The Dark Knight: A Post-9/11 Tale (Part One)

In my last semester of college, I completed a writing portfolio entitled "Exploring Modern American Culture through Contemporary Cinema." It contained four essays dissecting four recent films. I started with Christopher Nolan's dark epic The Dark Knight (2008). The first part of that essay is below. I will post a new portfolio excerpt every day.

 

The Dark Knight: A Post-9/11 Tale

Introduction

There is no doubt the terrorist attacks of September 11th, 2001 have had a lasting and profound effect on the United States. An assault of such magnitude had never before taken place within the country’s borders; almost 3,000 people were killed (United States). The events of 9/11 stunned civilians and pushed leaders to take decisive, dramatic action. A multitude of Americans have decried the counterterrorism effort that followed. In October 2001, the United States invaded Afghanistan, kicking off a decade-long War on Terror. Around this time, the government also implemented strict security measures and started organizations like the Department of Homeland Security and its agency the Transportation Security Administration (TSA). Whether their choices were ethical was – and is – a much debated topic. While some insist the extreme steps taken were necessary to ensure safety, others are more skeptical, calling them “crimes of the most serious kind” (deHaven-Smith 403). The effects of these regulations and operations – and the horrific acts of violence that inspired them – can still be felt today. From 9/11, a new, anxiety-ridden culture was born in the United States. Many of its people were left either anguished or apathetic, and those in charge were presented with innumerable difficult decisions. The whole nation has been confronted with a tough ethical question that may not have a clear answer: How far is too far when attempting to maintain order and public peace of mind in the face of unimaginable tragedy?

Numerous writers, artists, and filmmakers have tried to capture this uneasy millennial mood in their work, all with varying degrees of success. One of the most potent and acclaimed creations to come out of the influx of 9/11-tinged art is director Christopher Nolan’s 2008 blockbuster The Dark Knight. This superhero sequel to 2005’s Batman Begins paints a grim picture: the slowly evolving city of Gotham is brought to its knees by a psychotic, anarchical villain, the Joker (Heath Ledger). The unusual criminal is “a dog chasing cars,” perpetrating brutal acts of violence for no rhyme or reason (Nolan). Bruce Wayne (Christian Bale) – aka Batman – works alongside good cop Jim Gordon (Gary Oldman) and new District Attorney Harvey Dent (Aaron Eckhart) to defeat the volatile felon. The hero struggles to understand the warped worldview that drives Gotham’s most dangerous madman.

Post-9/11 culture pervades The Dark Knight. It echoes everywhere – in the characters, the dialogue, the themes. Like terrorists in New York and Washington, D.C., the Joker causes citywide hysteria and distress. There is no rational purpose for his behavior. He is driven by a strange ideology, valuing chaos above all else, insisting that the “only sensible way to live in this world is without rules” (Nolan). He declares Batman has “changed things forever” with his vigilante heroics; but the Joker, too, has left his mark, and not for the better (Nolan). He overtakes Gotham with “a few drums of gas and a couple of bullets,” instilling fear and rage in all its citizens (Nolan). One can sense early on the lingering effect the Joker will have on the city, a deep scar that will not heal quickly. The people do not understand how or why this mayhem is taking place, and in desperation, they cry out for help. Their leaders – both legal and extralegal – go to extreme lengths to stop the Joker and protect the citizens of Gotham. Given the unrest among citizens and the questionable decisions by leaders like Batman, The Dark Knight is an allegory for post-9/11 U.S. society. Gotham stands in for a nation plagued with moral ambiguity, anxiety, and fear caused by the threat of terrorism, which constantly looms over their lives.

Sources

deHaven-Smith, Lance. "State crimes against democracy in the war on terror: applying the Nuremberg principles to the Bush-Cheney Administration." Contemporary Politics. 16.4 (2010): 403-420. Print.

Nolan, Christopher, dir. The Dark Knight. Writ. Jonathan Nolan, Perf. Christian Bale, and Heath Ledger. Warner Bros., 2008. Film. 31 Oct 2013.

United States. The National Commission on Terrorist Attacks Upon the United States. The 9/11 Commission Report: Final Report of the National Commission on Terrorist Attacks Upon the United States - Executive Summary. Washington: GPO, 2004. Print.