“I think there are advantages to different scales of filmmaking. You wouldn’t want to do just one thing.” As a director who has chosen to direct an extremely diverse range of films, it is not surprising to hear that Christopher Nolan acknowledges the disparities between different production settings, and Nolan seems to believe that both independent as well as the blockbuster films are viable mediums for him to express his artistic signature. Is it really the case, though, that all a director’s films are easily identifiable as his if there are vast differences in the situations in which they were produced? Using Nolan’s passion project, The Prestige, as a lens into his artistic vision, we can take the independently produced Memento and the blockbuster franchise film The Dark Knight as examples to make an inference about the impact different …show more content…
Anyone familiar with Batman, either through comics or Nolan’s trilogy knows that Bruce Wayne only became Batman due to a desire to rid Gotham City of crime after the murder of his parents. In The Dark Knight, however, there is a belief among the Gotham citizens that Batman is not saving the city but rather causing havoc and destruction. This perception clearly weighs on Wayne and is intensified when the malevolent Joker invades Gotham and causes a panic of his own, forcing Wayne to decide if Batman is truly beneficial for the city. Thus, Bruce Wayne/Batman conforms to the formula of the stereotypical Nolan main character in that he is deeply troubled by his past, a past which kindles a transformative obsession. Because both independently produced Memento and blockbuster The Dark Knight develop their characters in such similar ways, it seems that in terms of characters, Nolan’s artistic signature can be seen regardless of the film’s the production
...t have an ultimate goal to express something they care about on film. They must not only express this in their script, but carry through on it by directing, producing and pulling together many other aspects of the film by themselves. Three filmmakers that fit this description to a “t” are Kevin Smith, Spike Lee and Alfred Hitchcock. These three men all went out with the same goal: To express their views of life in extraordinary films. They all went above and beyond their call of duty and are now ranked among the top filmmakers of history, the rank of film auteurs.
Interestingly, the movie puts a twist on the the true Batman origin. By having the Joker create Batman by killing Bruce’s parents, the Batman was created to avenge evil. This being said, the traumatic experience has created a hero whose definition of justice is left to the character’s moral. Traumatized, it is clear that the Batman seeks revenge not only because the Joker murdered his parents, but also for interfering with love interest Vicki Vale. By putting Vicki Vale at risk, the Batman’s traumatic experience is tested to the limits. The origins of Batman describes a hero who will not kill, yet in this movie, the Batman easily slaughters villains with a machine gun while flying his plane. A Batman who is willing to kill cannot be justified but is seen as justified to the character as a permanent way to resolve his traumatic experience with the Joker. In the climax of the movie, Batman is hanging on the edge with Vicki Vale. Instead of just saving Vicki, Batman interferes with the Joker’s escape which ultimately leads to the Joker’s death. Through Bruce’s eyes justice was the Joker’s death when he could have just saved Vicki. Although this movie was the most entertaining, it depicts a hardened character faced with the true reality of life. Not all heroes can be pure, and this movie explicitly shows this through Bruce’s actions. Notably, Bruce
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
The Dark Knight Rises can be seen as portraying Batman as more of an ubermensch rather than a Jesus-like figure. Connecting Batman as an ubermensch conveys his superiority to a level of where he is above human but not at the state of being a Jesus-like figure. The film can be interpreted as alluding to the idea that we do not need a savior because we can have someone within humanity adapt that particular role. Even though Batman can be seen as a savior that does not necessarily make him a Jesus-like figure due to the luxuries that Batman had. His company is what allowed him to become who he is. If it weren 't for his money he probably would not be who he is now. Batman was not chosen from above to be the messiah of Gotham as opposed to Jesus who was chosen from above to be the people’s messiah. Batman at the same time carried human-like characteristics that allowed him to connect more to the people of Gotham which demonstrates that we can have a Jesus-like figure come from within humanity. A claim that can be assumed is that humanity does not necessarily need Jesus because a human, someone like Batman can take on that same role. The film also can be interpreted as trying to portray Jesus through Batman. Batman’s presence is reassuring to the people of Gotham because
Somebody who had established higher power in their community. Somebody who tried to run from fate, and has the moment of recognition and understanding of their destiny. Batman. Even though he is considered the strong and powerful superhero of Gotham City, Batman's characteristic features show that he relates strongly to that of a "tragic" hero. In the beginning, the Batman is presented at a higher state of appreciation, even though the police see him as a vigilante. Despite his wealth, Batman, otherwise known as Bruce Wayne, is easily relatable to audiences, which makes it easy to sympathize and empathize with the character. Batman is in a constant battle within himself, trying to be the good guy, while defeating the bad guys. His morals prove true when he admits that he won't kill any of the many villians that cause destruction for Gotham City. But, because of this moral, sometimes the villians end up escaping and doing more harm then good. In the end, this interal chaos and internal battle is seen interally and externally through Batman. At the end of the most recent Batman series, The Dark Knight, his exit at the end of the movie is, in essence, his figurative death. Bruce Wayne wants to keep Gotham City safe. And with the "Batman" gone, villians will be least likely to continue to destroy and conquer. As an audience, we cling to the edge of our seats and feel dismay for our beloved superhero and what is to become of
“The film was shot using a wider than usual lens so that it could be shown in I-MAX cinemas nationwide. Today’s audiences want an experience bigger than reality. We have to go that extra mile to give them that something extra.” Chris Nolan also insisted that the film should have a distinctive style which included making the film feel sincerely dark and sinister. Very rarely were the cameras sat still instead the cameras used very technical tricks e.g.: tracking, zoom. This film was originally promoted using a very unique style. Instead of paying for adverts they decided to promote the film using an alternative route. One of the ways this was accomplished was by de facing thousands of fake dollar notes by putting the jokers smile on top of the original face. A sane yet effective way was when many “Batman” recruits placed Joker cads into hundreds of books in libraries to do with death, this had the desired effect as many people became stirred up as to what this meant. The next alternative was to send out spam emails to the site named www.whysoserious.com. But when did Batman evolve as part of our lives. It was in 1939 when the world was introduced to a new hero. Bob Kane’s simple vigilante, Batman. The comics were e-introduced during the 50’s period. Yet due to Comic Book Censorship the violence was forced to gradually become weaker. The well anticipated Batman retuned in the 1970’s. Yet to intrigue a wider variety of audience he appeared more complicated and violent than previous comics. Today’s Batman comics show Batman as a real man with realistic and varied dilemmas. Due to these changes Batman is now one of the most original and adored comic book heroes. Nolan’s interpretation is a variety of the previous comics. It includes the violence of the First Batman mixed with the complexity and realism of today’s modern comics.
The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound helps to resolve the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various
...revolutionize a whole new genre of movie, a genre which is fast becoming more and moe popular. 'As filmmaking technology has made it more and more feasible to bring the worlds of the comics to movie theaters, the comics themselves have begun to provide a broader and richer array of material.. from which films might be made' (Booker 2007: Paul Benton, Lecture notes). All the mentioned arguments throughout this essay on top of; the star performances, unique marketing and special effects, help make The Dark Knight a truly great film. Prior to the movies release it was questioned wether the film could sustain the 'increasing moral weight imposed upon it', the movie to date has more than dealt with this pressure, and has become a focal point for many discussions and essays, and finally it is because of the morals and ethics within the movie that I have written this essay.
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
Much of director and auteur Christopher Nolan’s filmography, while non-linear, does not necessarily conform as such; The Prestige, a tale of competing 19th century magicians, is told non-chronologically through three time periods via the journals of said magicians. The Prestige benefits from the non-linear narrative, and many key plot twists, including much of the third act, would be lessened in significance if they were instead
Best known for his unique and non-linear style and to many people as the best director of the past decade, Christopher Jonathan James Nolan or just simply Christopher Nolan, is one of the most talented and influential film directors and screenwriters of our time. He, like most directors have never studied film and is a self-taught filmmaker. In this essay I am going to write about his early life and how he got into filmmaking. His early career and his rise to fame with Batman movies, his personal life and the influences he have had on the film industry which makes him one of the best directors of all time and my personal favorite.
” … an auteur is able to maintain a consistency of style and theme by working against the constraints of the Hollywood mode of production.” – Warren Buckland (2008)
Any fan of Batman knows that “Batman Begins” and “The Dark Knight” are two of the best Batman films made in the seventy-eight years that Batman has been around. The plots really make you look deep in yourself and show the true and more real sides of the characters of the Batman world. Each movie shows the evolution of Batman and shows only a few of the many crazy and intense adventures of this mysterious hero. These two movies are the first two in the dark knight trilogy, created by the amazing Christopher Nolan. These movies were heavily praised for their astounding realism to the real world, and its pros and cons. But they were also extremely liked for their possibility for
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.