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Body narratives: The embodiment of trauma and dissociation in the character Arthur Fleck in Todd Phillips' film Joker (2019).

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Title: Body narratives: The embodiment of trauma and dissociation in the character Arthur Fleck in Todd Phillips' film Joker (2019).
Authors: Nyfors, Mervi (AUTHOR)
Source: International Forum of Psychoanalysis. Sep2025, Vol. 34 Issue 3, p167-176. 10p.
Subjects: Social marginality, Polarization (Social sciences), Dance techniques, Empathy, Compassion
Abstract: Todd Phillips' film Joker (Warner Bros, 2019) is a depiction of the extreme polarization of society and the fracturing of the mind of an individual. This study examines the embodiment of trauma and dissociation in the film's main character, Arthur Fleck. These issues are examined from the perspective of personal, collective, and generational trauma. The theoretical framework of the study is based on contemporary trauma theory, and the material is examined in light of the concept of trauma-related dissociation. The trauma and dissociation of the protagonist are especially evident in his battered body, which manifests both structural and individual abuse intertwined with personal, collective, and generational traumatization. The body narrative of trauma that characterizes the protagonist is linked to involuntary laughter, as well as self-expressive dance and spastic movement. Social marginalization and Arthur Fleck's inability to remember, feel, or verbalize emotions ultimately splinter his mind, resulting in the Joker's character. The power and invulnerability of Arthur's alter ego, Joker, lie in his total emotional self-destruction. Such self-destruction also occurs on a social level, as the community and the individuals within it lose their capacity for love and compassion. This lack of empathy leads to division and complete anarchy in society. [ABSTRACT FROM AUTHOR]
Copyright of International Forum of Psychoanalysis is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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  Data: Body narratives: The embodiment of trauma and dissociation in the character Arthur Fleck in Todd Phillips' film Joker (2019).
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  Data: <searchLink fieldCode="JN" term="%22International+Forum+of+Psychoanalysis%22">International Forum of Psychoanalysis</searchLink>. Sep2025, Vol. 34 Issue 3, p167-176. 10p.
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  Data: <searchLink fieldCode="DE" term="%22Social+marginality%22">Social marginality</searchLink><br /><searchLink fieldCode="DE" term="%22Polarization+%28Social+sciences%29%22">Polarization (Social sciences)</searchLink><br /><searchLink fieldCode="DE" term="%22Dance+techniques%22">Dance techniques</searchLink><br /><searchLink fieldCode="DE" term="%22Empathy%22">Empathy</searchLink><br /><searchLink fieldCode="DE" term="%22Compassion%22">Compassion</searchLink>
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  Data: Todd Phillips' film Joker (Warner Bros, 2019) is a depiction of the extreme polarization of society and the fracturing of the mind of an individual. This study examines the embodiment of trauma and dissociation in the film's main character, Arthur Fleck. These issues are examined from the perspective of personal, collective, and generational trauma. The theoretical framework of the study is based on contemporary trauma theory, and the material is examined in light of the concept of trauma-related dissociation. The trauma and dissociation of the protagonist are especially evident in his battered body, which manifests both structural and individual abuse intertwined with personal, collective, and generational traumatization. The body narrative of trauma that characterizes the protagonist is linked to involuntary laughter, as well as self-expressive dance and spastic movement. Social marginalization and Arthur Fleck's inability to remember, feel, or verbalize emotions ultimately splinter his mind, resulting in the Joker's character. The power and invulnerability of Arthur's alter ego, Joker, lie in his total emotional self-destruction. Such self-destruction also occurs on a social level, as the community and the individuals within it lose their capacity for love and compassion. This lack of empathy leads to division and complete anarchy in society. [ABSTRACT FROM AUTHOR]
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  Data: <i>Copyright of International Forum of Psychoanalysis is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.</i> (Copyright applies to all Abstracts.)
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      – Type: doi
        Value: 10.1080/0803706X.2024.2435647
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      – Code: eng
        Text: English
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        Type: general
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      – SubjectFull: Dance techniques
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      – SubjectFull: Empathy
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              Text: Sep2025
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