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Magisterarbeit Messner Tamara MAGISTERARBEIT Titel der Magisterarbeit „Vom Ritter in strahlender Rüstung zum ‚Bad Guy‘?“ – Die Veränderung der Darstellung des Helden im Film als Spiegel der Generationen anhand des Beispiels „Batman“ Verfasserin Tamara Messner, Bakk.phil. angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 066 841 Studienrichtung lt. Studienblatt: Publizistik- und Kommunikationswissenschaft Betreuer: Ass.-Prof. Ing. Mag. Dr. Klaus Lojka Gender Erklärung Es wird darauf hingewiesen, dass in der vorliegenden Arbeit aus Gründen der besseren Verständlichkeit und Lesbarkeit auf genderspezifische Bezeichnungen verzichtet wurde, wobei jedoch immer sowohl das Weibliche als auch Männliche dargestellt werden soll. Danksagung/Widmung Diese Arbeit widme ich all jenen, die mich die langen Jahre meines Studiums immer gestärkt und unterstützt haben. Im Besonderen Michael Braun, meiner Muse. Inhaltsverzeichnis Theorie 1. Abkürzungsverzeichnis .............................................................................. - 1 - 2. Einleitung .................................................................................................... - 1 - 3. Comic Strips ................................................................................................ - 2 - 3.1. Definition ................................................................................................. - 2 - 3.2. Entstehungsgeschichte ........................................................................... - 3 - 4. Comic-Superhelden .................................................................................... - 5 - 4.1. Der Comic-Superheld – Definition .......................................................... - 5 - 4.2. Entstehungsgeschichte der Comic-Superhelden .................................... - 5 - 4.3. Typische Vertreter des Comic-Superhelden ........................................... - 8 - 5. Batman ....................................................................................................... - 10 - 5.1. Entstehungsgeschichte ......................................................................... - 10 - 5.2. Charakterisierung und Entwicklung in den Comic Strips ...................... - 11 - 5.3. Filmographie ......................................................................................... - 14 - 6. Vom Comic Strip zur Realverfilmung ...................................................... - 18 - 7. Theoretischer Rahmen ............................................................................. - 19 - 7.1. Cultural Studies .................................................................................... - 19 - 7.2. Katharsisthese ...................................................................................... - 20 - 7.3. Rollentheorie ........................................................................................ - 21 - 8. Forschungsfragen und Hypothesen ....................................................... - 22 - 9. Methodisches Verfahren / Untersuchungsdesign .................................. - 24 - 9.1. Film- und Fernsehanalyse nach Lothar Mikos ...................................... - 24 - 9.1.1. Figuren und Akteure ......................................................................... - 26 - 9.1.2. Die Analyse....................................................................................... - 28 - 9.2. Adaptierung der Methode nach Mikos .................................................. - 31 - Empirie 10. Ergebniskapitel ....................................................................................... - 33 - 10.1. Auswertung ......................................................................................... - 33 - 10.1.1. „Batman hält die Welt in Atem“ (1966) ............................................ - 34 - 10.1.2. „Batman“ (1989) .............................................................................. - 42 - 10.1.3. „Batmans Rückkehr“ (1992) ............................................................ - 50 - 10.1.4. „Batman Forever“ (1995) ................................................................ - 57 - 10.1.5. „Batman und Robin“ (1997) ............................................................ - 66 - 10.1.6. „Batman Begins“ (2005) ................................................................. - 74 - 10.1.7. „The Dark Knight“ (2008) ............................................................... - 83 - 10.1.8. „The Dark Knight Rises“ (2012) ...................................................... - 92 - 10.1.9. Vergleich der Batman -Versionen – innerhalb der Reihen ............ - 101 - 10.1.10. Vergleich der Bruce Wayne -Versionen – innerhalb der Reihen . - 102 - 10.1.11. Vergleich der Batman -Versionen – Reihenübergreifend ............ - 104 - 10.1.12. Vergleich der Bruce Wayne -Versionen - Reihenübergreifend .... - 105 - 10.2. Überprüfung der Hypothesen ........................................................... - 106 - 11. Conclusio .............................................................................................. - 109 - 12. Quellenverzeichnis ............................................................................... - 110 - 12.1. Monographien .................................................................................. - 110 - 12.2. Sammelbänder ................................................................................. - 111 - 12.3. Internetquellen ................................................................................. - 111 - 12.4. Filmographie der untersuchen Filme ................................................ - 111 - I. Anhang ............................................................................................................... I I.I. Transkriptionen der ausgewählten Szenen .................................................... I I.II. Lebenslauf ............................................................................................. XLVI I.III. Abstract ................................................................................................ XLVII I.III.I. Deutsch ............................................................................................. XLVII I.III.II. Englisch .......................................................................................... XLVIII Theorie 1. Abkürzungsverzeichnis AS Anhangseite bzw. beziehungsweise usw. und so weiter Vgl. Vergleiche Z Zeile z.B. zum Beispiel 2. Einleitung „Dark Knight. Caped Crusader. World’s Greatest Detective. Whatever you know him as, wherever you know him from—the blockbuster movies, TV shows, video games, cartoons, or millions of comics—Batman is proof you don’t need superpowers to be a superhero… and the poster boy for what a bad childhood can do to you. ”1 Seit nunmehr einem dreiviertel Jahrhundert begleitet Batman uns in den Comics. Fast ebenso lange auch als Film- und Fernsehheld. Welcher Held, egal ob „super“ oder „normal“, wäre sonst noch geeignet die Veränderung der Darstellung des Helden im Film als Spiegel der Generationen so umfassend darzustellen und das über einen so langen Zeitraum, wenn nicht Batman ? Wir leben in einer sich schnell wandelnden Zeit. Innovationen und Veränderungen scheinen sich die Klinke in die Hand zu geben. Diese Entwicklung hat besonders in den letzten zwei Jahrzehnten an Geschwindigkeit zugenommen. Die Globalisierung öffnete nicht nur die Welt für jeden, sondern verkomplizierte sie auch noch. Doch hat sich auch Batman mit dieser rasanten Veränderung mitentwickelt? Nachfolgend soll in dieser Arbeit klargestellt werden, ob sich der Held, als Spiegel der Generationen, verändert hat. Genauer, ob seine Darstellung und sein 1 http://www.dccomics.com/characters/batman ; 17.8.2014, 10:37 - 1 - Verhalten im Laufe der Zeit düsterer geworden sind und ob Bruce Wayne – sein Alter Ego – mehr und mehr in den Mittelpunkt gerutscht ist. 3. Comic Strips Bevor jedoch spezifisch auf Batman eingegangen werden soll, wird nachfolgend geklärt, was Comic Strips überhaupt sind, und wie sie sich entwickelt haben: 3.1. Definition „Kurzw. Für [sic!] Comic strips [sic!] (‚drolliger Streifen‘), Bildererzählung; seit ca. 1900 in den USA; waagerecht aneinandergefügte, mit Texten gekoppelte Bilderfortsetzungsgeschichte abenteuerlichen, grotesken od. utopischen Inhalts […]. Zeichnungen, die in ihrer Abfolge eine Geschichte darstellen; Texte aller Art in Sprechblasen od. an den Rändern, aber den Bildern untergeordnet; als Massenmedium in Zeitungen, Heften und Büchern.“2 Diese Definition von Marcel Feige ist sehr deskriptiv und lang und wirkt dadurch etwas unverständlich, weswegen die nachfolgende Definition als besser geeignet erscheint: „Comic Strips lassen sich durch vier Merkmale definieren: Integration von Wort und Bild, wobei das Bild dominiert; Erzählen einer Geschichte, einer Story, in mehreren Bildern; periodisches Erscheinen; feststehende Figuren.“3 Hans Zimmermanns Erklärung eines Comic Strips wirkt schon viel verständlicher, man müsste jedoch, um diese Definition als komplett ansehen zu können, einen kleinen Zusatz anfügen, den Wolfang Fuchs in seinem Werk „Comics: Anatomie eines Massenmediums“ nennt: „Der ‚Kunstanspruch‘ ist nicht primär, da die Comics für den Verbrauch und 4 nicht für Museen gemacht sind.“ 2 Feige, Marcel: Das große Comic-Lexikon, Berlin, 2001, Seite 8. 3 Zimmermann, Hans: Comic Strips im Überblick, in Zimmermann, Hans (Hrsg.): Vom Geist der Superhelden, München, 1973, Seite 13. 4 Fuchs, Wolfgang J.: Comics/ Anatomie eines Massenmediums, München,1971,
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