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“For my whole life, I didn’t know if I even existed. But I do. And people are starting to notice” Om att bli till, dö, återfödas & existera via manus & musik i Todd Phillips Joker

“For my whole life, I didn’t know if I even existed. But I do. And people are starting to notice” On birth, death and rebirth through script and music in Todd Phillips Joker


  • Helene Björkman

Summary, in English

This thesis is a comparative study of the original script for the film Joker (Todd Phillips, 2019) and the final cut of the film, along with a close examination of the structure of instrumental score for the film, using Claudia Gorbman and Pauline Reay’s ideas on the impact of the instrumental score on the film text.
From the results of this analysis an interpretation of the film is then made, using George Herbert Mead’s theories regarding social belonging and the creation of the self, Erving Goffman’s ideas on front-and back stage performances of the self, along with Jean Baudrillard and Friedrich Nietzsche’s thoughts concerning copies, originals and reality.
The primary results of the thesis state that the changes the instrumental score evoked on the original script have played a central part in both the creation of the fictive character Arthur Fleck/Joker as well as in the creation of his self/selves and identity/identities within the film’s diegesis.


Publishing year




Document type

Student publication for Bachelor's degree


  • Performing Arts


  • Joker
  • Arthur Fleck
  • Todd Phillips
  • film
  • comics
  • psychology
  • music
  • Hildur Gudnadottir
  • origin
  • reality
  • copies
  • Jean Baudrillard
  • Friedrich Nietzsche
  • Claudia Gorbman
  • Pauline Reays
  • film music
  • score
  • George Herbert Mead
  • Erving Goffman
  • script
  • character


  • Jonathan Rozenkrantz