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Journal articles on the topic 'The dark knight rises'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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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2

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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4

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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8

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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10

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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11

Rossi, Jérôme. "Essai de caractérisation de l’évolution des musiques super-héroïques de Batman (1989) à The Dark Knight Rises (2012)." Revue musicale OICRM 5, no. 2 (2018): 15–47. http://dx.doi.org/10.7202/1054146ar.

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Vingt-trois années séparent les musiques des filmsBatman(Tim Burton, 1989) etThe Dark Knight Rises(Christopher Nolan, 2012) avec les compositions respectives de Danny Elfman et Hans Zimmer. Si les compositeurs restent tous deux fidèles à une conception signalétique des thèmes, Zimmer propose toutefois un nombre plus élevé de matériaux thématiques, avec la présence d’un « ostinato identifiant » pour chacun des trois personnages principaux, en plus de leurs thèmes propres.Élaborée par une véritable équipe, la « narration sonore » constitue également un enjeu majeur de l’esthétique de Nolan et Zimmer avec l’élaboration, sur l’ensemble du film, d’un continuum bruit/musique, dont ce que nous avons appelé l’« effects underscoring » constitue l’une des stratégies les plus novatrices parmi celles proposées. L’« effects underscoring » est une technique compositionnelle par laquelle la musique se voit destinée à former un écrin émotionnel non plus aux voix, mais aux bruits lors de séquences où ce sont eux qui, par leur propriétés intrinsèques (organisation rythmique, caractéristiques timbrales), concentrent la signification dramaturgique d’un passage. Le travail minutieux sur les bruits, qui s’ajoute à une meilleure définition de ceux-ci grâce à la technologie numérique, « libère » la musique dans son rapport à l’image ; nous en observons les effets concrets en comparant les synchronismes et le maniement des ostinatos (longueur, pédales harmoniques, rythme harmonique) dans des scènes d’action empruntées aux deux films. Tandis que le travail d’Elfman se caractérise par une écriture vive et prompte à souligner tant les actions des personnages que les changements de plans, Zimmer se détache des évènements visuels en privilégiant une plus grande continuité musicale qui repose en partie sur ce nous avons appelé lestem scoring, soit une composition musicale conçue en plusieurs strates que le compositeur ou le mixeur peut à loisir déclencher ou taire en fonction de l’image.

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Balasubramanian, Girish, and Santanu Sarkar. "“How has the dark knight risen?” Chronicle of union revitalization from India." Employee Relations 39, no. 5 (2017): 660–82. http://dx.doi.org/10.1108/er-06-2016-0123.

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Purpose The purpose of this paper is to delve into some of the key internal and external factors that led to the choice of specific strategies for union revitalization using the theoretical framework built upon framing perspectives, the strategic action field (SAF), and the strategic choice theory. Design/methodology/approach The authors used a stringent definition and corresponding operationalization of trade union revitalization. The present research has been carried out on a registered industrial union within the context of Global South, specifically in India. Findings Evidence was found for the trade union adopting a mix of strategies for revitalization, namely, union organizing, social movement unionism, and union restructuring. A mix of both internal and external factors identified informed the choice of revitalization strategies. Research limitations/implications Specific limitations include the subjectivity of the inference in spite of taking due precautions, and lack of generalizability of the findings based on a single case study. Practical implications A strong identity, coupled with structural vitality and optimum use of resources enables trade unions to frame the need of a strategy for revival in order to counter the strategic action of employers resulting in union revitalization. Originality/value The theoretical novelty of this research stems from the amalgamation of collective action frames, SAF, and strategic choice framework to understand the union revitalization in the context of Global South.

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13

Mirabal, N. "The dark knight falters." Monthly Notices of the Royal Astronomical Society: Letters 429, no. 1 (2012): L109—L113. http://dx.doi.org/10.1093/mnrasl/sls034.

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Hatcher, Molly. "The Dark Knight under revision." Journal of Graphic Novels & Comics 4, no. 2 (2013): 257–77. http://dx.doi.org/10.1080/21504857.2012.656135.

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Murphy, Dennis L., Michelle S. Maile, and Nicholas M. Vogt. "5HTTLPR: White Knight or Dark Blight?" ACS Chemical Neuroscience 4, no. 1 (2013): 13–15. http://dx.doi.org/10.1021/cn3002224.

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Bal, Zeynep Ekin, and Muge Caroline Dikencik. "The Dark Knight and the Ideology Behind." Procedia - Social and Behavioral Sciences 82 (July 2013): 580–84. http://dx.doi.org/10.1016/j.sbspro.2013.06.313.

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17

Baum, Bruce. "The Dark Knight(Warner Brothers Pictures, 2008)." New Political Science 31, no. 2 (2009): 267–69. http://dx.doi.org/10.1080/07393140902872476.

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Dal Moro, F. "The dark knight of syncope: the urologist!" Journal of Internal Medicine 274, no. 3 (2013): 291–92. http://dx.doi.org/10.1111/joim.12076.

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Cocksworth, Ashley. "The Dark Knight and the Evilness of Evil." Expository Times 120, no. 11 (2009): 541–43. http://dx.doi.org/10.1177/0014524609106841.

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김성규. "The Joker Phobia and Virus in The Dark Knight." Journal of English Cultural Studies 8, no. 1 (2015): 5–34. http://dx.doi.org/10.15732/jecs.8.1.201504.5.

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21

Aprillia, Aprillia, Endang Sri Andayani, Chodidjah Chodidjah, and Khoirunnisa Khoirunnisa. "ANTISOCIAL DISORDER OF JOKER CHARACTER IN THE DARK KNIGHT MOVIE DIRECTED BY CHRISTOPHER NOLAN." KREDO : Jurnal Ilmiah Bahasa dan Sastra 4, no. 1 (2020): 129–47. http://dx.doi.org/10.24176/kredo.v4i1.4656.

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The objective of this research is to know what is antisocial disorder that was conducted by watching the dark knight movie. In this paper, the writers used descriptive qualitative method by visited the library and browsed of internet to get the references and data that related to the topic. For data collection, all information was collected by librarian research to obtain the theories of literary work and all support information that related to the objective of the research. The next stage was analyzing of The Dark Knight movie by watching it several times . The result of this research indicated that; (1) there are seven symptopms of antisocial disorder that occurred in joker character such as failure to conform to social norm, deceitfulness, impulsivity, irritability and aggressiveness, reckless disregard for safety of self or others, consistent irresponsibility, and lack of remorse (2) antisocial disorder in joker character developed by childhood trauma and abuse which is caused by his father’s treatments (3) there are three moral messages that can learned from the dark knight movie such as humanity, teamwork, and consideration.

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22

Arcadi, Giorgio, Thomas Hugle, and Farinaldo S. Queiroz. "The dark L − L rises via kinetic mixing." Physics Letters B 784 (September 2018): 151–58. http://dx.doi.org/10.1016/j.physletb.2018.07.028.

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23

Tyree, J. M. "American Heroes." Film Quarterly 62, no. 3 (2009): 28–34. http://dx.doi.org/10.1525/fq.2009.62.3.28.

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Abstract An analysis of 2008 Hollywood superhero blockbusters. Iron Man and The Incredible Hulk are humorous and often light-hearted; but the latest Batman film, The Dark Knight, which reinvents The Joker in Heath Ledger's performance, is much more grim and morally complex——a dark entertainment for pessimistic times.

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Marazi, Katherine. "Brooker Will, Hunting the Dark Knight: Twenty-First Century Batman." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 6 (May 1, 2014): 121. http://dx.doi.org/10.12681/syn.16181.

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Rahn. "Motivic Transformation in the Dark Knight Trilogy (2005–2012)." Music and the Moving Image 12, no. 2 (2019): 40. http://dx.doi.org/10.5406/musimoviimag.12.2.0040.

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Murphy, Peter. "Review Articles : The Dark Knight of Faith and the Epicurean Hero." Thesis Eleven 39, no. 1 (1994): 105–18. http://dx.doi.org/10.1177/072551369403900110.

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López-Baralt, Luce. "Don Quixote and Saint John of the Cross’s Spiritual Chivalry." Religions 12, no. 8 (2021): 616. http://dx.doi.org/10.3390/rel12080616.

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Despite its ludic appearance, “The adventure Don Quixote had with a dead body” (part I, chapter XIX) is one of the most complex pieces of Cervantes’ famous novel. In the midst of a dark night, the Manchegan knight errant confronts an otherwordly procession of robed men carrying torches who transport a dead “knight” on a bier. Don Quixote attacks them to “avenge” the mysterious dead man, discovering they were priests secretly taking the body from Baeza to Segovia. He wants to see face to face the relic of the dead body, but humbly turns his back, avoiding the “close encounter”. Curiously enough, his easy victory renders him sad. Cervantes is alluding to the secret transfer of St. John of the Cross’ body from Úbeda to Segovia, claimed by the devoted widow Doña Ana de Peñalosa. However, Cervantes is also establishing a surprising dialogue with St. John’s symbolic “dark night”, in which he fights as a brave mystical knight. Concurrently, he is quoting the books of chivalry‘s funeral processions and the curiosity of the occasional knight who wants to glance at the dead body. Furthermore, we see how extremely conversant the novelist is with the religious genre of spiritual chivalry, strongly opposed to the loose fantasy of the books of chivalry. Unable to look at St. John’s relic, an authentic knight of the heavenly militia, Don Quixote seems to silently acknowledge that there are higher chivalries than his own that he will never reach. No wonder he ends the adventure with a sad countenance, gaining a new identity as the “Caballero de la Triste Figura”.

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Clark, Michael B., Anupma Choudhary, Martin A. Smith, Ryan J. Taft, and John S. Mattick. "The dark matter rises: the expanding world of regulatory RNAs." Essays in Biochemistry 54 (April 30, 2013): 1–16. http://dx.doi.org/10.1042/bse0540001.

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The ability to sequence genomes and characterize their products has begun to reveal the central role for regulatory RNAs in biology, especially in complex organisms. It is now evident that the human genome contains not only protein-coding genes, but also tens of thousands of non–protein coding genes that express small and long ncRNAs (non-coding RNAs). Rapid progress in characterizing these ncRNAs has identified a diverse range of subclasses, which vary widely in size, sequence and mechanism-of-action, but share a common functional theme of regulating gene expression. ncRNAs play a crucial role in many cellular pathways, including the differentiation and development of cells and organs and, when mis-regulated, in a number of diseases. Increasing evidence suggests that these RNAs are a major area of evolutionary innovation and play an important role in determining phenotypic diversity in animals.

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Mathieu, C., and P. Babiak. "The rise of the dark knight: Corporate psychopathy, leadership, and abusive supervision." Personality and Individual Differences 101 (October 2016): 498. http://dx.doi.org/10.1016/j.paid.2016.05.224.

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Dreyer, Randolph. "Clap If You Believe in Batman The Dark Knight Christopher Nolan (Director)." Perspectives in Psychiatric Care 45, no. 1 (2009): 80–81. http://dx.doi.org/10.1111/j.1744-6163.2009.00206.x.

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Watthanasurorot, Apiruck, Netnapa Saelee, Amornrat Phongdara, et al. "Astakine 2—the Dark Knight Linking Melatonin to Circadian Regulation in Crustaceans." PLoS Genetics 9, no. 3 (2013): e1003361. http://dx.doi.org/10.1371/journal.pgen.1003361.

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Jonason, Peter K., Gregory D. Webster, David P. Schmitt, Norman P. Li, and Laura Crysel. "The Antihero in Popular Culture: Life History Theory and the Dark Triad Personality Traits." Review of General Psychology 16, no. 2 (2012): 192–99. http://dx.doi.org/10.1037/a0027914.

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The Dark Triad of personality is composed of narcissism, psychopathy, and Machiavellianism. Despite the common belief that these traits are undesirable, the media is awash with characters that embody the Dark Triad. Characters like Gregory House, M.D., Batman (a.k.a. the Dark Knight), and James Bond all embody these traits and are some of the most popular media franchises today. As entertaining as these characters are, they provide us with a window into the dark side of human nature. Instead of treating the dark side of human nature as inherently maladaptive, we provide an alternative view that, despite their costs, traits like these can confer reproductive and survival benefits for the individual. In so doing, we review the research on the Dark Triad traits and provide a theoretical account for how these traits can confer some positive benefits. To facilitate comprehension, we provide examples taken from the media to show how evolutionary psychology and popular culture intersect.

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Boscaljon, Daniel. "The Flip Side of Justice: The Two-Faced Spirit of The Dark Knight." Iowa Journal of Cultural Studies 14, no. 1 (2013): 44–64. http://dx.doi.org/10.17077/2168-569x.1412.

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Watthanasurorot, Apiruck, Netnapa Saelee, Amornrat Phongdara, et al. "Retraction: Astakine 2—the Dark Knight Linking Melatonin to Circadian Regulation in Crustaceans." PLOS Genetics 11, no. 4 (2015): e1005222. http://dx.doi.org/10.1371/journal.pgen.1005222.

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COCKAYNE, JOSHUA. "The Dark Knight of the Soul: weaning and the problem of divine withdrawal." Religious Studies 54, no. 1 (2016): 73–90. http://dx.doi.org/10.1017/s0034412516000366.

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AbstractIf God loves us and so desires union with us, why is it that so many, who once felt close to God and who have subsequently done nothing to precipitate separation from him, now experience only his absence? A metaphor which has been used repeatedly to answer this question is that separation from God is a kind of spiritual weaning process in which God uses the experience of his absence in order to bring about maturation and greater union with him. After discussing the use of this metaphor in Kierkegaard's Fear and Trembling and John of Cross's poem The Dark Night of the Soul, I discuss the question of how someone's absence could be good for their maturation. I argue that separation has an important role to play in deepening relationships of love – drawing on research in de-adaptation in the psychological and sociological literature, I argue that in order for there to be a union of love, there must be an experience of both dependence and independence. This position can explain why God allows people who engage in the spiritual life to suffer the pain of separation from him.

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TIPTON, NATHAN G. "Gender Trouble: Frank Miller's Revision of Robin in the Batman: Dark Knight Series." Journal of Popular Culture 41, no. 2 (2008): 321–36. http://dx.doi.org/10.1111/j.1540-5931.2008.00505.x.

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Goh, Celeste, Sowmya Narayanan, and Young S. Hahn. "Myeloid-derived suppressor cells: the dark knight or the joker in viral infections?" Immunological Reviews 255, no. 1 (2013): 210–21. http://dx.doi.org/10.1111/imr.12084.

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Ahn, Soo Hwan. "Handling of the Leitmotif as Seen in Films : Batman, Dark Knight, and Joker." Journal of the Musicological Society of Korea 23, no. 1 (2020): 135–63. http://dx.doi.org/10.16939/jmsk.2020.23.1.135.

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Peters, Timothy D. "Beyond the limits of the law: a Christological reading of Christopher Nolan'sThe Dark Knight." Griffith Law Review 24, no. 3 (2015): 418–45. http://dx.doi.org/10.1080/10383441.2015.1096985.

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Waddell, Nathan. "Christopher Nolan’s The Dark Knight : An Unacknowledged Adaptation of Joseph Conrad’s The Secret Agent ?" Adaptation 6, no. 1 (2012): 43–59. http://dx.doi.org/10.1093/adaptation/aps017.

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Blackmore, Tim. "The Dark Knight of Democracy: Tocqueville and Miller Cast Some Light on the Subject." Journal of American Culture 14, no. 1 (1991): 37–56. http://dx.doi.org/10.1111/j.1542-734x.1991.00037.x.

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Springer, Timothy A. "von Willebrand factor, Jedi knight of the bloodstream." Blood 124, no. 9 (2014): 1412–25. http://dx.doi.org/10.1182/blood-2014-05-378638.

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Abstract When blood vessels are cut, the forces in the bloodstream increase and change character. The dark side of these forces causes hemorrhage and death. However, von Willebrand factor (VWF), with help from our circulatory system and platelets, harnesses the same forces to form a hemostatic plug. Force and VWF function are so closely intertwined that, like members of the Jedi Order in the movie Star Wars who learn to use “the Force” to do good, VWF may be considered the Jedi knight of the bloodstream. The long length of VWF enables responsiveness to flow. The shape of VWF is predicted to alter from irregularly coiled to extended thread-like in the transition from shear to elongational flow at sites of hemostasis and thrombosis. Elongational force propagated through the length of VWF in its thread-like shape exposes its monomers for multimeric binding to platelets and subendothelium and likely also increases affinity of the A1 domain for platelets. Specialized domains concatenate and compact VWF during biosynthesis. A2 domain unfolding by hydrodynamic force enables postsecretion regulation of VWF length. Mutations in VWF in von Willebrand disease contribute to and are illuminated by VWF biology. I attempt to integrate classic studies on the physiology of hemostatic plug formation into modern molecular understanding, and point out what remains to be learned.

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VERESHCHAGIN, G. V. "PHYSICAL CONSTANTS AND THE GURZADYAN–XUE FORMULA FOR THE DARK ENERGY." Modern Physics Letters A 21, no. 09 (2006): 729–33. http://dx.doi.org/10.1142/s0217732306020081.

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We consider cosmological implications of the formula for the dark energy density derived by Gurzadyan and Xue1,2 which predicts a value fitting the observational one. Cosmological models with varying by time physical constants, namely, speed of light and gravitational constant and/or their combinations, are considered. In one of the models, for example, vacuum energy density induces effective negative curvature, while another one has an unusual asymptotic. This analysis also explicitly rises the issue of the meaning and content of physical units and constants in cosmological context.

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Pheasant-Kelly, Fran. "The ecstasy of chaos: Mediations of 9/11, terrorism and traumatic memory inThe Dark Knight." Journal of War & Culture Studies 4, no. 2 (2011): 235–49. http://dx.doi.org/10.1386/jwcs.4.2.235_1.

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Martin, Daniel. "Reanimating the Dark Knight: Superheroes, Animation and the Critical Reception of The Lego Batman Movie." Animation 15, no. 1 (2020): 93–107. http://dx.doi.org/10.1177/1746847719898785.

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This article explores the critical reception of The Lego Batman Movie (Chris McKay, 2017) in the context of Batman’s long history of multimedia storytelling, anchored to divergent parallel narratives across numerous platforms, and the ways the film appeals to nostalgia through metatextuality. The manner in which critics championed The Lego Batman Movie and derided the earlier live-action Batman v Superman: Dawn of Justice (Zack Snyder, 2016) gave rise to a complex discourse around the cultural value of animation and the larger blockbuster superhero cycle, and discussions of morality, merchandising and commercialism. This article therefore engages with questions of animation’s apparent suitability for particular kinds of child-centric narratives regarded by critics as a vital part of American popular culture.

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Wills, Alexander. "Dystopia in The Dark Knight Trilogy: How Utopian Ideas Are Warped and Corrupted in Their Application." Film Matters 9, no. 3 (2018): 155–67. http://dx.doi.org/10.1386/fm.9.3.155_1.

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Fradley, Martin. "What Do You Believe In? Film Scholarship and the Cultural Politics of the Dark Knight Franchise." Film Quarterly 66, no. 3 (2013): 15–27. http://dx.doi.org/10.1525/fq.2013.66.3.15.

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Kim, Seonggyu. "Comparative Study of Good and Evil in The Dark Knight and The Picture of Dorian Gray." Journal of East-West Comparative Literature 53 (September 30, 2020): 73–96. http://dx.doi.org/10.29324/jewcl.2020.9.53.73.

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دویدار, حنان برکات. "Ageism and Illegal Immigration in Margaret Drabble’s The Dark Flood Rises: An Affect Theory Approach." مجلة کلیة الآداب . حلوان 52, no. 1 (2021): 1–20. http://dx.doi.org/10.21608/kgef.2021.218689.

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Sørlie, Christopher. "Superheltidealet: Fjerner superhelter seg fra leseridentiteten i kjølvannet av Frank Millers The Dark Knight Returns?" Nordlit 11, no. 2 (2007): 241. http://dx.doi.org/10.7557/13.1580.

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