Film genre consists of recognisable elements such as iconography, narrative devices and desired effect which define a certain film into a category. For example, the Superhero genre has known a real boom in popularity, its most distinguishable traits are binary oppositions with the protagonist and an antagonist (Hero VS Villain), action sequences and the theme of an alter-ego. Genre is important because it helps define a fan base or a cult following for your movie which determines whether it’s going to be a success or not. Casual movie-goers rely on the genre of the film as they would know which type of movie that they enjoy and which ones they don’t (A sci-fi fan won’t go and see a romcom).
The Dark Knight Rises is the last of Christopher Nolan’s highly successful “Dark Night” trilogy. In many ways, it has many conventional elements that make it a superhero movie. For example, the name “Dark Knight” is based on Frank Miller’s 1986 comic book series. The fact that the tone and themes of the movie are sourced in comic books gives it a very quintessential superhero atmosphere seeing as they originated from these publications. Furthermore, the narrative structure of the movie is very episodic – much like a series of “issues” of a comic book. This serialized structure gives off an intense story arch not unlike Todorov’s Theory. There is a clear equilibrium (The speech at a charity event for Harvey Dent) in which the city of Gotham is settled down and there is “No more organised crime”. However, a disequilibrium quickly sets in because some of the characters such as Bruce Wayne were unhappy which initiates a change (Commissioner Gordon getting shot – bringing back Batman, Bane is introduced). Finally the new equilibrium is that of Bane and Talia Ras Gul being defeated and Gotham returning to its previous state. The superhero genre uses this narrative structure a lot due to the audience recognising that peace is disturbed and a superhero is needed, then the satisfaction of the villain being defeated. It gives the audience a reason to applaud a superhero rather than seeing him/her as a crazy costumed vigilante. To continue, we can see that TDKR follows the classical narrative paradigm, especially as when the rising pattern of conflict between the protagonist and antagonist results in a climax between the two, in which Bane is ultimately defeated. The techniques of narrative urgency are also used (which is used in a lot of superhero movies such as Watchmen, Avengers Assemble and Guardians of the Galaxy) in relation to the countdown of a nuclear device set to destroy Gotham. The film is structured chronologically to emphasize the time constraints, with many references to time which intensifies as the climax builds.
In the film’s iconography, there are obvious choices that would place the movie in the superhero genre. For example there’s the costumes (Batman suit, Bane’s mask) which is the essence of the superhero – anonymity and an alter ego. Also, the settings and backdrop provide a feeling of vigilante justice, such as the secret lairs of Bane (in the sewers) and Batman (Batcave). The urban backdrop of fictional Gotham has been exploited in many recent superhero movies such as Man of Steel, Spiderman and The Avengers Assemble which gives TDKR more conventional settings for the superhero genre. In more recent years since the boom of superhero movies, CGI and ambitious special effects have been the norm as they have provided audience with a visual spectacle especially in action and chase sequences. This can be seen in TDKR, for example the chase sequence after Bane’s attack on the trading company features complicated effects and choreography to emphasize Batman and Bane’s abilities and also create suspense in the narrative. Propp’s Character Theory can also be applied to most superhero narratives and TDKR is no exception. We have the Hero/superhero of Batman, the Villain (Bane), Female love interest (Selina Kyle) and the Helper (Alfred). This all helps to categorise the multitude of the characters in the DC Universe of Batman and also gives Todorov’s narrative a more fleshed out and human side of it.
The character of Bane fits into the villain category, although he can be seen as antithetical to Bruce Wayne (started life poor and neglected). However he is more of a mirror villain to Batman (relatively equal strength, both were trained by Ras Gul, both members of League of Shadows, both work alone, both have animalistic costumes). It’s the classic “we’re not so different you and I” scenario, especially as both are rejected by society and live liminal lifestyles. He is a classic example of a superhero villain.
However, there are also elements in the movie which differentiates it from a more conventional superhero genre. For example, Selina Kyle, the “Love Interest” isn’t the classic “Damsel in distress” that we have become accustomed to (such as Lois Lane in the first Superman movies, or Mary Jane in the early 2000’s Spiderman). She is independent from all other male characters and is an active female rather than passive. We can see this when she fights Bane’s minions or when she kills Bane. Her “performance” as a vulnerable female is used to trick men into her traps, in the Bar fight scene, she changes her verbal codes and actions to appear as an innocent and submissive bystander, only to discard the act when she gets away from the police. Other scenes such as her using a feminine hat to knock out a policeman shows that she uses male patriarchy and female stereotypes to her advantage which is rarely seen in superhero movies. We can observe the patriarchal discourse in a scene when Lucius Fox says “I like your girlfriend” to Bruce Wayne when she has just saved their lives, this attempt at male appropriation shows how threatening she is to the classic superhero genre. In relation to Batman, the stereotype of a perfect and insuperable hero is broken when his physical body is broken by Bane. Most of the film is dedicated to the recovery of Bruce Wayne’s body, but also of Batman’s spirit which is unconventional for the genre as generally a superhero film focuses on the battle against the villain. Batman’s back is broken by Bane in an iconic shot which infantilises him to a hospital bed. Batman’s many failures in the movie results in a loss of many lives and the destruction of Gotham and it gives a gritty sense of hyper-realism to the fighting and consequences. Batman also has no superpowers unlike many classic superheroes and instead relies on hand to hand combat and gadgets. His costume and demeanour means that he is interpreted as a villain by the authorities. Even the name of the trilogy, “The Dark Knight” denounces an obscure sense of liminal “honour” for the city and himself.
In conclusion, I believe that TDKR has many conventional codes that define it into the superhero genre. From the costumes to the narrative structure, the film can be easily described as a classic superhero film (especially as it has originated from comic books). However the clever twists on gender and the representation of Batman himself as an anti-hero among other things could mean that this film is a more modern, gritty version of the more classic genre.
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