ABSTRACT

Like the Martin Scorsese films to which it is indebted – The King of Comedy (1982), Taxi Driver (1976) and Raging Bull (1980) – Joker (Phillips 2019) dramatises male identity as crisis-ridden and a matter of performance and emulation. Arguing for Joker as being concerned not just with masculinity but also whiteness, this discussion focuses on the role of music, dance, and ideologies of entertainment in the performative self-creation of Arthur Fleck (Joaquin Phoenix), who seeks, in the manner of Rupert Pupkin, Travis Bickle, and Jake La Motta, a coherent identity lent the affirmation of an audience.

摘要

就像值得纪念的马丁·斯科塞斯电影-喜剧之王（1982），出租车司机（1976）和愤怒的公牛（1980）–小丑（Phillips 2019）一样，男性扮演的角色充满危机，并且表现和模仿问题。认为小丑不仅关注男性气质，而且关注白色气质，本次讨论的重点是音乐，舞蹈和娱乐意识形态在亚瑟·弗莱克（Joaquin Phoenix）的表演性自我创造中的作用，他以一种方式寻求连贯的身份Rupert Pupkin，Travis Bickle和Jake La Motta引起了观众的肯定。