The Camp-Prince of Crime. Der Joker als Fläche einer Camp-Erlebnisweise: Eine Beleuchtung des genderfluiden Verhaltens und der potentiellen Homosexual
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Studienarbeit aus dem Jahr 2016 im Fachbereich Medien / Kommunikation - Film und Fernsehen, Note: 1,0, Universität zu Köln (Institut für Medien- und Theaterwissenschaften), Sprache: Deutsch, Abstract: Die einzigartige Beziehung zwischen Camp und dem Superhelden-Genre wurde mit der 1966 erstmals ausgestrahlten TV-Serie Batman begründet. Erst zwei Jahre zuvor hatte Susan Sontag mit ihrem Aufsatz "Notes on 'Camp'" (1964) den Begriff Camp im ästhetischen Diskurs stark gemacht und erste theoretische Parameter etabliert. Über die Jahrzehnte sollte nicht nur der Camp-Begriff überleben, sondern mit dem Erfolg der deutlich durch seinen Camp-Stil gekennzeichneten Serie auch die allgemeine Annahme, Camp und Superhelden in Film und Fernsehen seien unzertrennlich miteinander verknüpft. Seit Beginn des neuen Superhelden-Booms Anfang der 2000er, spätestens aber mit dem ernsteren Anstrich, den das Genre durch Christopher Nolans Batman-Filme erhielt, hat sich letzteres relativiert. Die Suche nach den Stellen, an denen Camp in diesem Genre überlebt hat, führt einen zwangsläufig zu einer seiner theatralischsten Figuren: der Joker. Diese Arbeit widmet sich der Frage, inwieweit Camp eine zentrale Eigenschaft des Jokers ist und so durch den Joker innerhalb des Superhelden-Genres ermöglicht und gefördert wird. In diesem Zusammenhang werden auch Fragen nach dem genderfluiden Verhalten des Jokers und seiner potenziellen Homosexualität beleuchtet.
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