“It’s just a
movie”, we so often hear in response to any criticism of a film’s suggestive
power over the mass psyche. Thus propaganda emanating from Hollywood is made to
appear a harmless diversion rather than the agent of social control and
transformation it actually is. When a black-clad killer stormed the
theater premiere of The Dark Knight Rises in Aurora, Colorado on
July 20th and proceeded to rake the audience with gunfire, the
exact same scenario was transpiring on-screen before them in a preview of the
upcoming picture Gangster Squad. For victims of the massacre
and the American public at large, reality and fantasy have been fused in an
alchemical wedding; it is in this realm that phantasms and flickering simulacra
deceive men and lure them to destruction. Here, too, death is master. [1]
As the final
installment of the Batman trilogy, The Dark Knight Rises is
more than a movie, just as its hero Bruce Wayne sought to overcome limits
imposed upon mere mortals. Director Christopher Nolan has crafted a film of
grand and sinister sweep, though his cinematography provides only the backdrop
to an explicit and inescapable theme: the ruin of the West, its reduction to
ashes. Even standard liberal convention, special effects and pulverizing
violence in the screenplay cannot conceal the apocalyptic vision that unfolds
before us.









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