Der JOKER – Personifiziertes Chaos Und Medienübergreifender Superschurke“

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Der JOKER – Personifiziertes Chaos Und Medienübergreifender Superschurke“ DIPLOMARBEIT Titel der Diplomarbeit „Der JOKER – personifiziertes Chaos und medienübergreifender Superschurke“ Die intermediale Figurenentwicklung des Comicschurken Joker vom gezeichneten zum bewegten Bild. Verfasserin Doris Rainalter angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater,- Film- und Medienwissenschaft Betreuer: Doz. Dr. Clemens K. Stepina Danksagung Ich möchte mich bei meiner gesamten Familie, insbesondere aber bei meinen Eltern Ingrid und Guido Rainalter für die langjährige Unterstützung während meines Studiums bedanken. Ohne Eure Liebe, Geduld, Hilfe und die aufmunternden Worte, die mich in Zeiten der Unsicherheit wieder aufgebaut haben, wären viele Hürden ungemeistert geblieben. Besonderer Dank gilt auch meinem Betreuer Dr. Clemens Stepina, der mich durch seine Vorschläge und Ideen bei der Themenausarbeitung von Anfang an unterstützt und mir die Zeit gegeben hat, die diese Arbeit bis zu ihrer Vollendung brauchte. Einen Dank auch an einige besonders wichtige Freundinnen, die mir immer mit Rat und Tat zur Seite gestanden sind und mich aufgebaut haben, ging es mit der Arbeit auch noch so langsam voran: Simone, Jenny, Karin, Claudia, Maria, Michi, Angelika, Monika, Kora, Melanie, Martina, Eva, Julia, Eveliene, Adrienn und Iris. Ich danke euch. i Inhaltsverzeichnis EINLEITUNG .................................................................................................................................................. 1 I. DIE FIGUR DES JOKERS ........................................................................................................................... 5 1 DIE ENTSTEHUNG DES „CLOWN PRINCE OF CRIME“ ............................................................. 5 1.1 DIE SCHÖPFUNG UND DER ERSTE AUFTRITT 1940 ............................................................................... 5 1.2 DER AUTORENSTREIT: KANE UND FINGER GEGEN ROBINSON ............................................................ 8 1.2.1 Exkurs: Die Verfilmung „The Man Who Laughs“ ...................................................................... 12 1.3 HISTORISCHE EINFLÜSSE ........................................................................................................................ 16 1.3.1 Der Harlekin als Spiegel der Gesellschaft .................................................................................... 16 1.3.2 Der Clown – lachender Scherzbold und Angstgestalt ............................................................ 20 1.4 DAS PERSONIFIZIERTE CHAOS GEGEN DEN DUNKLEN RITTER .......................................................... 26 1.4.1 Die Geburt von Batman ........................................................................................................................ 26 1.4.2 Gegensätze und Gemeinsamkeiten von Batman und dem Joker ....................................... 29 1.4.3 Gut und Böse im Kontext der Archetypenlehre nach C. G. Jung ......................................... 34 II. INTERMEDIALITÄT UND NARRATIVITÄT IM COMIC & FILM .................................................. 41 2 DEFINITION DES BEGRIFFS „MEDIUM“ ................................................................................... 41 3 DER BEGRIFF „INTERMEDIALITÄT“ NACH IRINA O. RAJEWSKY ................................... 47 4 DIE KONSTRUKTION DER NARRATION .................................................................................. 52 4.1 DAS MEDIUM COMIC ................................................................................................................................ 52 4.2 NARRATIVITÄT IM COMIC ....................................................................................................................... 56 4.2.1 Sequentielles Erzählen und Induktion .......................................................................................... 58 4.2.2 Der formale Aufbau einer Comic-Geschichte ............................................................................. 62 4.2.3 Kontinuität im Comic ............................................................................................................................ 64 4.2.4 Der Cartoon ............................................................................................................................................... 66 4.3 NARRATIVE ERZÄHLSTRUKTUR IM FILM .............................................................................................. 73 4.3.1 Die Heldenreise von Christopher Vogler ...................................................................................... 74 III. DER JOKER IN DEN MEDIEN ............................................................................................................ 76 5 DIE INTERMEDIALE ENTWICKLUNG IN COMIC, TV UND FILM ....................................... 76 5.1 DER JOKER IM BANN DES „COMICS CODE“: DIE 1950ER – 1960ER JAHRE................................... 76 5.2 BATMAN - DIE SERIE EROBERT DAS FERNSEHEN: 1966 - 1968 ..................................................... 83 5.2.1 Der Aufbau der Serie ............................................................................................................................. 84 5.2.2 Die Integration von Comic-Elementen in die Fernsehserie ................................................. 85 5.2.3 Die Darstellung des Jokers im Fernsehen ..................................................................................... 87 5.3 DAS DUNKLE ZEITALTER: 1973 – 1988 ............................................................................................. 89 5.3.1 Die Wiedergeburt eines Mörders: „The Jokers Five Way Revenge“ (1973) .................. 92 5.4 DIE DREI MEILENSTEINE DER BATMAN/JOKER-COMICGESCHICHTE .............................................. 98 5.4.1 Begriffsdefinition: Graphic Novel .................................................................................................... 99 5.4.2 Frank Millers „The Dark Knight Returns“ (1986) ................................................................. 102 5.4.3 Alan Moores „The Killing Joke” (1988) ...................................................................................... 108 5.4.4 Tod durch Telefonwahl: “A Death in the Family” (1988) .................................................. 117 ii 5.5 DER SPRUNG AUF DIE KINOLEINWAND: TIM BURTON’S „BATMAN“ (1989) ............................. 120 5.5.1 Der Inhalt ................................................................................................................................................ 121 5.5.2 Jack Nicholson als Joker .................................................................................................................... 127 5.5.3 Besonderheiten der Verfilmung .................................................................................................... 128 5.6 DER JOKER IN CHRISTOPHER NOLANS „THE DARK KNIGHT“(2008) .......................................... 131 5.6.1 Der Inhalt ................................................................................................................................................ 132 5.6.2 Heath Ledger als Joker ...................................................................................................................... 134 5.6.3 Die Dialektik in “The Killing Joke” im Vergleich mit “The Dark Knight” ................... 136 5.6.4 Besonderheiten der Verfilmung .................................................................................................... 138 6 CONCLUSIO ..................................................................................................................................... 140 6.1 AUSBLICK ................................................................................................................................................ 142 7 LITERATURVERZEICHNIS ......................................................................................................... 144 8 ABBILDUNGSVERZEICHNIS ...................................................................................................... 151 9 ANHANG .......................................................................................................................................... 155 9.1 ABSTRACT DEUTSCH ............................................................................................................................. 155 9.2 ABSTRACT ENGLISH .............................................................................................................................. 156 9.3 CURRICULUM VITAE .............................................................................................................................. 157 1 Einleitung „Beyond Good and Bad, there is Evil. Beyond Evil, there is Insanity. Beyond Insanity, there is THE JOKER.“1 Der Begriff „Joker“ trägt viele Konnotationen: Man kennt den Joker als zusätzliche Spielvariante bei den Wettscheinspielen der Österreichischen Lotterien und er gilt als Äquivalent für jede Art von Blatt in unterschiedlichen Kartenspielen wie Rommé, Poker oder Canasta. Im englischen Sprachgebrauch steht der Begriff „Joker“ für einen Spaßmacher. Die Verbindung zum englischen Wort „joke“, also dem Scherz beziehungsweise Witz, lässt sich ebenso wenig leugnen wie der abgeleitete Ausdruck „Joculator“, mit dem ein Gaukler oder Harlekin bezeichnet werden kann. Diesen findet man wiederum als Abbild auf der bereits zuvor erwähnten Joker-Karte. Auch im Fernsehen
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