Page - 92 - in JRFM - Journal Religion Film Media, Volume 03/01

92 | Simon Philipp Born www.jrfm.eu 2017, 3/1, 75–104 instead attests to the absence of one”,35 making him a being of pure theatrical- ity, a displayed sign of a sign (see fig. 18).36 In keeping with the film’s main preoccupation with duality, the Joker is depicted not only as Batman’s criminal equivalent but also as the ultimate counterforce who answers Batman’s desire for order with chaos.37 their combat represents the constant struggle Batman has to face as outlaw vigilante: “Batman emerges as a hero positioned in the darkness between extremes, mediating between the oppressive power of modern systems and the chaos of postmodern anarchy”.38 in view of the increasing number of victims and the experience of powerless- ness in his staged no-win scenarios, the battle against the Joker becomes a crucial test for the good. how can such boundless evil be countered? Nolan’s Dark Knight trilogy is heavily influenced by the terror attacks of 9/11 and their aftermath. his Gotham City becomes a stage for America’s current anxieties, with the audience compelled to connect their own experiences of 11 september with the experiences of the film,39 above all in the confrontation with a face- less evil with which there can be no negotiation and which cannot be dealt with: “you have nothing, nothing to threaten me with. Nothing to do with all your strength”, the Joker replies to the hard and desperate blows of the Dark Knight.40 the interrogation scene between the two in Gordon’s Police Depart- ment is a key scene of the film: under the eye of the law, Batman temporarily 35 McGowan 2012, 135. 36 fischer-Lichte 1995, 88. 37 DiPaolo 2011, 59. 38 regalado 2015, 227. 39 Muller 2011, 58. 40 The Dark Knight (2008), 01:26:32–01:26:39. Fig. 18: A natural force of evil? In his first appearance, the Joker just stands on a street corner, seemingly materialized out of nothing. Film still, The Dark Knight (Christopher Nolan, US 2008), 00:01:17.