ETDs @PUC-Rio
| Título: | URBAN LANDSCAPE, TERRORISM, AND EMANCIPATION: THE MASK AND THE SMILE IN BATMAN S CINEMATOGRAPHIC TRILOGY | ||||||||||||
| Autor: |
NICHOLAS DE ANDUEZA SINEIRO |
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| Colaborador(es): |
ANDREA FRANCA MARTINS - Orientador |
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| Catalogação: | 19/SET/2016 | Língua(s): | PORTUGUESE - BRAZIL |
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| Tipo: | TEXT | Subtipo: | THESIS | ||||||||||
| Notas: |
[pt] Todos os dados constantes dos documentos são de inteira responsabilidade de seus autores. Os dados utilizados nas descrições dos documentos estão em conformidade com os sistemas da administração da PUC-Rio. [en] All data contained in the documents are the sole responsibility of the authors. The data used in the descriptions of the documents are in conformity with the systems of the administration of PUC-Rio. |
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| Referência(s): |
[pt] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=27407&idi=1 [en] https://www.maxwell.vrac.puc-rio.br/projetosEspeciais/ETDs/consultas/conteudo.php?strSecao=resultado&nrSeq=27407&idi=2 |
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| DOI: | https://doi.org/10.17771/PUCRio.acad.27407 | ||||||||||||
| Resumo: | |||||||||||||
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This research examines, from the Batman cinematographic trilogy (2005-
2012), the way in which expressive procedures elaborated in the images can build
(or not) the possibility of the urban space s emancipation. Inserted in the post 9/11
context, the three movies dialogue with the iconological traces of the War on
Terror: faceless figures, doubles, multiples, anonymous, specular images; and at
the centre of the dispute, Gotham metropolis. The necessary cost, however, for
the salvation of Gotham by Batman seems to be the monopoly of the city as well
as of the city s image: a monopoly that serves as a shield against the
kaleidoscopic effects of terror. The urban landscape (an amalgam between the city
and its image) thus becomes a privileged medium of analysis. And hence the
centrality of the Trilogy s second movie in the proposed discussion: the iconoclast
attack of the Joker, through play and laughter, desecrates the monopoly (of
truth , good , order , and image) instituted by Batman. With the invasion of a
different image between the movie’s visibilities, the univocal disrupts itself, and
with it the monopoly over Gotham and its representation.
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