Or: Holy plaisire du texte, Barthes-Man!

The plot of The Dark Knight, like that of Batman Begins, is honestly kind of shapeless and waffle-y. And yet, as Memento proves, Nolan is capable of writing narratives that are drum-taught and mongoose-agile. Why is he churning out these behemoths? Why, despite the wafflage, are they so dang good?

To answer this, I’d like to take a minute to consider Batman as a piece of storytelling, to consider the properties of the tale as it’s told. You’re probably taking it as given that there are spoilers for The Dark Knight ahead. But I should warn you that there are also spoilers for Batman Begins, Citizen Kane, The Godfather, Forrest Gump, the Superman comic books, and The Hunt For Red October. Be warned.

In his famous - for a certain value of “fame” - book S/Z, Roland Barthes strip-mines Balzac’s Sarrasine, wringing every scrap of meaning out of the text and classifying his findings into five narrative codes: Hermeneutic, Semic, Proairetic, Symbolic, and Cultural. The wikipedia definitions of these codes are pretty solid as of this writing (I mean, they could be “Taco! Taco! Taco!” by tomorrow), but they’re easier to understand when you see them in action. Like after the jump! Convenience!

Over the past two weeks, much digital ink has been spilled about the political meanings and messages embedded in The Dark Knight. In this particular corner of the intertubes, considerable (over)thought has gone into dissecting the layers of philosophy in the film. However, looking closely at the intersection of the two reveals that the filmmakers pose some very important questions that probe the very nature and origins of social and political order.

No spoilers here, so read on, even if you haven’t seen the film yet.

JK!

Words only after the jump, so if you’re just here for the LOLJoker, read no further…

“Haha, now I REALLY want to know what The Dark Knight has to do with Schopenhauer.”
-mlawski

Alright. You asked for it.

Mlawski’s own fine post on utilitarianism and The Dark Knight, “The Philosophy of Batman” inspired me — can we delve deeper into the philosophy at the heart of The Dark Knight? I figured I’d go to the well and hash out some German philosophy for this one, partially because I thought it fit, and partially because, like Bruce Wayne, I’m just that crazy.

Now, that time is upon us, and you can decide whether or not I was wise.

Find out about more about the WIll-to-Batman and the Will-to-Joker, after the jump –

(There Will Be Spoilers)

Christopher Nolan didn’t major in philosophy in college (or “read philosophy at University,” as the case may be), but he evidently has some familiarity with the subject.  How do I know?  Well, both of his two Batman films thus far have featured famous philosophical thought experiments.

In Batman Begins, we have the well-known trolley experiment, in which a person must imagine that s/he is on a trolley that is barreling down the tracks towards five people (or babies, depending on if your ethics professor is more or less of a sadist) who are tied onto the tracks.  The imaginer can then either imagine that s/he pulls a lever, switching the trolley onto another track that only has one person (or baby) tied to it, or that s/he does nothing, allowing the trolley to kill the aforementioned five.  The utilitarian will say, “I switch the trolley to the new track, because it’s better to kill one person than to kill five.”  The non-utilitarian will say, “I leave the trolley to kill the five, because at least then I am not morally at fault.”  The main ethical question is: “Is there a difference between killing a person and letting a person die?”