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The Killing Joke: The Ethics of ‘Joker’

photograph of joker graffiti on wall

Batman and his archnemesis the Joker have been battling for almost eighty years. Since the Joker’s first appearance in Batman #1, the Batman versus the Joker rivalry has been taken from comic book pages and blown up on the big screen. From Cesar Romero’s slapstick take on the clown to Jack Nicholson’s off putting rendition, to Mark Hamill’s comically creepy voice acting, to Heath Ledger’s version, and finally Jared Leto’s, the Joker character has equally creeped out and engaged audiences for decades. Now, the clown has made his return to the big screen in director Todd Philips’ Joker. But this isn’t your typical Batman versus Joker story. It’s all about the homicidal clown’s backstory and how he takes over Gotham City. While the film has received great reviews, there’s a narrative of discontent attached to it. In the wake of a surge of mass shootings in the United States, some moviegoers have called Joker insensitive for how the film handles the character. The controversy surrounding the film asks the question: Should Joker have even been released at the time that it was?

The obvious answer here, and one that a business person or really anyone who can count, is yes. After all, the film earned $849 million globally, and $47.8 internationally over the weekend, with a budget of $64 million. But money isn’t the issue here; it’s what the movie means and how it’s message has translated to audiences.

It all started with the premiere of Joker at the Venice Film festival. The story of mentally ill Arthur Fleck, a struggling comedian in Gotham who has everything taken from him and descends into madness, resonated with the audience in Venice. So much so that the film was awarded a Golden Lion for best film. But on the other hand, critics pointed out that the disturbing story of Arthur Fleck hit too close to home regarding some of the recent events that have occurred in the United States. In Joker, at the peak of Fleck’s misery, he commits murder and realizes that he enjoys it. Finally, at the high point of the movie, Fleck “becomes” the Joker as he commits murder in front of a studio audience.

In response, critics explained that the Joker’s character inspires angry, misogynistic young men who’ve been responsible for far-right and white supremacist violence. Indeed, some of the most recent mass shootings have been caused by white men. For example, in August, Patrick Crusius entered a Walmart in El Paso, Texas and killed 22 people. Later, it was revealed that his motive was to kill as many Latinx people as possible. Nikolas Cruz, the gunman who murdered 17 students at Stoneman Douglas High School in Parkland Florida, was known to have a “desire to kill people.” Self-proclaimed white supremacist Dylan Roof entered a church and killed 9 African American worshippers in hopes of starting a race war. With these mass shootings in mind, it’s then understandable why Vanity Fair’s Richard Lawson would say that Joker “may be irresponsible propaganda for the very men it pathologizes.” He might have a point. In the film, Fleck’s life automatically garners sympathy, as the opening shot of the film is him getting beaten up in a clown suit. Misfortune after misfortune, it’s almost as if Fleck has no choice but to become the Joker. And at the same time, the film suggests that maybe–just maybe–if a few lies weren’t told and Fleck was loved a bit more, he wouldn’t have become what he did. Now, with this in mind, how many more Patrick Crusiuses and Nikolas Cruzes are out there? What are the chances that they see Joker and identify with the character to such an extent that they feel inspired by him? Even the background of Adam Lanza, the gunman who killed 20 children and 6 adults at Sandy Hook Elementary School mirrors Arthur Fleck’s in Joker, as they both have behavioral issues, mental health problems, and detrimental relationships with their mothers. 

But Lawson wasn’t the only one with these concerns either. Families of the victims of the Aurora shooting in 2012, where a gunman opened fire on moviegoers watching The Dark Knight Rises, penned a letter to Warner Bros, the studio that made Joker, calling for them to use their platform to fight gun violence. In response, Warner Bros. said that Joker is not an endorsement of any real-world violence. Todd Philips then went on to say that the movie is more about a lack of compassion in the world than anything, and Joaquin Phoenix, the actor who plays the Joker, remarked that viewers should simply take the film for what it is. Maybe Philips and Phoenix have a point. Philips went on to say that art can be complicated, and it’s often meant to be complicated. Maybe that’s what Joker should be taken as–art. As a movie. Just because the film is relevant to some real-world events shouldn’t mean that it can’t be released or it should be criticized for reflecting real-world issues. The tragic shootings that have happened will always be a part of U.S history, so what difference does it makes if the film came out 5 or 10 years from now? No matter when this movie would come out, the real-world events that have happened would be associated with it.

But then, there’s another side to this Joker controversy. Protesters in Beirut over thecountry’s financial crisis have started to paint their faces like the Joker. Photos of people in Joker masks and face paint have been popping up in Hong Kong and Chile as individuals protests against their respective governments. Internationally, it’s as if the Joker has become a symbol of revolution, not a twisted justification for violence. But if the Joker has then become this symbol for protest, can the film still really be seen as just art–as just a movie? It seems that the film has gone past box office expectations, not in terms of money, but becoming a global phenomenon. In the same vein, the film’s international influence almost prevents it from being contained within itself. It’s sheer influence brings it into the real world. So maybe, the film did need to be released and the world needed to see the Joker on the big screen again. Because either way you look at it, the film proposes an idea–be it terrorism or revolution. Now, since the film’s release, there haven’t been any mass shootings, but perhaps the reason that the film shouldn’t have made it to theaters is the fear of what someone who thinks that those two ideas are synonymous would do.

Christianity’s Role in Alt-Right Terrorism: More than an Aesthetic

photograph of alt-right rally

In the wake of the April 27th, 2019 shooting at the Chabad of Poway synagogue in San Diego County, California, fears of a rise in modern antisemitism continue to grow. The gunman that opened fire on the congregation’s Passover worship—killing 60-year-old Lori Kaye and wounding three others—posted an “open letter” filled with political conspiracies, racial slurs, biblical scripture, and Christian theology to the website 8chan shortly before the attack. The gunman’s rhetoric and motives classify him as a member of the alt-right: “a range of people on the extreme right who reject mainstream conservatism in favor of forms of conservatism that embrace implicit or explicit racism or white supremacy.”

For the most part, the internet is the primary radicalizing force for alt-right members. Website chat-rooms like 8chan and Gab, flaunting the value of free speech, attract people hoping to share their odious views and plan acts of violence. In corners of the internet, hate and ignorance combine for deadly affect. In his Prindle Post article, author Alex Layton examined the role that antisemitic political conspiracy played in the October 27, 2018 attack on the Tree of Life synagogue in Pittsburg, noting that the shooter “bought into [and was motivated by] a conspiracy that the Hebrew Immigrant Aid Society (HIAS) was leading the caravan of refugees who have been migrating from Honduras to the U.S.-Mexico border in recent weeks.” These antisemitic political conspiracies are characterized by what’s known as “secondary antisemitism” where the roles of perpetrator and victimhood are reversed. Prindle Post author Amy Elyse Gordon analyzed how secondary antisemitism was used in the manifesto of the Tree of Life synagogue attacker, saying, “This . . . rhetoric of victimization, including his claims that Jews were committing genocide against ‘his people’ . . . moments before he shoots up a crowd of morning worshipers, is the idea that the real relationships of victimhood are being obscured. This statement reads like a pre-emptive self-absolution for a mass shooting as an act of self-defense.” Political conspiracies and secondary antisemitism certainly motivate attackers, but an underexamined area of influence on alt-right terrorists and their sympathizers may actually lie in the disparate texts reflecting debate and diversity within early Christian tradition.  

The Berkeley Center for Religion, Peace, and World Affairs notes that ideas of “traditional Christianity” have heavily influenced the rise of the American alt-right movement, but that “it is important to note that it is almost exclusively an aesthetic phenomenon and not a theological one. Actual Christian theology, in general, is quite hostile ground for the theories of scientific racism . . . and blood and soil ‘volkism’ favored by the alt-right to take root.” The claim of a primarily aesthetic connection between Christianity and the alt-right is to say that Christian symbolism is being exploited to create the appearance of Christendom within alt-right worldviews. For example, the Christian Identity movement—one of seventeen Christian hate groups listed by the Southern Poverty Law Center—is based on the postulate that only European whites are the descendants of the Lost Tribes of Israel. The movement, then, is built on an aesthetic of Judeo-Christian tradition despite the fact that its white supremacist reading of the bible is entirely unfounded. While alt-right terrorism certainly fabricates a Christian aesthetic, how deep are the theological roots of antisemitism on which they base their ideology?

Antisemitism is a complex, vile, and ever-evolving prejudice against the Jewish community. Antisemitism manifests itself in many ways, but one major example stems from the early Christian idea that the Jewish people were responsible for the murder of Jesus. Despite the fact that only Roman authorities had the power to condemn people to death, the canonical gospels depict the Jewish people as demanding the crucifixion Christ. The Gospel of Matthew, even portrays the Jewish crowds as verbally accepting the responsibility for the death of Christ: “When Pilate saw that he was getting nowhere, but that instead an uproar was starting, he took water and washed his hands in front of the crowd. ‘I am innocent of this man’s blood,’ he said. ‘It is your responsibility!’ / All the people answered, ‘His blood is on us and on our children’” (Matthew 27:24-25). This passage was cited verbatim as justification for the attack on the Chabad of Poway synagogue in the shooter’s open letter.

Professor of Hebrew and Judaic studies at New York University, Annette Reed, says that the diabolization of the Jewish people was “just one of a broad continuum of different [rhetorical] strategies by which followers of Jesus made sense of their relation to Judaism.”

Christianity was not made legal in the Roman empire until 313 CE when emperor Constantine issued the edict of Milan—roughly three hundred years after the Crucifixion. Downplaying the role of Roman authorities in the death of Christ would have been advantageous for a religion attempting to gain political and cultural acceptance in Rome. At this time, the Christian tradition was also working through tensions of self-identification and began to define itself as separate from Judaism.

At the heart of the separation between early Jesus followers and Judaism lies an anxiety about Christianity’s responsibility for antisemitism. John Gager, Professor of Religion at Princeton University, writes, “The study of relations between Judaism and early Christianity, perhaps more than any other area of modern scholarship, has felt the impact of WWII and its aftermath. The experience of the Holocaust reintroduced with unprecedented urgency the question of Christianity’s responsibility for anti-Semitism: not simply whether individual Christians had added fuel to modern European anti-Semitism, but whether Christianity itself was, in its essence and from its beginnings, the primary source of anti-Semitism in Western culture.”

Embedded within the very identity of Christianity lies a troubling cause of antisemitism: the idea that Christians have replaced the Jewish people as the people of God. The Epistle to the Hebrews stands as one example of this idea—called supersessionism. The Jewish Annotated New Testament (second edition) says Christianity “understood itself as having replaced not just the covenant between Israel and God, but Judaism as a religion . . . Supersessionist theology inscribes Judaism as an obsolete, illegitimate religion, and in the New Testament this idea is articulated no more plainly than in Hebrews.”  Hebrews argues for the superiority of Christ over Jewish tradition—one point in a complex navigation of Christian-Jewish relations by early Jesus followers. However, the Christian view of Judaism as an invalid religion coupled with a scapegoating of the Jewish people for the Crucifixion of Christ can and has been read to justify egregious acts of violence.

Instead of asking if antisemitism ‘exists’ in the earliest thoughts and writings of Christ-followers, it may be more helpful to ask if the New Testament motivates antisemitic thought—whether it’s ‘there’ or not. Professor Reed points out that glaring anti-Jewish messages in the New Testament existed within a context of  “inner-Christian debate in which there were also others who were stressing instead the Jewishness of both Jesus and authentic forms of Christianity.” These anti-Jewish sentiments should then be understood within the context of the early Christian movement to separate itself from Judaism. Mark Leuchter, a Professor of religion and Judaism at Temple University, says, “Once the New Testament became holy specifically to Christians, the original context for debate was lost,” allowing the New Testament to become “justification for anti-Jewish violence and hatred . . . in ways that many Christians don’t even realize.”

The Chabad of Poway synagogue shooter was a member of the Orthodox Presbyterian Church—an evangelical denomination founded to counter liberalism in mainline Presbyterianism. After reading the Christian theology present in the shooter’s manifesto, Reverend of the church, Mika Edmondson, said, “We can’t pretend as though we didn’t have some responsibility for him — he was radicalized into white nationalism from within the very midst of our church.”

Also in response to reading the shooter’s manifesto, Reverend Duke Kwon of the Presbyterian Church in America says, “you actually hear a frighteningly clear articulation of the Christian theology in certain sentences and paragraphs. He has, in some ways, been well taught in the church.” To address the violent and growing crisis of alt-right, domestic terrorism in the United States, the Christian church must do more than simply condemn such acts. Christians, especially conservative, evangelical denominations whose political ideology engage alt-right views, should recognize that their teachings can and are being conflated with white nationalism. Practicing Christians are quick to defend the Bible in the face of criticism, but in this case there is more at stake than reputation. The connections between alt-right ideology and Christianity go dangerously beyond simple aesthetics. The reason Christian aesthetics are so widely co-opted by proponents of white supremacy is because early Christian scripture and the very identity of the Christian tradition has roots in anti-Jewish sentiment. Those who choose to ignore this reality become complacent in its tragic consequences.

Doxxing for Social Justice

In 2015, after Lindsey Graham said that Donald Trump should “stop being a jackass,” Trump read Graham’s personal cell phone number aloud to a crowd at one of his campaign rallies and urged people to call the number. Journalists who dialed the number were directed to an automated voicemail account reporting “Lindsey Graham is not available.” His voicemail inbox was, unsurprisingly, full.

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Should Scholars Engage with the Alt-Right?

This week, a debate between Jorge Ramos and Jared Taylor went viral in Spanish language social networks. The debate was originally an interview for Hate Rising, a documentary that aired last October. Ramos is one of Univision’s anchors, and he was infamously expelled by then-candidate Donald Trump from a press conference. Taylor is the editor of American Renaissance, a white nationalist organization that became one of the most visible representatives of the alt-right; he also enthusiastically supports President Trump.

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The Alt-Right and the Dangers of Political Self-Identification

Americans on both side of the aisle were inflamed after Richard Spencer’s racist, nationalist speech to his think tank, the National Policy Institute, seemed to mirror the rhetoric of fascism that shrouded Donald Trump’s campaign. Following the November 19th speech at NPI’s conference, Spencer’s supporters responded with Nazi salutes, and President-elect Trump disavowed this endorsement, but most notably, media coverage of the event gave undivided attention to Trump’s supporters on the “alt-right.”

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