تحليل محتواي كيفي فيلم «جوكر» با رويكرد جرم‌شناسي فرهنگي

Qualitative Content Analysis of the Film "Joker" with a Cultural Criminology Approach

ﭼﮑﯿﺪه ﯾﮑﯽ از ﻣﺤﻮرﻫﺎي ﻣﻬﻢ ﺟﺮم ﺷﻨﺎﺳﯽ ﻓﺮﻫﻨﮕﯽ ﺑﻪ ﻋﻨﻮان ﯾﮑﯽ از رﺷﺘﻪ ﻫﺎي ﻣﻄﺎﻟﻌﺎﺗﯽ ﺟﺮم ﺷﻨﺎﺳﯽ اﻧﺘﻘﺎدي، ﺗﺒﯿﯿﻦ ﻫﺎي ﺳﯿﻨﻤﺎﯾﯽ از ﺟﺮم و ﻋﺪاﻟﺖ ﮐﯿﻔﺮي اﺳﺖ. ﺑﺮ اﺳﺎس اﻧﺪﯾﺸﻪ ﻫﺎي ﭘﺴﺎﺳﺎﺧﺘﺎرﮔﺮاﯾﺎﻧﻪ، ﺑﺎزﻧﻤﺎﯾﯽ ﺟﺮم در آﺛﺎر ﺳـﯿﻨﻤﺎﯾﯽ ﻧﺘﯿﺠﻪ ﺑﺮﺳﺎﺧﺖ ﻫﺎي ﻓﺮﻫﻨﮕﯽ و ﺑﺎﻓﺖ ﻗﺪرت اﺟﺘﻤﺎﻋﯽ اﺳﺖ. ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗـﺄﺛﯿﺮ ﻓﺰاﯾﻨـﺪه ﺳـﯿﻨﻤﺎ در ﻗﻠﻤـﺮوي اﯾﺠـﺎد درك ﻋﻤﻮﻣﯽ ﻧﺴﺒﺖ ﺑﻪ ﺟﺮم و اﻓﺰاﯾﺶ ﻣﺨﺎﻃﺒﺎن اﯾﻦ ﻫﻨﺮ، ﭘﮋوﻫﺶ ﺣﺎﺿﺮ درﺻﺪد اﺳﺖ ﺗﺎ ﺑﺎ روش ﺗﺤﻠﯿﻞ ﻣﺤﺘـﻮاي ﮐﯿﻔﯽ، ﻓﯿﻠﻢ ﺳﯿﻨﻤﺎﯾﯽ »ﺟﻮﮐﺮ« را در ﭘﺮﺗﻮ ﯾﺎﻓﺘﻪ ﻫﺎي ﺟﺮم ﺷﻨﺎﺳﯽ ﻓﺮﻫﻨﮕﯽ ﺗﺤﻠﯿﻞ و ﻧﻘﺪ ﮐﻨﺪ. ﺑﺮ اﺳﺎس ﯾﺎﻓﺘـﻪ ﻫـﺎي ﺣﺎﺻﻞ از ﺗﺤﻠﯿﻞ ﻣﺤﺘﻮا، ﻓﯿﻠﻢ »ﺟﻮﮐﺮ« ﺑﺎ روﯾﮑﺮد اﻧﺘﻘﺎدي و ﺿﺪ ﻧﻈﺎم ﺳﺮﻣﺎﯾﻪ داري ﺑﺮ ﭼﻬﺎر ﻣﺤﻮر اﺳﺎﺳﯽ ﮐﺎرﻧـﺎوال ﺟﺮم، ﻟﺬت از ﺟﺮم، ﺟﺮم ﺑﻪ ﻣﺜﺎﺑﻪ ﻓﺮﻫﻨﮓ و داﺳﺘﺎن ﺟﺮم ﻣﺘﻤﺮﮐﺰ اﺳﺖ. ﺑﺎ اﯾﻦ ﺣﺎل، ارزﯾﺎﺑﯽ ﮐﻠﯽ ﻓﯿﻠﻢ ﺑﺎ ﺗﺄﮐﯿﺪ ﺑـﺮ ﻣﻌﺎﻧﯽ ﻧﻬﺎن ﻧﺸﺎن ﻣﯽ دﻫﺪ ﮐﻪ ﻣﺆﻟﻒ ﺑﺎ اﻓﺮاط در ﺗﻮﺳﻞ ﺑﻪ روﯾﮑﺮدﻫﺎي اﻧﺘﻘﺎدي، از ﯾـ ﮏ ﺳـﻮ، ﭘـﺮوژه ﻗﻬﺮﻣـﺎن ﺳـﺎزي ﻣﺠﺮم را در دﺳﺘﻮر ﮐﺎر ﺧﻮد ﻗﺮار داده و از ﺳﻮي دﯾﮕﺮ، ﻣﯿﺎن ﺧﺎﺳﺘﮕﺎه ﻓﺮﻫﻨﮕﯽ ﺟﺮم و ﺗﻮزﯾﻊ ﻧﺎﺑﺮاﺑﺮ ﺛـﺮوت ارﺗﺒـﺎط غيرﻣﻨﺴﺠﻢ ﺑﺮﻗﺮار ﮐﺮده اﺳﺖ

One of the important axes of cultural criminology as one of the fields of study of critical criminology is cinematic explanations of crime and criminal justice. According to poststructuralist ideas, the representation of crime in cinematic works is the result of cultural constructions and the fabric of social power. Considering the increasing influence of cinema in the field of creating a public understanding of crime and increasing the audience of this art, the present study intends to analyze and critique the film "Joker" in the light of cultural criminology findings by qualitative content analysis. Based on the findings of the content analysis, the film "Joker" with a critical and anti-capitalist approach focuses on the four basic axes of crime carnival, crime pleasure, and crime as a culture and crime story. However, the overall evaluation of the film with emphasis on hidden meanings shows that the author, by indulging in critical approaches, on the one hand puts the project of criminal heroism on his agenda and on the other hand establishes an incoherent relationship between the cultural origin of crime and unequal distribution of wealth.