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Posts Tagged ‘Batman’

Fascism for the 21st Century: Daniel Lindvall on The Dark Knight Rises

Wednesday, July 25th, 2012

Daniel Lindvall, the editor in chief of the distinguished journal Film International, has just written a brilliant essay on the new Batman film, which deftly summarizes the elitist concerns of the film, and Nolan’s work on the series as a whole.

As Lindvall writes, in part, “without the help of a time machine, watching the The Dark Knight Rises on a big screen will probably remain the closest I’ll ever get to what experiencing a Wagnerian propaganda spectacle in 1930’s Berlin must have felt like. It is not just the celebration of the übermensch in shiny black body armour, the fetishization of his equally shiny black military vehicles and war equipment, nor even the literal horde of police in dark uniforms – a police force now collectively redeemed, cleansed of all corruption – that fight by the hero’s side in the final battle of Christopher Nolan’s Batman saga. And it isn’t just the utter contempt that all of Nolan’s Batman films have for anyone looking like they may not be able to afford a home on Gotham City’s equivalent of Manhattan’s Upper West Side – police, loyal servants and orphans excepted.

Here ‘the 99 per cent’ figure only as easy-to-manipulate potential recruits to a violent mob led by psychopaths. And it isn’t, in itself, the demonization of Asia as the home of coldly inhuman intelligence and cruelty. Or that evil is so often connected to physical deformity. Hero worship, gun fetishism, glorification of the armed forces of the state, racism – none of this is new to the genre. But in this ultimate instalment, Nolan’s Batman trilogy combines it all into a story that reaches the deepest recesses of the bourgeois soul and unquestioningly celebrates the authoritarian darkness it finds there.

Bruce Wayne/Batman (Christian Bale) is not just your ordinary superhero or vigilante. Even if the films make much of his tragically (self-)imposed social isolation this does not make him an outsider or an outcast. His place is above, not outside of, society. He is no bullied loner accidentally gaining super powers, like Peter Parker/Spider-Man, and he’s no rebellious cop, like Dirty Harry Callahan.

Bruce Wayne’s powers rest ultimately on material wealth, and not just any wealth, but control over an inherited corporate empire whose main source of profit comes from the arms trade. Batman’s moral code may forbid him the use of deadly violence, but it doesn’t forbid him making a luxury living out of peddling weapons to Pentagon, including, for instance, a machine capable of vaporizing the enemy’s water supplies, intended for use in desert wars. One wonders which desert wars?

The rather worn-out question explicitly posed throughout the trilogy – whether or not it is right to take the law into your own hands – is therefore really the question about the relation between capital and the state, the arms industry and the public armed forces. Batman is a contemporary saga about the shadowy world of post-9/11 ‘security’ arrangements operating under the jurisdiction of anti-democratic ‘anti-terror’ laws and supra-legal authority in a world where the borders between the state and private corporations are increasingly permeable, whilst power escapes ever further away from the influence and scrutiny of ordinary citizens.

Of course, the Batman films never seriously questioned this form of authority in any way other than purely rhetorically. Anyone in the Gotham City universe that criticizes Batman is always portrayed as silly, ineffective, corrupt or crooked. However, if there was ever any doubt at all, The Dark Knight Rises does away with it spectacularly as the city, in an unusually distasteful scene even for this film, erects a statue of its hero pictured as a sternly watchful warrior saint.”

You can read the entire review here; brilliant rhetorical writing.

MeTV — Classic Television Programming

Thursday, February 2nd, 2012

Would you like to see some real television programming? You know, with actors, scripts, solid production values, as opposed to something like American Idol, 1,000 Ways to Die or Hoarders? Well, you may be in luck. A new cable television channel, MeTV (short for Memorable Entertainment Television) may be able to help you, assuming it’s available in your area. What do they run?

How about 12 O’Clock High, Batman, The Big Valley, The Bob Newhart Show, Bonanza, Cannon, Car 54 Where Are You?, Cheers, Columbo, Combat, Daniel Boone, The Dick Van Dyke Show, Dobie Gillis, Family Affair, The Fugitive, Get Smart, The Twilight Zone, Gunsmoke, Hawaii Five-O, Honey West, I Love Lucy, Kojak, Laurel and Hardy shorts from the 1930s, the British teleseries The Invisible Man,The Mary Tyler Moore Show, The Odd Couple, The Phil Silvers Show, The Rockford Files, The Rogues, The Untouchables, The Wild Wild West, Thriller and a whole lot more?

Tempting?

The best way to use MeTV is to simply set it up to record any of the series above that you wish on your DVR, and then save them up for a night when you can’t sleep, and can thus fast forward through the commercials, which are not, by the way, excessive. I flip on the television, and voila, there are about twenty or so programs saved up for me, and I can skip around as I choose, and enjoy the best of it.

The quality of these programs just leaps out at you, both in the dedication of actors and directors, but also the scripts, and the care of production. They’re television from the Golden Era of the late 50s through the late 1970s, and my only suggestion is that they add Topper and The Alfred Hitchcock Hour to the mix. So, if this is an option for you, by all means take advantage of it; the series above might remind older viewers of the excellence of these programs; younger viewers may be surprised at just how thoughtful and intelligent television once was.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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