The Politics of Circularity in Todd Phillips’s Joker (2019)

In the wake of the worldwide box office and critical success of Todd Phillips’s movie Joker (2019) and of the controversies which accompanied its release, this article focuses on the notion of circularity both in the film’s storytelling and its interactions with the viewer, especially through the nu...

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Main Author: Guillaume Mouleux
Format: Article
Language:English
Published: Association Française d'Etudes Américaines 2020-09-01
Series:Transatlantica
Subjects:
Online Access:https://journals.openedition.org/transatlantica/14784
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author Guillaume Mouleux
author_facet Guillaume Mouleux
author_sort Guillaume Mouleux
collection DOAJ
description In the wake of the worldwide box office and critical success of Todd Phillips’s movie Joker (2019) and of the controversies which accompanied its release, this article focuses on the notion of circularity both in the film’s storytelling and its interactions with the viewer, especially through the numerous intertextual references and evocations which are developed on screen. The point of this essay is to establish how circularity allows the film to deliver both macro- and micro-political statements, not only addressing issues relevant to society as a whole but also asserting against all odds the film’s place in the official canon of DC Comics. Paradoxically, the process of circularity also contributes to blur the message, resulting in major misunderstandings and misinterpretations of the film in the public sphere.
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spelling doaj-art-d61c2658561c4df3a233919f97cfe4a52025-01-30T10:45:39ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662020-09-01210.4000/transatlantica.14784The Politics of Circularity in Todd Phillips’s Joker (2019)Guillaume MouleuxIn the wake of the worldwide box office and critical success of Todd Phillips’s movie Joker (2019) and of the controversies which accompanied its release, this article focuses on the notion of circularity both in the film’s storytelling and its interactions with the viewer, especially through the numerous intertextual references and evocations which are developed on screen. The point of this essay is to establish how circularity allows the film to deliver both macro- and micro-political statements, not only addressing issues relevant to society as a whole but also asserting against all odds the film’s place in the official canon of DC Comics. Paradoxically, the process of circularity also contributes to blur the message, resulting in major misunderstandings and misinterpretations of the film in the public sphere.https://journals.openedition.org/transatlantica/14784violenceintertextualitycinemacomic book adaptationssocial criticismmacro-politics
spellingShingle Guillaume Mouleux
The Politics of Circularity in Todd Phillips’s Joker (2019)
Transatlantica
violence
intertextuality
cinema
comic book adaptations
social criticism
macro-politics
title The Politics of Circularity in Todd Phillips’s Joker (2019)
title_full The Politics of Circularity in Todd Phillips’s Joker (2019)
title_fullStr The Politics of Circularity in Todd Phillips’s Joker (2019)
title_full_unstemmed The Politics of Circularity in Todd Phillips’s Joker (2019)
title_short The Politics of Circularity in Todd Phillips’s Joker (2019)
title_sort politics of circularity in todd phillips s joker 2019
topic violence
intertextuality
cinema
comic book adaptations
social criticism
macro-politics
url https://journals.openedition.org/transatlantica/14784
work_keys_str_mv AT guillaumemouleux thepoliticsofcircularityintoddphillipssjoker2019
AT guillaumemouleux politicsofcircularityintoddphillipssjoker2019