Jojo Rabbit used intertextuality as a central theme of history’s fantasy. Yet, Jojo Rabbit’s spitfire left an impression of controversy that sharply but unintentionally offended much of either party despite the satire’s target. Into the comedy, the world to get to a target of mockery, Jojo Rabbit, as Taika Waititi’s satire target played as Hitler’s clever, exaggerated, and parody caricature. It brings into an atmosphere about German genocidal tyrannical terror into a fantasy of “if” and hyperrealism about “the rulers are vulnerable.” However, on the bright side, Jojo Rabbit can be a film intended to be in the first place. Nevertheless, how far could parody and imaginary friends’ politics be the central theme of playing around with history and everyone?
Jojo, our main protagonist, repeatedly shouted in front of the mirror. He appeared confidently on the first day of joining Deutsches Jungvolk, a line of youth and would-be Nazi cadres. Jojo worries whether it will become awkward, babyface, or geeky. He will lose his chance to meet an idol and artist, Adolf Hitler. Luckily, his hero, Hitler, suddenly appeared behind Jojo with his iconic mustache, teaching Jojo how to shout “Heil Hitler” with complete determination. With the nickname “bro” for Hitler, it seems strange that he is exactly like a boy who loves fantasy. He creates Hitler as an imaginary friend, about his dream of becoming a Jewish hunter.
The film is set in the final years of the Second World War in a German city. However, Jojo only lives with his mother, Rosie, and his father is not home. Although Rosie says he went to war, another rumor tells that Jojo’s father had died cowardly or fled the war and had found a new place to live. Secretly too, without Jojo’s knowledge, Rosie opposed the Nazi regime and a spy for the anti-war revolution. Turning to Jojo, he loved Hitler very much. He has an array of Nazi posters and Adolf Hitler and Nazi memorabilia to the point that he makes an imaginary friend and none other than that, Adolf Hitler. Jojo begins his journey with eccentricity and energy, transmits “Heil Hitler” to others, and is excited to become a new young Nazi member.
At first glance, the representation of Hitler, or all the characters in this film, and the theme as a whole, gives a shocking impression of massacres, holocausts, wars, and things about depression in bad situations. Of course, Waititi wraps it in a comedic fashion wherein she puts stakes as if knowing this will be the worst of it. However, this representation comes in the form of irony and supposition if Jojo, in essence, understands and tries to interpret Nazi teachings in a paradigm and dogma fashion. Of course, not in a subtle way, Waititi criticized the radical organization’s social issue regarding heretical beliefs from an early age. Radical organizations often invite young children to spread their teachings, hoping that they will continue a paradigm when it becomes mature.
Jojo’s situation is like that of a child who still thinks racism is the best, most beautiful garden ever. It is cliche and immature, but it is true. Nazi teachings exposed Jojo from an early age, wherein his head, Nazis were everything. Apart from his father being accused of being anti-Nazi, Jojo feels responsible for clearing his family name. He does not know what else to become if he does not become a Nazi cadre. However, Jojo never fully understood what the Nazis were teaching him. Apart from just joining in while occasionally listening to the imaginary Hitler’s suggestion, Jojo’s depiction of Nazi teachings is like a bedtime fairy tale. The Nazis positioned Jews as strange monsters who only liked to eat people. Jojo illustrated it with human appearance, humming, winged, telepathic, and very ugly.
The glance of Jojo Rabbit has a derisive target for a dramatic breakdown of mocking people on ethnic grounds. It exposes the power of adult propaganda and manipulation. Meanwhile, inculcating hatred in children suggests a personal relationship proves the humanity of the persecuted minority. The historical problem of German Jews is deeply integrated into the realm of German society. It is likely that many Germans, as well as Nazis, knew their Jewish neighbors. As a political parody, Jojo Rabbit is an icon of “hatred” genocide in various ways.
Jojo Rabbit uses a narrative and intertextuality in understanding the fantasy of politics but never forgets the critical role of satire in broader ideological endeavors. Defining a literary culture as a sub-text between records, Jojo Rabbit uses a satirical political graphic of the text to challenge history. Constructed conventionally if the matter is out of scope, in this case, Jojo Rabbit implicitly summarizes these moments. Ironically, Captain Klenzendorf’s character is gay and Nazi. The moment where freedom is explained by Jojo’s mother and Elsa comically. Similarly, the formation of text circulates into a visual culture where the view is biased between seeing with a broad or narrow scope.
The movie turns out to be a premise about a Jewish woman, a child, and an imaginary friend of Hitler. Nevertheless, Jojo Rabbit has a severe impression of the brat of radicalism. Waititi used the political parody by means, absurdly, allusions of comedy material to pack radical understandings. Of course, Hitler had two testicles like an average human. However, the fantasy of intertextuality in Jojo Rabbit foremost underscores, once again, important issues about the theme. Hitler and also the Nazis became easy targets of how they became quirky, childish, and snarling characters. Jojo Rabbit explores the overlap between politics in related culture in a more strict, parliamentary sense. It is blurry and messy in a complicated way.
According to political parody, caricatures offer elaborate political commentary and participate in the narrative formation and play genres. The imaginary friend of Hitler exemplifies a discourse on coding in legal terms. In contrast to such terms, it removes boundaries so that there is no more determination in its genre. This point of view is also more emphasized by the narrow-mindedness of Jojo. His radical innocency understanding of matters of history. Likewise in the political parody, a narrative is a thought-provoking contribution to the complex cultural space occupied by graphic satire. Subsequently, Hitler became the natural overlap of refining the old ways.
As far as the condemned Jojo Rabbit gets, do not ever judge the Nazis by loyalty or even impressions. Shorthand encourages the audience to see how social empathy is from the other side; to sum up, it promotes similar sympathy for a caricature and encourages haters by angering a particular group. Either too insinuating the Nazis, the contemporary era of pop culture is not much inversely proportional to politics. On the contrary, it refers to how Jojo Rabbit encourages both sides without even think about history and Nazi. If there is anger or annoyance, then the movie works well. Caricature, from the point of view of innocence, to be honest, is not that different from delusions.
- Allen, G. (2011). Intertextuality. routledge.
- Franz, B. (2019). Jojo Rabbit. Film & History: An Interdisciplinary Journal, 49(2), 34-36.
- Hariman, R. (2008). Political parody and public culture. Quarterly Journal of Speech, 94(3), 247-272.
- Meyer, B. (2019). Fascism and cinema at the Toronto International Film Festival. Guardian (Sydney), (1889), 11.