures of the Joker: All-new Tales of the Clown Prince of Crime (New York: Bantam, 1990). Daniel Wallace, The Joker: A Visual History of the Clown Prince of Crime (New York: Universe, 2011). 34. Tony S. Daniel and Ryan Winn, Detective Comics #1, November 2011 (New York: DC Comics).
A w ide view of most or all of the principles doing a run-through of the entire scene), cutting in to closer shots of characters or objects for any necessary emphasis. 27 In c ontrast, today’s productions may jettison master shots altogether and frame the scene entirely through medium shots or closeups of each individual actor. Rather than staging multiple actors in a single, wider shot, filmmakers now will shoot close views of one actor reading their lines and then cut to individual reaction shots of the other characters.
The Joker: A Serious Study of the Clown Prince of Crime by Robert Moses Peaslee, Robert G. Weiner