TDKR - Text and Audience

TDKR - Text and Audience

1. GENRE

   • Allows them to identify a target audience as they will use genre to recognise/caterogise films
     • Film has a restricted narrative for majority - audience only knows as much as characters so suspense is built
   • RISK AVERSION - making things that people want to see
     • Set in Gotham city (fictional), fantasy setting by realistic so appealing to audience
       • Aesthetics are more believable and less cartoonesque
   • Batman challenges conventions (no superpower)
   • Superhero typically has an alter-ego or secret identity
   • Establish binary oppositions e.g. strong vs weak
   • Origins of superheros form part of narrative - e.g. Batman and Bane both trained by 'league of shadows'
     • Bane is both a mirror villain as well as antithetical, as he acts against Batman but they both share similar origins
   • MORALLY LIMINAL - occupy the boundary between law and crime e.g. Batman's violence
     • Fight/action sequences e.g. car chases conventional of genre
   • Female characters often seen as 'love interest' and given a passive role (conventional Hollywood movies)
     • Catwoman constructed as an active character who is involved in violence - uses her femininity to disguise her power - 'femme fatale qualities
       • Elements of romance genre - some narrative based upon Batman and Catwoman's relationship

2. NARRATIVE

   • TODOROV EQUILIBRIUM
     • More mysterious plot (enigma codes given surrounding plot)
     • Introduction of characters - starts with Bruce Wayne in hiding
     • Disruption - Gordon in hospital, Bane attacks police/stadium: 'Let the games begin' is a verbal signifier of disruption
       • Unrestricted narrative in some parts, e.g. audience are aware Bruce Wayne is Batman whereas characters are not
     • Fight between Batman and Bane - attempt to repair disruption, Batman disposes of bomb
   • Follows cause and effect structure (rising action)
     • Use of bomb adds to suspense of film; limited time to act e.g. fragmented shots between action and cutback to decreasing time on the bomb (sense of panic/intensity
       • Enigma codes: Bane's identity (mask), Batman dead or alive?
         • CLASSICAL NARRATIVE PARADIGM - action throughout movie gradually increases
         • Bane becomes more powerful so Batman fights harder, growing conflict
         • Binary oppositions - good vs evil, dark vs light, rich vs poor, truth vs lies, reality vs myth, idealism vs cynicism

3. GENDER

   • 'Womanliness as a masquerade' - Catwoman uses femininity as a way of getting away ('damsel in distress') e.g. pub fight scene
   • High angle shots - Bruce Wayne appears smaller; differential to male authority
     • Selina Kyle and Holly Golightly (Breakfast at Tiffany's) intertextual refernece: uses hat as a weapon
       • Skilled fighter, ruthless, not afraid of death/violence
         • Fight sequences show strength/dominance (hypermasculinity) e.g. Bane's muscular frame
   • Catwoman switches between being passive and active to challenge patriarchy
   • Can be objectified/sexualised in some parts e.g. fragmented shots of her legs
   • 'No guns, no killing' 'Where's the fun in that?' - role reversal, subverts
     • 'Seductress', use of heels as a weapon (usually object of femininity)
     • Manipulative/smart