David Bordwell on The Dark Knight (via Crooked Timber):
More superhero movies after 2002, you say? Obviously 9/11 so traumatized us that we feel a yearning for superheroes to protect us. Our old friend the zeitgeist furnishes an explanation. Every popular movie can be read as taking the pulse of the public mood or the national unconscious.
I’ve argued against zeitgeist readings in Poetics of Cinema…
Wait, somebody will reply, The Dark Knight is a special case! Nolan and his collaborators have strewn the film with references to post-9/11 policies about torture and surveillance. What, though, is the film saying about those policies? The blogosphere is already ablaze with discussions of whether the film supports or criticizes Bush’s White House. And the Editorial Board of the good, gray Times has noticed:
It does not take a lot of imagination to see the new Batman movie that is setting box office records, The Dark Knight, as something of a commentary on the war on terror.
You said it! Takes no imagination at all. But what is the commentary? The Board decides that the water is murky, that some elements of the movie line up on one side, some on the other. The result: “Societies get the heroes they deserve,” which is virtually a line from the movie…
…Hollywood movies are usually strategically ambiguous about politics. You can read them in a lot of different ways, and that ambivalence is more or less deliberate.
A Hollywood film tends to pose sharp moral polarities and then fuzz or fudge or rush past settling them. For instance, take The Bourne Ultimatum: Yes, the espionage system is corrupt, but there is one honorable agent who will leak the information, and the press will expose it all, and the malefactors will be jailed. This tactic hasn’t had a great track record in real life.