Saturday Essay Batman uses his power for a little fuss, though he could change the world: That’s why the hero has become useless, and the bad guys are more interesting to him

At school Batmanthe main part of the TV series Adam West was called Pömppömaha-Bätmän.

The bat man’s body-hitting bat swelled over the bat equipment belt as he spat up along the walls of the apartment building to grab a supermarket that was harassing the townspeople. Cartoon-like texts threw in the fights: Bonk! Crrack!

Designer of the original Batman cartoon Bob Kane did not like the comic Batman. The character he created in 1939 was a hero whose powers were based on fear and punishment.

Fortunately, Kane (1915–1998) had time to see the character become more serious.

After more than a decade of twisting, Warner Bros. was made gloomy Batmanand since then they have become more than anyone should see.

Tim Burtonin Batmania can be seen as the basis of today’s mutilating superhero boom, the first visionary director’s interpretation of the birth story of a crime fighter. The film premiered in 1989.

After the dark-toned mega-success, Batman has had no worries. The actor changes, but the character is allowed to remain serious, low-key, and violent. The rich heir Bruce Wayne has avenged the murder of his parents on the screen a dozen times.

Recently premiered The Batman makes the character a slightly more shy spy, but he also wants to avenge the death of his parents.

Even the actor who started the boom Michael Keaton returns to Batman after a break of three decades in this year’s premiere In The Flash and In Batgirl.

Probably again, the murder of parents is being avenged.

More and more movies are being made because you want to see more and more of them all the time. However, Batman’s endless popularity is not based on a hero who presents a bat log on his chest. Actually, the hero has become an ever more indifferent character.

Italian author-semiotician Umberto Eco wrote in 1962 how superheroes like Superman and Batman should represent the law – or some universally recognized goodness. Therefore, they are made completely predictable.

Each of these heroes has been given such powers that they could actually overthrow governments, overthrow armies, or change the balance of planetary politics.Eco wrote.

The superhero characters are bottomlessly kind, moral and loyal to people and the law of nature. It’s right (and nice) for them to use their power for good.

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But what is good? Eco regrets how Superman could produce astronomical amounts of work and wealth in seconds: One could expect the most amazing political, economic and technological upheavals in the world.

Instead, Superman is bustling in the small village of Smallville. All good he does is charity.

Bruce Wayne, too, is mainly engaged in charity, all the more lazily. Sometimes projects are interrupted due to lack of money and orphans are left without help. At night, he investigates crimes using expensive technology.

Basically, the stories are based on the heroes ’inability to shape the world in any direction.

Although the characters have become more complex since writing Eco, the still life in the Batman movies is still similar.

Robert Pattinson presented by Batman describes in the new In The Batman their surroundings like a hard-boiled private detective. Gotham City is rotten, but he still has to do his best.

I can’t be everywhere, but they don’t know where I amBatman announces his tactics.

Batman eradicates petty criminals like weeds that grow again the next night.

He doesn’t crave a big change because he has found his place as “Revenge,” as he calls himself when hacking a thistle that has come loose. He needs to oversee the streets as some kind of one-man paramilitary, as the system is corrupt.

I’m Revenge, Robert Pattinson appears in The Batman.

The failure of the policy has guided the actions of Tim Burton Batmanista since. In it, the Joker begins to take care of Gotham City’s affairs with a poison that turns people’s mouths into smiles.

Already in the 1960sBatmanseries rode on the most political issues of its time. Whenever a conservative assistant, Robin, would poke a drunken or indigenous people, Batman pointed out in a teacher-like way that everyone is people and belongs to the city.

In one episode, the mayoral election was held in Gotham City, where the Penguin received a Batman in the election debate.

The penguin bases his campaign on one single thing: the Batman. Everything has to be revealed about a suspicious, disguised man.

Who is Batman always seen with? Criminals! ”

Batman refrains from “cheap circus tricks”. If the country’s decision-makers were chosen with clever slogans, wind orchestras and poor girls, the country would fall into a mess, he explains to Robin.

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Batman’s righteous election ceremonies fall asleep.

The Washington Post

found that the electoral setup of a TV series five decades ago was reminiscent of a bewildering much of the 2016 presidential election that Donald Trump won by avoiding all the traditional debate.

“No politics! Things confuse people, ”the penguin outlined.

After Burton The Batman era holds one very non-political attempt.

The studio insisted that in 1997 Batman & Robinista made as toy-like as possible, “toyetic”. The toy companies were involved in the design so that they could bring as many by-products to market as possible.

The highlights focused on showing off the nipples, buttocks and groin protection of Batman and Robin’s suit.

The movie became a huge flop.

Supervisor Joel Schumacher has been defending the act called the worst superhero film for years.

Batman is an outfit, Schumacher says in a documentary about making the film. It doesn’t matter who the character plays, because the black cloak always does the work.

Schumacher is kind of right. Much more important are the enemies.

A toy show after Christopher Nolanilla was the right moment to reshape the curt-headed and monumental Batman trilogy, where despair and cruelty dominated Gotham City.

In the concluding remarks Return of the Dark Knight (2012) Calling himself a “necessary evil,” the evil Bane intends to revolutionize the capitalist system. He is succeeded by people who are ready to die for a purpose.

Even a cat woman who lives as a thief is half-threatened by billionaire Bruce Wayne: “How can you live so great and leave so little for others.”

Bane’s revolution begins at the heart of power. The stock market is being taken over by low-paid minions – cleaners and messengers – who start firing screens at machine guns with machine guns.

Later, Bane’s troops set up a court where the leaders of the business world are deported to thin ice and sentenced to death.

Nolan said he was influenced by the French Revolution.

Destruction is the solution in the film The Return of the Knight of the Night.

Concluding remarks aroused cultural writers. The intersections were seen with the Occupy Wall Street movement, which at the same time criticized the financial economy.

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American trophologist and leftist activist David Graeber wrote The New Inquiry magazine that Nolan’s film was “anti-Occupy propaganda”. For him, however, the trilogy highlighted the connection between creativity and violence.

Graeber continued Eco’s thinking about how superheroes never build anything.

The bad guys, on the contrary, are infinitely creativehe wrote.

Graeber thinks the viewer is made to identify with the fun-loving villain and feel guilty afterwards.

It’s a lazy contempt for the film viewer, but Graeber better argues his argument about how the super villains represent the only party that dreams of social reform.

Superheroes block reforms every time, represent a status quota.

They are not fascists. They are just ordinary, decent, super-powerful people living in a world where fascism is the only political possibility.

In the new In The Batman let’s make it a little too clear that large crowds can also do “good” things together.

In the past, troops have been on bad roads.

The Gotham City system has not been tested by a single laughing Joker in movies in recent years. The most threatening is no longer just a mentally ill individual, but the most frightening is if one gets the masses with him. The joker has been made a master of chaos, laughing at everything. Batman doesn’t laugh at anything.

The still life is repeated In The Batman. The authority is horrified when killers appear somewhere that the Riddle has been enticed through the internet to carry out his bloody fantasies.

Free Joker Batman is just a suit. No one wants to see a campfire singing on the big screen.

Really the film industry has already noticed that Batman is not needed at all.

In The Joker (2019) The main enemy underwent a survey of unemployment and mental health problems, which succeeded in gathering similar abusers to commit acts of violence.

Todd Phillipsin control rides on trumpeting, a pellet mask boom, and fantasies of destabilizing a stable society.

As a description of the mediated world, the film is flat, but it has something that cannot be ignored just as a troll.

Transforming into a joker Joaquin of Phoenix compulsive laughter approaches crying. Laughter has become a body condition that cannot be stopped. Like coughing up the murder of his parents.

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