vgikВестник ВГИКVestnik VGIK2074-08322713-2471ВГИК10.69975/2074-0832-2025-64-3-87-107vgik-1172Research ArticleИСТОРИЯ ЗАРУБЕЖНОГО КИНОWORLD FILM HISTORYТрансформация антимессианского дискурса в картине Тодда Филлипса «Джокер: Безумие на двоих»The Transformation of Anti-Messianic Discourse in Todd Phillips's film ‘‘Joker: Folie à Deux’’https://orcid.org/0009-0003-2183-5402ПальшковаМ. А.PalshkovaM. A.

Мария Александровна Пальшкова старший научный сотрудник

129226, Москва,  ул. Вильгельма Пика, 3

AuthorID: 940502

Maria A. Palshkova Senior Researcher; Associate Professor

AuthorID: 940502

3 Wilhelm Pieck Str., Moscow, 129226

palschkova.m@yandex.ruАналитический отдел Научно-исследовательского института киноискусства и кинообразования (НИИКК) Всероссийского государственного университета кинематографии им. С.А. Герасимова (ВГИК)РоссияAnalytical Department, Research Institute of Cinematography and Film Education (NIIKK), Russian State University of Cinematography n. a. S.A. Gerasimov (VGIK)Russian Federation202501102025173(65)87107Copyright © Пальшкова М.А., 20252025Пальшкова М.А.Palshkova M.A.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.vestnik-vgik.com/jour/article/view/1172

В данной статье предпринята попытка рассмотреть фильм Тодда Филлипса «Джокер: Безумие на двоих», считающийся одним из главных кинопровалов 2024 года, в рамках символико-сакральной парадигмы. Апеллируя к архетипам Трикстера и Тени, а также к ряду мотивов — демонического, двойнического (доппельгангер), мотива Судного дня, — автор статьи приходит к выводу, что режиссер не деконструирует супезлодейский нарратив, но последовательно разворачивает на экране историю низвержения восставшего в первой части дилогии антимессии. 

The article addresses Todd Phillips' film Joker: Folie à Deux (which is, according to popular opinion, one of the main failures of 2024) in terms of the symbolic-sacred paradigm. Appealing to the archetypes of the Trickster and the Shadow, as well as to the demonic, doppelgänger and Doomsday motives, the author comes to the conclusion that the director not just deconstructs the supervillain narrative, but also consistently unfolds on the screen the story of the overthrow of the anti-messiah who rose in rebellion in the forepart of the dilogy.

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The authors declare that there are no conflicts of interest present.