Supervillanos muy realesel uso político del villano en la trilogía de "El Caballero Oscuro" de Christopher Nolan

  1. Alfonso M. Rodriguez de Austria Giménez de Aragón 1
  1. 1 Universidad de Sevilla
    info

    Universidad de Sevilla

    Sevilla, España

    ROR https://ror.org/03yxnpp24

Journal:
Área abierta

ISSN: 1578-8393

Year of publication: 2016

Volume: 16

Issue: 1

Pages: 77-90

Type: Article

DOI: 10.5209/REV_ARAB.2016.V16.N1.47526 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Área abierta

Abstract

It is almost a tradition that celluloid (or digital) villains are represented with some characteristics that remind us the real political enemies of the producer country of the film, or even enemies within the country according to the particular ideology that sustains the film. The case of Christopher Nolan The Dark Knight trilogy, analyzed here, is representative of this trend for two reasons. First, because it gets marked by political radicalization conducted by the US government after the attack of September 11, 2001. Secondly, because it offers a profuse gallery of villains who are outside the circle of friends as the new doctrine “either with us or against us” opened by George Bush for the XXI century. This gallery includes from the very terrorists who justify the War on Terror (Ra's al Ghul, the Joker), to the “radical left” (Bane, Talia al Ghul) including liberal politicians (Harvey Dent), and corrupt that take advantage of the softness of the law to commit crimes with impunity (Dr. Crane, the Scarecrow).

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Data source: Dialnet