Auteurism In The Dark Knight

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Introduction Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence and driving force of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his or her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to deny the rules of the studio system and create films…show more content…
Bruce Wayne is a forthright representation of a divided identity, a man attempting to find a point of equilibrium between two conflicting ideas: His father’s belief that Gotham can be united, and his irrepressible rage for vengeance and justice to the criminals. Ultimately, Bruce willingly fractures his identity and creates the Batman personae to uphold the ‘good’ his father spoke of. Dissimilar to Borden and Angier, the Batman persona is Bruce’s veridical self, and is distanced from a pretentious disguise for stage activity. Meanwhile, the Joker is an anarchist who completely lacks identity. With no name, no fingerprints, no background, the antagonist eliminates his personal features as potential identifiers. Between the two characters lies Harvey Dent, the district attorney who first seems to be incorruptible, but who in due course chooses Joker’s amoral ideology of absolute anarchy over Batman’s moral principles of justice. Similar to Leonard and Cobb (following), his dislocated, swerved identity is a result of external influence instead of having been self-conscious…show more content…
The irregular closed up shot of Bane’s face has the effect of unveiling Bruce Wayne’s fear towards the villain, as well as capturing Bane’s mysterious and overwhelming presence by illuminating only one side of his face. In addition, Nolan establishes the juxtaposition between the blurriness and sharpness that makes the character’s face appear as if it was outstretching from the frame. While the boundaries between the softness and sharpness in Nolan’s typical close up shots are clearly established, the delineation in this particular scene is obscure. In effect, the shot resembles a person’s subjective point of view that evokes the universal emotions of shock and

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