I detta arbete kommer jag att undersöka hur maskulinitet gestaltas i Frank Millers Batman: The Dark Knight Returns. Det jag vill fokusera på är de olika maskulina drag som går att urskilja i serien. Warner Bros. Animation gav 2012 ut den första delen av en animerad filmatisering av Millers Batman-serie, som senare följdes av den andra och avslutande delen 2013. I min undersökning kommer jag även att ta hjälp av de båda animeringarna för att se på vilka sätt maskuliniteten gestaltas hos de olika manliga huvudpersonerna i såväl filmerna som den berättelse de bygger på. Med undersökningen hoppas jag kunna lyfta fram de maskulina ideal, som tycks vara styrande för gestaltningen i serien respektive filmerna. De frågeställningar som mitt arbete kommer att utgå ifrån är: Hur gestaltas maskuliniteten hos Batman/Bruce Wayne och de andra huvudkaraktärerna i serien? Finns det några likheter eller skillnader mellan "de goda" och "de onda" personernas maskulinitet? Skiljer sig gestaltningen av maskulina ideal åt mellan serien och filmatiseringen och i sådana fall varför?

This dissertation uses an interdisciplinary approach that analyzes and compares the film scoring processes of Danny Elfman, Elliot Goldenthal, James Newton Howard and Hans Zimmer in characterizing the fictional hero Batman in film. This is accomplished by applying Classical Hollywood film scoring principles from the golden age of cinema, Juan Chattah's pragmatic and semiotic typologies regarding musical metaphoric expression, and psychology. This amalgamation demonstrates how the aforementioned film composers consider varying structural aspects of their music, i.e., formal design, melodic contour, harmonic gestures, and cadential formulas, in (re)creating and establishing their individual artistic trademarks on a comic book character within canonical and non-canonical storylines. The study includes soundtracks from Tim Burton's Batman and Batman Returns, Joel Schumacher's Batman Forever and Batman & Robin, and Christopher Nolan's Batman Begins and The Dark Knight. The result is an analysis that: 1) enhances what little is known about the music for these films; 2) allows for the recognition of the film scoring creative process behind film sequelization; 3) enhances musical and psychological interpretations of the Batman character; and 4) offers an expansion of Chattah's metaphorical typologies.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2017 / Made available in DSpace on 2017-11-14T03:25:22Z (GMT). No. of bitstreams: 1 348952.pdf: 1128373 bytes, checksum: e1ccc8ad58bf34d069b3cac214f0aa39 (MD5) Previous issue date: 2017 / Este trabalho visa analisar como as personagens da trilogia Batman: The Dark Knight foram associadas a determinadas alegorias e representações sociais. Nossa análise pretende investigar a veiculação dessas representações por intermédio da narrativa, produção e recepção dos filmes, e para isso, utilizamos a História Social do Cinema como campo norteador. A veiculação dessas representações sociais não foram algo isolado, tornando-se necessário observar o contexto social e político em que os filmes e as críticas estavam inseridas. No primeiro capítulo discutimos o conceito de representação social e de alegoria, e como elas podem contribuir para a História Social do Cinema. Como observamos, esses estudos perpassam por diversos campos de conhecimentos, desde a História até a Psicologia e Sociologia. No segundo capítulo, falamos sobre a História Social do Cinema e como a História do Tempo Presente auxiliou na nossa análise. Junto com os estudos da narrativa, produção e recepção do filme, também observamos como que a indústria cinematográfica age para veicular e divulgar seus produtos e a importância do gênero cinematográfico para a narrativa. No entanto, o estudo das Representações Sociais e da História Social do Cinema não poderiam ser realizados sem uma análise da conjuntura política e econômica no período do lançamento do filme. Por isso, realizamos no terceiro capítulo um debate sobre as questões de política externa do Brasil e dos Estados Unidos, a crise de 2008 e a importância do Estado para salvar os países da falência e o debate acerca do Occupy Wall Street. Após realizar todas essas discussões, faremos a análise das fontes no quarto capítulo. Podemos observar ao longo da investigação que a personagem Batman foi associada como uma defesa de um viés liberal de governo, enquanto os seus antagonistas foram comparados com visões deturpadas da esquerda política e do Oriente - Ra s Al Ghul como alguém do Oriente (em nenhum momento o filme problematiza que Oriente seria esse), o Coringa com uma visão deturpada do anarquismo e o Bane como um socialista autoritário. Também analisamos as atuações de outros personagens, pois eles ajudam a construir essas representações sociais ao longo da narrativa. Realizamos aqui um debate com a narrativa, produção e recepção do filme, observando de que maneira essas representações sociais foram veiculadas.

Batman has become a fixture in the popular consciousness of America. Since his first publication in Detective Comics #27 in 1939, he has never ceased publication, appearing in multiple titles every month as well as successfully transitioning into other media such as film and television. A focused analysis of the character will reveal that Batman has achieved and maintained this cultural resonance for almost seventy years by virtue of attaining the status of a postmodern American mythology. In both theme and function, Batman has several direct connections to ancient mythology and has adapted that form into a distinctly American archetype. And as a popular cultural symbol, he has shown remarkable malleability to reflect the attitudes of his contemporary culture. An examination of Batman's enduring and changing characteristics will reveal insights into American values, culture and history during the twentieth and into the twenty-first centuries.

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Thesis advisor: John Michalczyk / Despite a long affiliation with film dating back to the French New Wave, existentialism has remained a fascination reserved for art film producers and intellectual viewers for decades. In the early twenty-first century, director Christopher Nolan’s Batman trilogy marked the first time existentialism bubbled over from niche art films into the most blatant form of popular culture: the summer blockbuster. This analysis explores Batman Begins and The Dark Knight as up-to-date pictures of modern existentialism, embodied by Bruce Wayne’s journey through fear, chaos and rebirth, mirroring the existentialist advancement through uncertainty to freedom and self-creation. / Thesis (BA) — Boston College, 2012. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: College Honors Program.

Thesis advisor: Christopher Constas / Thesis advisor: Brian Braman / The literary character of Batman, first introduced by Action Comics in 1939, has been reincarnated several times in popular culture through graphic novels, radio, video games, television shows, and movies (Boxer). Christopher Nolan’s Batman movies, however, portray only a fraction of the episodes and villains presented in the comic books, while reflecting on universal cultural, psychological, mythological, and social themes, archetypes, and conflicts. In an interview with the Film Society of Lincoln Center, Nolan explains that he was trying to portray Batman as an extraordinary character in the fabric of an ordinary city with familiar traits that would be recognizable to the audience. The theatrical Batman, with high-tech devices and powerful combat tactics, creates a stunning contrast against the dismal background of Gotham. Nolan designed Gotham in this way to remind the public that “[i]n America we take for granted a stability to our class and social structure that has never been sustained elsewhere in the world. In other words, this sort of thing has happened in countries all over the world, why not here? And why not now” (Foundas)? While he acknowledges that his movies are open to numerous political, religious, philosophical, and economical interpretations, on a deeper level, Nolan seems to have wanted to create these movies as a response to this eternal struggle of society against the forces of chaos and injustice, part of the inherent conflict of the human condition. Nolan also addresses the numerous factors that contribute to the incitement of such chaos, including government censorship, lying, and covert violence, which, paradoxically, are often used as justifications for preserving the social order. Several of the aspects of Batman Begins, The Dark Knight, and The Dark Knight Rises are applicable to modern society; others are influenced by monumental historical events. One of the crucial themes of Nolan’s trilogy is the search to understand what it truly means to fulfill the role of the Batman, that is, the role of a guardian of order and justice against the forces of chaos and injustice. / Thesis (BA) — Boston College, 2013. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Philosophy Honors Program. / Discipline: Philosophy.

<p>Vår tids syn på teknik ser vi tydliga spår av i dagens filmer, och kanske framförallt superhjältefilmer. Där använder sig både hjältar och skurkar av avancerad teknik i sin kamp mot varandra. Men även synen på biologi avspeglas i dessa filmer, och det mest intressanta är när dessa ställs mot varandra. Vi har jämfört två av vår tids största hjältar, en som använder sig av teknik och en som har biologiska krafter, för att se vilka likheter och skillnader som finns. Hjältarna det rör sig om är Spider-Man och Batman.</p>

Spanning the nearly two decades since the Time Warner merger and the arrival of Batman in theaters, this study explains how media conglomeration affects the development of key properties by providing an extensive understanding of a film franchise. Beginning with Batman in 1989 and ending with Batman Begins in 2005, I argue that examining the Batman film franchise is one way to understand contemporary Hollywood. Through an integration of archival research, critical discourse analysis, and textual analysis, this study presents a comprehensive view of the Batman films by focusing on the development of this groundbreaking franchise, its impact on Time Warner, and what it tells us about the state of the contemporary film industry as a whole. Key issues of authorship, branding, and genre are integral aspects of the production of franchise films, and are essential themes that I discuss in this study. The story of the Batman franchise is not only about a multi-mediated property, but also a conglomerate’s attempt to define itself within the increasingly competitive entertainment industry. By following the developments with the Batman franchise, Time Warner, and the film industry since 1989, this dissertation examines the conglomerate era and the place of the franchise film within it. Thus, I argue that the Batman franchise’s arc provides the framework for understanding the changes which have occurred in the industry, particularly in regard to media conglomeration. / text

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.