ABSTRACT

Dancing on the thin edge between tragedy and comedy from the very first tear that rolls down Arthur Fleck’s face into the painted creases of his clown smile, Joker revels in ambivalence. In fact, it exceeds its diegetic bounds to stage a clash between two kinds of masculinity: the conformist masculinity of director Todd Phillips, known for the alcohol-fuelled bonding and casual misogyny of numerous frathouse-cum-road trip films, and the deformist masculinity of star Joaquin Phoenix, whose loner roles have plumbed the depths of masculine alienation, rage, and malaise. While Phoenix’s star persona is inseparable from his reflexive disassemblage of masculinity – to the extent of attempting to dismantle his own celebrity in the mock-documentary I’m Still Here – Phillips’ canon celebrates the comic fortitude of the male ego, able to reassemble itself after each stab at self-destruction. This article examines the ‘masculine indemnity’ common to Phillips’ films in contrast to Phoenix’s celebrity, which has been built on the willingness to flout the indemnification of white male privilege. In the unresolved mash-up between Phoenix’s and Phillips’ star-brands of masculinity, both masculinities prevail, adding fodder to the male can(n)on.

摘要

Joker在悲剧和喜剧之间的细微边缘上跳舞，从亚瑟·弗莱克（Arthur Fleck）的脸上流下的第一滴眼泪变成小丑微笑的彩绘折痕，乔克（Joker）感到模棱两可。事实上，这超过了其diegetic界上演2种阳刚之气之间的冲突：导演托德·菲利普斯的循规蹈矩的阳刚之气，对于酒精为燃料的粘接和众多frathouse-休闲厌女症称为暨在deformist阳刚之气-公路之旅电影，明星华金·菲尼克斯（Joaquin Phoenix）的单身角色使男性疏远，愤怒和不适的深度下降。虽然凤凰卫视的明星人物角色与他对阳刚之气的反省是分不开的-在某种程度上，他试图在模拟纪录片《我还在这里》中解脱自己的名人，菲利普斯（Phillips）的佳能颂扬了男性自我的喜剧性毅力，每次刺入自我毁灭后都能自我重组。本文研究了菲利普斯（Phillips）电影中常见的“男性赔偿”，而不是菲尼克斯（Phoenix）的名人，后者是出于fl视白人男性特权的意愿而建立的。在凤凰城和菲利普斯的阳刚之星之间悬而未决的混搭中，两种阳刚之气都占上风，为男性罐头增加了饲料。