Il recente film sul nemico di Batman, rappresenta la malattia mentale in un modo che non è né facilmente accettabile né ignorabile. Nel dibattito in corso sulle narrazioni e rappresentazioni buone e cattive della malattia mentale, Joker evidentemente fornisce un quadro unico che è contaminato da molteplici obiettivi.
Articolo di Amala Poli su Synapsis (in inglese)
Joker (2019), a film directed by Todd Phillips, and co-produced by Todd Phillips, Bradley Cooper, and Emma Tillinger Koskoff, represents mental illness in a way that is neither easily acceptable or dismissible. Some critics have viewed the film as a troubling representation of mental illness due to its construction of the troubled supervillain (Driscoll and Husain), whereas other voices include famous neurocriminologist Adrian Raine, who found the film to be a “great educational tool” (Miller). In the ongoing debate about good and bad representations of mental illness, Joker provides a unique picture that is smattered with multiple objectives ranging from the construction of a backstory to the exploration of Arthur Fleck’s psyche. Though the movie does provide a history to the supervillain Joker, I wish to argue instead that it does so through a careful construction of a narrative of deteriorating mental health as a response to highly stressful and damaging incidents and people, combined with childhood trauma.