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Several people, knowing that I am a DC Comics fan, asked if I had seen the new film, Joker, starring Joaquin Phoenix. The answer is no, for lots of reasons. For one thing, any review or an IMDB search reveals rather quickly that the sort of graphic violence in this film is less like the sort of violence seen in appropriate film and literature and more akin to the ancient gladiator games, rightly rejected by Christians (perhaps I will write more on this later). But, secondarily, I didn’t see the film because I’m not a fan of the anti-hero turn in some genres of this medium.
Joker is, of course, in line with the “darker” turn in the comic realm rooted in 1990s deconstructions of the superhero idea such as Alan Moore’s brilliant Watchmen and The Killing Joke alongside Frank Miller’s The Dark Knight Returns. The grittiness and realism of these works were a necessary corrective to the lingering effects of the silliness of some of the Silver Age’s heroes—especially the 1960s television series Batman. People familiar with the Batman mythos rightly saw that the character was not a wisecracking comedic figure, but a tortured orphan who dressed as a bat precisely because such would strike terror into the “superstitious and cowardly lot” that are criminals.
Media - James - Poniewozik - Rise - Anti-hero
Media critic James Poniewozik traces the rise of the “grim, morally challenged” anti-hero to the post September 11 era in which heroes such as Batman and Superman often were modeled more after Jack Bauer than their previous iterations. As Poniewozik puts it, “Superman, Batman, and company have escaped countless scrapes over the decades; they have been imprisoned, tortured, dipped in acid, killed, and resurrected. But they have never been conquered so thoroughly as they were by the anti-hero ethos.”
I tend to agree. Joker, of...
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