Criminological Aporias: 'Joker' and the Desconstruction of the Hero/Villain Binary
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Abstract
This article proposes a criminological and philosophical analysis of the film 'Joker', by Todd Phillips. From the category of social memory, under the lens of deconstruction, we intend to (re) imagine the hero/villain binary that structures the hollywoodian film narrative. We propose a rethinking of the true/false binary to describe and challenge the stabilized images about the statements of science. Our writing starts from what we call Gotham City mythology, where we describe the archetypes and legends that populate the city immortalized in the comics and films. By situating the place where the scene takes place, we expose the work’s plot and situate the characters and their trajectories. We suggest that the narratives around the mythical city, populated by heroes and villains, make up part of the social memory of this peculiar genre in the history of cinema. And they accumulate valuable material from which we use different discourses to think and describe concrete problems such as conflicts, violence and crusades against deviation. The scenario described is reworked based on the criminological semantics we articulate ('criminologies of doctors, lawyers and sociologists') in the debate with the reader. In the last part, with the assistance Jacques Derrida, we propose a post-metaphysical philosophical lens of the film narrative. From the deconstruction of the hero/villain binary, we invest in the loopholes that lead to the deconstruction of the true/false binary, stabilized in scientific discourse, and the criminological etiology/social reaction binary. In the end, we suggest that the Joker film proposal constitutes a paradigm for thinking about the criminologies of 'cinema'.
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