Batgirl is NOT Your Toy

Batman: The Killing Joke adds a prologue about Batgirl and Batman that isn’t seen in the comics, should we applaud the extra storyline or condemn its representation of Batgirl?

*SPOILER ALERT: This article contains spoilers from the recent DC animated film, Batman: The Killing Joke and may also include comic book canon outside of the source material.*

It is arguable by some that many female comic book characters are sexist, but many others justify this by the times in which they were published  or individual character traits themselves. The big issue is representation and when characters are changed to portray sexist ideals. Female characters are built up with traits that are a common representation of women, thus perpetuating a certain idea of “femininity”. However, we would argue that the latter problem is more infuriating, when female characters are fundamentally changed to create an image of submission that is out of character, especially with the case of Barbara Gordon (aka Batgirl) in The Killing Joke film.

Now, let’s make a distinction between the comic book source material that we saw in the second half of the film (which was excellent and true to the story), and this prologue that was created seemingly out of nowhere for the first 30 minutes of the film. We know that atrocious things happen to Barbara in The Killing Joke, she is shot through the spine and The Joker assaults her by taking compromising photos of her while she is incapacitated and sending them to her father, Jim Gordon. As awful as that is, it is a justifiable storyline based upon the characters in question. The Killing Joke serves as away to see The Joker in two lights; in sympathy and in disgust. We see both his backstory and motivation, the reason he is the way he is, but we also see that he is evil and an all-around bad person. The point of the story is that he wants to “prove a point” to Batman and Jim Gordon, that all people snap and do awful things when the world is unfair to them. This is possibly the worst thing about him, as he justifies his cruelty and thinks of revenge as something wholly human.

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However, Barbara’s injuries lay the groundwork in her becoming Oracle, giving outside intel to Batman from her lair when she can no longer go out and be Batgirl due to her paralysis. This gives her power despite her disability and is truly empowering to see and in-keeping with what we know and love about Batgirl. She is a strong female character, a trait she is showcasing constantly, yet in the prologue of the film, she’s seen in a completely different light.

It is appreciated that the creators wanted to add extra content to the film, but it felt like the first half was unnecessary and it ruins Batgirl. This story shows a relationship between Batman and Batgirl, painting Batgirl as a subservient character to the will of The Almighty Batman™. Of course, romantic love is not the problem here at all, love is amazing, but the fact that love is always used to weaken women while it builds up men is frankly quite preposterous. This added with the notion that every woman needs a romantic relationship while men do not, makes for an unbalanced and unfair representation of women.

This is frustrating for many reasons and the list keeps getting longer as you carry on watching. As mentioned earlier, it shows a completely out of character Batgirl, but also, Batman and Batgirl are never together in the comic books; this relationship was pretty much entirely fabricated. At times Batgirl has been seen as the love interest of Nightwing, not Batman, so it’s not even like this can be justified by the fact that they are in a relationship, if you could even call it that. Barbara spends 30 minutes of the film pining after Batman, something she just would not do. Ms Gordon is the kind of woman who would assert her feelings. She does not pine.

Furthermore, this seemingly one-sided love affair escalates into Batman and Batgirl having sex, right after an argument about Batman being controlling (because obviously even though she is a strong independent woman, she secretly likes the fact that Batman is a domineering d***head). And if this wasn’t enough to make you cringe, after their encounter Barbara Gordon gives up her role as Batgirl just because she and Batman are on different pages. She literally gives up her power and individuality because of a man.

If you still think this is all absolutely fine and in character, note the period joke (yes, there is a “time of the month” joke and it is completely tasteless), the complete lack of any sort of character from Batgirl except the overwhelmingly strong “I love Batman sooooo much, I want him to be mine and I’ll give up everything just for him to notice me!” vibe, but most importantly, please note that this entire backstory has NOTHING WHATSOEVER TO DO WITH THE KILLING JOKE.

Yes, that’s right, this 30 minutes of pining after an out of date yoghurt (Batman is great but sometimes he’s basically a dairy product past its sell-by date) is irrelevant and adds nothing to the actual story. It’s awful to write such a one-sided article when the actual Killing Joke content was brilliant, but there was just nothing redeemable about that story, and that’s not even breaking into the extra sexualisation of Batgirl through another character’s obsession with her. If you can overlook these discrepancies and focus on the second half then Batman: The Killing Joke is a genius addition to the line of DC animated films. If you can’t get over this, then Batman: The Killing Joke is just one huge joke.

What do you think about Batman: The Killing Joke? Let us know in the comments below or on our Facebook page!

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Are Trailers Ruining Films?

More and more it seems apparent that Hollywood are showing us the best parts of a film in a trailer to get us to that all important opening weekend. But is this perpetuating a disappointment in the actual substance of recent superhero films?

Lately, I have found that the spark the cinema-going experience has been somewhat dulled by something I couldn’t quite specifically fathom. At first I thought it was age. Some of you will be familiar with the four quadrant model that dictates the four main audience demographics; men over 25, men under 25, women under 25 and women over 25. The more squares a film hits, the higher the likelihood of its popularity.

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screencraft.org

However, the “easiest” two quadrants are males and females under 25, so most blockbusters aim to please this demographic. I may not be over 25 yet, but I did do Film Studies for two years and it left me quite cynical, so my first thought was that I had grown disinterested in Hollywood film and superheroes and action and fun and I was going to die alone and boring, because that’s what happens when you become a grown-up.  And then I suddenly felt like Tom Hanks in that Carly Rae Jepsen video. As I clung to the fragments of my youth, I watched every single superhero film that came out in my lifetime (yes, that includes the 2008 Incredible Hulk).

But then I made a very crucial revelation at this point, out of the recent superhero films (Batman Vs Superman, Deadpool etc) none of them I thought were bad, I actually really enjoyed them. So what made me initially disappointed? What had already happened to make me disinterested in the actual source material? THE TRAILERS!

By this, I mean that the experience of the trailers can sometimes eclipse the film itself. Yet, a good trailer usually reflects a good film, (of course there are always anomalies). What other factors are at play here? Now, the Deadpool trailers were absolutely brilliant, but upon reflecting on the actual film, I found that I couldn’t laugh out loud, as I felt I’d already experienced it. Several times. Whereas, with the Batman Vs Superman trailers, I felt they were on par with the film. But I didn’t dislike Deadpool, not even a little bit. It was absolute gold.

At this point maybe we can deduce that genre has an impact on this. With comedy, you’re likely only to get the desired reaction the first time you see the material. Even with great comedians like Peter Kay, who you can watch over and over and still laugh at, if you see it too many times consecutively, it can get old fast. Then you have to wait what seems like an age to be able to enjoy it again. With Deadpool being largely a comedy film, hearing the jokes several times before seeing the film took away some of the value and novelty of it. But with Batman Vs Superman, the attempt at comedy was minute and it focussed on action, offering a very different relationship between trailer and film.

In addition to this, many argued that putting Wonder Woman in the Batman Vs Superman Trailer took away what could have been an epic twist. However, other said that using her as a selling point was a smart move for DC, as they’ve been getting a lot of flack lately for not being as far on with their cinematic universe as Marvel is. Using Wonder Woman as a tool to increase revenue for the opening weekend undoubtedly helped them, but there wasn’t much else that could be described as novelty present in the canon of the film itself.

When this is compared to the Suicide Squad trailers for DC’s upcoming summer blockbuster, there is significant shift. Obviously excluding Will Smith (Deadshot), Jared Leto (Joker) is credited most often on posters and such, however, he is hardly present in the trailers. On the other hand, Margot Robbie (Harley Quinn) is extremely prevalent throughout, while being second to last in the list of main cast members. This makes it feel like DC are using Jared Leto’s name and star power to sell the film but are restricting the imagery of the Joker as a kind of secrecy tactic to increase buzz, because that’s really who everyone wants to see. Whereas, the image of Harley Quinn/ Margot Robbie is more notable as Robbie has been in the public eye in the recent past with American Hustle and other successful films, and Harley Quinn is often forgotten from popular media.

Overall, yes a good film is often mirroring a good trailer, but the tactical use of star power and imagery can manipulate the audience response. Also, different genres of film seem to gauge different trailer/film paradigms which can shift with time. Ultimately, the trailers generate a lot of buzz (or lack thereof) and it’s up to you to decide how involved you are in the advertising of media.

Do you think trailers add or take away from the novelty of film-going?

Let us know in the comments below or on our Facebook page!

 

Gallivanting into Gotham

A look into the first episode of Gotham and how it could build even more into the Batman franchise.

*SPOILER ALERT: This post WILL contain spoilers for the first episode of Gotham.*

The episode starts like every other Batman origin story, Bruce’s parents get shot in an alleyway, there’s the whole pearl necklace/wallet thing and Bruce yells into the sky etc. Cinematically, this part was cliche and it failed to bring anything new. There was just the regular; slow motion pearls dropping to the ground and wide shot of Bruce with his parents dead at either side of him. This is definitely visible in Batman Begins and if you thought about, you could probably trace that scene back further. Nothing new. With such an iconic first scene,one could argue that is was expected to be the same scene we’d all seen before because there’s always the fear of ruining it.

The next part is where it got decidedly more interesting, instead of the jump straight back to Bruce that occurs in almost all Batman spinoffs, we got some real backstory content. What I was most pleased with, was Jim/Barbara Gordon. They are often overlooked in the screen versions of Batman because they act as mainly a periphery to the focus of Batman. We got a glimpse of their home life before they get married and have children and I hope to see more of this chemistry between them.

This gives us real characters with individual stories to tell. Character development is extremely important in shows such as this one, so one can only hope that this high level is maintained throughout the entire series. The juxtaposition of Jim Gordon and in their unruly partnership highlights the theme of conflict even within Gotham’s own police force. This theme is prevalent throughout and will undoubtedly be a focus point in all of the episodes. It was established particularly well, as it is noticeable but also the underlying elements such as Gordon’s other relationships (with Barbara, Fish etc) make for an neat package overall.

Gotham Poster

Something that would please a lot of Batman fans was the constant references to known Batman villains. Firstly, the casting is amazing. Though our protagonist Gordon is well cast and delivered the role exceedingly well, one has to nod casting of the villains. Oswald didn’t need constant references to ‘Penguin’; he was recognisable as the character already. The same goes for a few other iconic villains, one that comes to mind is Scarecrow, which may not be apparent to new fans but is particularly prevalent to the built in Batman audience.

Having a child named Ivy was a nice twist, whether or not she will become the Poison Ivy can be disputed. However, seeing as Joseph Gordon-Levitt’s character in The Dark Knight Rises, who was supposed to be a sidekick character to Batman, was called Robin as a nudge to the comic verse. Maybe the same tactic is being used with the character of Ivy, which should make for excellent intertextuality and overlapping or parallel narratives between characters.

Another character that we see at the start, who witnesses the murder of the Waynes and keeps cropping up in unexpected places, is a young nameless woman who possibly could be our first inkling of the character of Catwoman, due to her poise and cat-like qualities.

This episode was a terrific start to the show and if this level of writing and acting is preserved, Gotham will surely become an immense hit with audiences.

Missed the first episode? No problem! Watch it on Demand 5 now!

Link to Pilot Episode of Gotham on Demand 5