Relevant bibliographies by topics / The dark knight rises

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'The dark knight rises'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "The dark knight rises"

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Widhyatmoko, Danu. "The Dark Knight Rises: Kita Butuh Simbol untuk Menggerakkan." Humaniora 4, no. 2 (2013): 1042. http://dx.doi.org/10.21512/humaniora.v4i2.3544.

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The dark knight rises: We Need Symbols to Make Movements is a writing that covers values existing in the last movie of Batman trilogy: The Dark Knight Rises (TDKR). In the film, it is described how batman is not only presented as a hero who saved the town, but also is presented as a symbol that keeps hope of the Gotham city society. Through this writing, it is also discussed the relation between TDKR and the recent condition of Indonesia.
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Popescu, Stefan Octavian. "The Dark Knight Rises: Christianity, capitalism and psychopathology." Australasian Journal of Popular Culture 5, no. 1 (2016): 49–57. http://dx.doi.org/10.1386/ajpc.5.1.49_1.

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Walderzak, Joseph. "Blaming the Poor: The False Allure of the Capitalist Critique in the Age of Postmodernism." Comparative Cinema 8, no. 14 (2020): 33–45. http://dx.doi.org/10.31009/cc.2020.v8.i14.03.

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This article considers The Dark Knight Rises (Christopher Nolan, 2012) in order to argue through Fredric Jameson that postmodern aspects of a text are capable of obfuscating, if not altogether obliterating, any Marxist polemics. The first portion engages with Jameson’s The Political Unconscious, particularly his emphasis on class struggle and identification of ideologemes which manifest in the text. The subsequent section considers The Dark Knight Rises as a postmodern text through Jameson’s concepts of pastiche and nostalgia. Moreover, The Dark Knight Rises is contextualizedwithin the recent spate of class-oriented cinema. Collectively, the goal is to identify a trend within such films of establishing a correlation between capitalism and inequality, ideologemes and postmodernism. The final result is an increasingly impressive group of genre-spanning films which address contemporary inequality in its multifarious forms, but which treat these issues more so as narrative devices than tenable critiques of the sites of oppression.
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Beck, Bernard. "The Dark Knight Rises: In42Jackie Robinson Saves the American Dream." Multicultural Perspectives 16, no. 2 (2014): 86–90. http://dx.doi.org/10.1080/15210960.2014.899776.

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Sánchez Román, María Elisena. "El silencio en la representación del poder: el caso del Caballero oscuro / The Silence in the Representation of the Power: The Dark Knight Case." Revista Internacional de Cultura Visual 3, no. 1 (2016): 61–67. http://dx.doi.org/10.37467/gka-revvisual.v3.493.

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ABSTRACTParticularly, the objective here is to explain how the silence works as semiotic concentrate (Noe Jitrik, 2007) able to show the representation of the power. ¿In which forms are the silence present? ¿what are these silences talking about?, ¿how the silence is broken and why? Are some of the questions that try to answer. And as the silence has many social uses we focus on the power accurate and maintained around the superhero, as representative of a national identityRESUMENParticularmente, aquí el objetivo es explicar el funcionamiento del silencio como concentrado semiótico (Noe Jitrik, 2007) capaz de develar la representación del poder. ¿Cuáles son las formas en las que se presenta el silencio?, ¿de qué nos hablan estos silencios?, ¿cómo se rompe el silencio y por qué? Son algunas de las preguntas a las que se busca dar respuesta. Y ya que el silencio tiene distintos usos sociales nos centramos en el poder que se adquiere y se ejerce alrededor de un superhéroe que, además, representa la identidad de una nación. El corpus de análisis es la trilogía The Dark Knight, que Christopher Nolan hizo sobre Batman, compuesto por las películas: Batman begins (2005), The Dark Knight (2008), y The Dark Knight rises (2012).
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Winterhalter, Benjamin. "The Politics of the Inner: Why The Dark Knight Rises is Not a Conservative Allegory." Journal of Popular Culture 48, no. 5 (2015): 1030–47. http://dx.doi.org/10.1111/jpcu.12339.

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Agarwal, Promila, Ashneet Kaur, and Sudhanshu Maheshwari. "The Dark Knight Rises, but Where? A Meta-Analysis of Executive Personality and Firm Performance." Academy of Management Proceedings 2021, no. 1 (2021): 13179. http://dx.doi.org/10.5465/ambpp.2021.13179abstract.

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Ghumkhor, Sahar. "“To Veil the Threat of Terror”: Law and the Other’s Question in The Dark Knight Rises." Law, Culture and the Humanities 15, no. 3 (2016): 862–78. http://dx.doi.org/10.1177/1743872116681262.

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This article explores the post-911 climate of security and the fear and paranoia the hidden face has revealed about Western vulnerability. The article contends that what underpins the preoccupation with the veiled woman is a desire to know and the anxiety of never knowing, what Jacques Lacan calls the Other’s question, the Other’s jouissance. What does the Other desire? This is a question that can never be known but belief in the law’s promise of security offers symbolic refuge. The article explores the Other’s question through the relationship between Western anxiety of the hidden face, and the promise of satisfying answers in the father-like hero and the imperative for law and order, in Christopher Nolan’s film The Dark Knight Rises. The film depicts post-911 security concerns in the conflict between masked villains threatening to destroy Gotham city’s legal and cultural order with another law, which tap into a climate of Islamophobia of Muslims as hidden enemies who threaten to dissolve the civilizational security of “our way of life.”
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Aletras, Christopher Nolan, D. Mouzaki, and M. Sagri. "Perspectives of Public Pedagogy in Christopher Nolan’s Cinema. Case Studies on Inception and the Dark Knight Rises." European Journal of Multidisciplinary Studies 5, no. 1 (2017): 279. http://dx.doi.org/10.26417/ejms.v5i1.p279-284.

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The educational and pedagogical impact of cinema is investigated through two popular Christopher Nolan’s films Inception and The Dark Knight Rises. Analysis of his films, in the context of cinema public pedagogy, shows that Nolan’s way of film-making defines a specific set of challenging and reversing messages, hidden behind the Hollywood mainstream standars. Moreover, throughout this analysis, the power of the public pedagogy of the cinematic medium is established, and cinema is approached as a powerful tool that sets the standards of private and public behavior by combining entertainment and politics, according to [Giroux, 2008]. We end up in suggesting that the public pedagogy of cinema be embedded in the educational system as a distinct educational tool.
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Cynthia Nazarian. "The Outlaw-Knight: Law's Violence in The Faerie Queene, The Man Who Shot Liberty Valance, and The Dark Knight Rises." Cultural Critique 98 (2018): 204. http://dx.doi.org/10.5749/culturalcritique.98.2018.0204.

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Dissertations / Theses on the topic "The dark knight rises"

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Nilsson, Kristina. ""... because I'm Batman" : En undersökning av maskulinitet i Frank Millers Batman: The Dark Knight Returns." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-121451.

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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?
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Bohlin, Benjamin. "Batman: En musikalisk berättelse : En analys av filmerna Batman: The Movie, Batman och The Dark Knight." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27286.

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Syftet med uppsatsen är att analysera hur filmmusiken har använts i Batman: The Movie (1966), Batman (1989) och The Dark Knight (2008). Att se en narrativ användning och beskrivning av Batman samt hur upplevelsen av filmen ändras när man ser den utan musik. Kompositörerna till filmerna är, för Batman: The Movie (1966) Nelson Riddle, till Batman (1989) är det Danny Elfman och till The Dark Knight (2008) är kompositörerna Hans Zimmer och James Newton Howard. Filmerna analyserats från ett multimodalt perspektiv och delar in filmmusiken i filmmusikens berättarfunktioner framtagna av Johnny Wingstedt Scenerna har setts på flera gånger både med och utan musik för att få fram musikens roll och betydelse. En scen per film analyseras. Scenerna är valda på så sätt att de beskriver Batman som karaktär på ett bra sätt. Scenerna beskrivs tydligt och en analys görs innan det avslutas med en konklusion. Scenerna jämförs sedan med varandra för att se likheter och skillnader.
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Walker, Kaylin Marie. "The Existentialism Behind Nolan's Batman." Thesis, Boston College, 2012. http://hdl.handle.net/2345/2611.

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Thesis advisor: John Michalczyk<br>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<br>Thesis (BA) — Boston College, 2012<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: College Honors Program<br>Discipline: College Honors Program
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Axelsson, Jan. "New Times, New Heroes : Ambiguity, Socio-Political Issues and Post Modernism in Frank Miller's Graphic Novel The Dark Knight Returns." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-27203.

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Frank Miller’s The Dark Knight Returns is one of the first graphic novels to redraw the map for this kind of literature but perhaps first and foremost for the characteristics of superheroes and villains. It is a story which we have read before in the sense that Batman, the eternal crime fighter, chases his arch enemies Two Face and the Joker, but it is also a new story in which we meet an ambiguous and complex superhero. Batman has become an old man tormented by his past, in which his side kick Robin died, and the present, where he is forbidden to operate under his alias. It is also a story of a corrupt and inept government and its errand boy, Superman.  In my analysis I have focused on how Miller has changed the superhero and made him more complex than we are used to see. For instance does a super hero have to have superpowers or is it enough to be super-potential?  Furthermore I will show how socio- realism and socio-political issues, such as a corrupt government, have crossed over to comics. My conclusion is that this old Batman has gone from a young crime fighter to an old anarchist and altruist. The fact is that there are no clear borders or lines between good or bad, crime fighter and villain, the characters, and comics, are no longer in black and white but more brought forth in different shades of grey.
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Johnson, Vilja Olivia. ""It's What You Do That Defines You": Batman as Moral Philosopher." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2952.

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In 2008, Christopher Nolan's The Dark Knight became the most commercially successful comic book adaptation to date. His film, which highlights the humanity and fallibility of Batman, builds on a long character history while also functioning as an individual work. Nolan's depiction of Batman, which follows a long progression towards postmodernism in graphic novel versions of the character, is just one of multiple filmic superhero representations in recent years to depict a darker side of the "superhero" mythos. These films highlight the humanity and fallibility of these heroic figures and place their actions under scrutiny. In Nolan's two Batman films, this approach allows the central character to reflect the moral complexity of postmodern society. As a result of his humanity, Batman must sometimes choose between two negative outcomes; as he does so, he places various moral systems under pressure and tests them. When Batman makes decisions, he must discard some values in favor of others, and in the process, he reveals his personal priorities. Through the decisions he makes in critical moments in the films, Nolan's Batman acts against "traditional" Batman archetypes which suggest that the hero's actions consistently adhere to one of the following principles: a lust for revenge, a desire to prevent future harm, or a vow not to kill. What eventually emerges as Batman's guiding principle in these latest films is not an ethical system per se, but rather a simple desire to thwart the goals of his enemies. Through this oppositional morality, Batman has the moral flexibility to avoid the dangerous ethical extremes of his enemies. This approach to crime also places the superhero's morality in the hands of his enemies, leading Batman to make troubling decisions as he attempts to stop the villains. Because Batman follows no single moral code consistently, the only way he ultimately differentiates himself from the villains of Gotham is through his belief in the city's potential for good, a belief which all of his enemies have abandoned.
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Hermansson, Elin. ""And Here We Go"." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27067.

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Syftet med den här uppsatsen är att undersöka om och isfall hur parallellklippning bidrar till att skapa spänning i filmen The Dark Knight (2008). Tre scener som visar på tre olika stadier av spänning har analyserats för att se vilken påverkan parallellklippningen har för att skapa spänning samt hur dessa parallella handlingar binds ihop och om det finns någon primär handling. Med hjälp av Moritz Lehne och Stefan Koelsch undersökning om spänningens komponenter samt valda klipptekniker undersöks vilken påverkan parallellklippningen har för att skapa spänning. David Bordwell och Kristin Thompson teori om fyra dimensioner av klippning används för att undersöka hur de parallella handlingarna binds ihop. För att svara på om det finns någon primär handling används ett tidslinjediagram över parallellklippningen i scenerna. Resultatet av undersökningen visar att parallellklippningen har bidragit till att skapa spänning i The Dark Knight men är endast en faktor av flera som bygger spänning. Genom att kombinera parallellklippning med dramatisk betoning och rytm skapas spänning. De parallella handlingarna binds ihop genom att fokusområdet bibehålls över klippet vilket skapar ett flyt i bildflödet. De primära handlingarna i scenerna visas genom den frekventa återkopplingen till just denna handling.
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Sánchez, Román María Elisenda. "Superhéroes en la pantalla de la guerra contra el terror. Un estudio semiótico-discursivo a las trilogías cinematográficas Iron Man y The Dark Knight." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/393909.

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Esta investigación se centra en el análisis discursivo de dos trilogías cinematográficas, The Dark Knight (Nolan, 2005, 2008, 2012) y Iron Man (Favreau 2008, 2010; Black, 2013), producidas entre el 2005 y el 2013, en el marco de la llamada War on Terror, que encabezara el entonces presidente de Estados Unidos, George W. Bush, después del ataque a las torres gemelas de Nueva York. Batman es el superhéroe que más ganancias ha redituado a la industria del entretenimiento en todos los tiempos, su trilogía The Dark Knight se construye a partir del cómic en miniserie Batman Year One, en 1988, de Frank Miller, obra de culto que presenta la versión más oscura del superhéroe. En cuanto a Iron Man, el personaje ha tenido una gran aceptación en la audiencia, la película Iron Man 3 es una de las cinco películas más taquilleras de todos los tiempos en el mercado mundial, es sin duda, la representación del superhéroe en la modernidad líquida. Ambas trilogías se insertan en el paisaje mediático de los últimos años como prácticas culturales donde la figura del superhéroe destaca como sistema de representación dominante que posibilita la defensa de una política intervencionista disfrazada de protección. La guerra se lleva a la gran pantalla, y es en el juego de la representación donde toma sentido esta tesis. Los superhéroes como íconos de la cultura popular americana han sido ampliamente estudiados, sin embargo esta investigación se inspira en el trabajo de Stuart Hall, por lo que conceptos como contextualismo radical, articulación y coyuntura, resultan fundamental en el planteamiento del problema. Se subraya además que el análisis se realiza desde una perspectiva semiótica-discursiva transdisciplinaria a partir del trabajo realizado por Julieta Haidar.<br>This study is a discursive analysis of two cinematographic trilogies produced between the years 2005-2013: The Dark Knight (Nolan, 2005, 2008, 2012) and Iron Man (Favreau 2008, 2010; Black, 2013). Both were produced at the height of 'The War on Terror', which encompasses the post 9-11 administration of President George W. Bush. In all of the movie industry's history, the highest profit yielding superhero has been none other than Batman, whose trilogy The Dark Knight is based on the comic miniseries Batman Year One (1988) by Frank Miller—the darkest rendition of the cult superhero-. As for Iron Man, this persona has been well received by the public. The movie Iron Man 3 is one of the top five highest grossing films of all time on the world market. It is without a doubt, the representation par excellence of the superhero in liquid times. Both trilogies permeate the mediascape of the past few years as cultural practices in which the image of the superhero stands out as a hegemonic system of representation justifying or legitimating an interventionist foreign policy under the guise of security. The war unfolds on the big screen and it is in the art of representation that this thesis takes place. Superheroes as icons of American popular culture have been studied at length. However, this study, inspired by the works of Stuart Hall on "radical contextualism" and on "conjuncturalism", an essential component to the problem statement, emphasizes analysis from a semiotic- discursive and interdisciplinary perspective and builds on the work done by Julieta Haidar.
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Barnett, Katrina. "Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707290/.

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The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.
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Landahl, Henrik. "All it takes is one bad day to reduce the sanest man alive to lunacy. : En analys av the Jokers ondska kopplat till hans narrativ." Thesis, Uppsala universitet, Teologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445620.

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In my essay, I illuminate evil from the perspective of whether we can explain evil deeds through the perpetrator's narrative. As an object for my study, I have chosen a popular culture perspective - the character The Joker - which has been portrayed several times. The purpose of the essay is to study if we understand and can come to terms with evil deeds if we also know the perpetrator's narrative. The starting point for this reasoning is the question of whether evil deeds can always be defined as evil? I have limited my thesis to be based on theories based on traditional and historical research in the field of evil. The material I have used for my analysis is limited to the shape of The Joker in the script of the films The Dark Knight and The Joker. Methodologically, the essay is based on textual idea analysis - around evil and myths.  Out of the scripts of The Joker and The Dark Knight I have developed a hypothesis which I finally discuss the reasonableness and test logically. Theoretically, I have based my study on Lars Svendsen's analysis of evil, John Martin Fischer's analysis of the meaning of the narrative and Claudia Card's discussion of grey areas. Based on these, I have analysed, discussed and argued to test my hypothesis and answer the question of the essay: Is The Joker's narrative an explanation for his evil deeds? The study's method and analysis have generated a result that shows that this is not the case. The Joker has made his own free choices that have made him who he is and what he does. His narrative is not an explanation for his demonic evil deeds.
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Wiklund, Frans. "Med staden i förgrunden : Gotham City enligt Christopher Nolan." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96431.

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I denna uppsats undersöks den visuella gestaltningen av Gotham City i regissören Christopher Nolans The Dark Knight Trilogy med hjälp av en komparativ analysmetod. De berättelser som utspelat sig i Gotham och Batmans relation till staden har genom åren givit den en viss karaktär. Gotham har framförallt varit platsen där brott begås och Batman bekämpar dem. Dessa karaktärsdrag har i ett antal filmer gestaltats av en mängd olika personer inom i stort sätt alla visuella medier som existerar, alla med sin egen vision av hur staden ser ut. I tidiga filmtolkningar så var gestaltningen av staden återhållsam medan den i senare gestaltats som en dystopisk mardröm. När Nolan tog sig an Batmans värld valde han istället att förankra sin vision i realismen. Men när trilogin ses i sin helhet blir det tydligt att gestaltningen av staden skiljer sig åt mellan filmerna och att varje film visar upp en ny sida av den. Med en syn på Nolans konstnärskap som grundar sig i auteurteorin men med urban studies som huvudsakliga teoretiska perspektiv undersöks i denna uppsats hur gestaltningarna av staden skiljer sig åt mellan filmerna, hur dessa skillnader påverkar vår uppfattning av staden och filmernas narrativ samt i vilket utsträckning gestaltningarna är ett resultat av Nolans vision.
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Books on the topic "The dark knight rises"

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Goyer, David S., Jonathan Nolan, Emma Thomas, Christopher Nolan, and Charles Roven. The Dark Knight rises. Warner Home Video, 2012.

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Jonathan, Nolan, Nolan Christopher 1970-, Goyer David S, Kane Bob, and Tong Andie ill, eds. The Dark knight rises: Batman versus Bane. 2nd ed. Sandy Creek, 2013.

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Nolan, Jonathan. The Dark Knight Trilogy The Batman Screenplays. Opus Books/Hal Leonard, 2012.

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Jesser, Jody Duncan. Christopher Nolan's Batman: The art and making of the Dark knight trilogy. Abrams, 2012.

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Janine, Pourroy, ed. Christopher Nolan's Batman: The art and making of the Dark knight trilogy. Abrams, 2012.

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The dark sun rises. Bethany House, 1998.

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Kauffman, Donna. Dark Knight: Loveswept - 882. Bantam Books, 1998.

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Dark knight. Parkwest, 1993.

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Peter, Wingham, ed. The dark dark knight. Usborne, 2005.

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Barr, Mike W. Dark knight dynasty. Titan, 1998.

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Book chapters on the topic "The dark knight rises"

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Johnston, Steven. "The Dark Knight: Toward a Democratic Tragedy." In Politics in Gotham. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05776-3_3.

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White, Mark D. "Criminal Justice in Gotham: The Role of the Dark Knight." In Politics in Gotham. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05776-3_9.

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Cobb, Thomas J. "Collision: The Dark Knight and Avatar’s Eulogies to Liberal Internationalist Failure." In American Cinema and Cultural Diplomacy. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42678-1_6.

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Bullen, David. "Dionysus Comes to Gotham: Forces of Disorder in The Dark Knight (2008)." In Classical Myth on Screen. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137486035_16.

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Peters, Timothy D. "‘Seeing’ justice done: envisioning legality in Christopher Nolan’s The Dark Knight Trilogy." In Envisioning Legality. Routledge, 2017. http://dx.doi.org/10.4324/9781315648637-4.

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Pearson, Roberta. "6. World-Building Logics and Copyright The Dark Knight and the Great Detective." In World Building. Transmedia, Fans, Industries, edited by Marta Boni. Amsterdam University Press, 2017. http://dx.doi.org/10.1515/9789048525317-007.

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Pheasant-Kelly, Frances. "The Ecstasy of Chaos: Mediations of 9/11, Terrorism, and Traumatic Memory in The Dark Knight." In Fantasy Film Post 9/11. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9780230392137_8.

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Muller, Christine. "“Nothing to Do with All Your Strength”: Power, Choice, and September 11 in The Dark Knight." In September 11, 2001 as a Cultural Trauma. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50155-0_5.

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Courcoux, Charles-Antoine. "Tales of Chaos and Order: Exploring Terrorism’s Melodramatic Use in The Dark Knight (2008) and Skyfall (2012)." In Mediated Terrorism in the 21st Century. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73511-1_11.

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10

Hunter, Jack. "The Dark Knight Rises." In The Paranormal and Popular Culture. Routledge, 2019. http://dx.doi.org/10.4324/9781315184661-5.

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Conference papers on the topic "The dark knight rises"

1

Tian, Zhao, Kevin Wright, and Xia Zhou. "The darklight rises: visible light communication in the dark." In MobiCom'16: The 22nd Annual International Conference on Mobile Computing and Networking. ACM, 2016. http://dx.doi.org/10.1145/2973750.2987384.

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Sharon, C. "A Review on the Negative Impacts of Black Sand Mining on the Ecosystem of Kerala." In International Web Conference in Civil Engineering for a Sustainable Planet. AIJR Publisher, 2021. http://dx.doi.org/10.21467/proceedings.112.25.

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Abstract:
India having coastline of in excess of 6000 km, has likely the greatest and most luxurious coastline placers. India's beach sand stores and rises contain weighty minerals like ilmenite,zircon, rutile, monazite, and sillimanite, the world necessity of garnet. Kerala has a 570 km long coastline as one of world's most potential fishing ground with exceptional biodiversity and furthermore as the plentiful wellspring of probably the most extraordinary minerals that can be found in the world. The most expected wellspring of these mineral stores is the coastline of the stretch of Kollam and Alappuzha that extends around 150 km. The dark sand mining has influenced the biodiversity of the zone consequently absolutely influencing the lives of the rural communities bringing about an ecological constrained movement and occupation misfortune. This paper critically reviews the negative impacts of the black sand mining on the ecosystem of Kerala.
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