Hunting the Dark Knight Twenty-First Century Batman
Hunting the Dark Knight: Twenty-First Century Batman by Will Brooker, published by Bloomsbury Academic on July 17, 2012, offers an in-depth exploration of Batman’s representations in contemporary media. This 272-page book examines the intricate dynamics between popular films, audiences, and producers, particularly focusing on Christopher Nolan’s “Batman Begins” and “The Dark Knight.” Brooker’s analysis delves into themes of authorship, adaptation, and intertextuality, providing a comprehensive account of how these films interact with various media forms.
Readers will find a rigorous examination of questions surrounding the continuity and narrative connections between different Batman incarnations, including the impact of the Gotham Knight DVD and the viral marketing campaign “Why So Serious.” Brooker addresses whether the campy versions of Batman can coexist with the darker interpretations presented in Nolan’s films, and how all these elements contribute to a broader Batman metanarrative. This edition serves as a valuable resource for film students, academics, and Batman enthusiasts alike, engaging with topics in performing arts, media studies, and social science.
Official synopsis Publisher
Publishing alongside the world premiere of Christopher Nolan’s third Batman film “The Dark Knight Rises”, Will Brooker’s new book explores Batman’s twenty-first century incarnations. Brooker’s close analysis of “Batman Begins” and “The Dark Knight” offers a rigorous, accessible account of the complex relationship between popular films, audiences, and producers in our age of media convergence. By exploring themes of authorship, adaptation and intertextuality, he addresses a myriad of questions raised by these films: did “Batman Begins” end when “The Dark Knight began? Does its story include the Gotham Knight DVD, or the ‘Why So Serious’ viral marketing campaign? Is it separate from the parallel narratives of the Arkham Asylum videogame, the monthly comic books, the animated series and the graphic novels? Can the brightly campy incarnations of the Batman ever be fully repressed by “The Dark Knight”, or are they an intrinsic part of the character? Do all of these various manifestations feed into a single Batman metanarrative? This will be a vital text for film students and academics, as well as legions of Batman fans.
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