bat signals

what costumes reveal

capitalizing on a philosophical position that despair pays its debt to hope, //batman rises// is no aufhebung. but some lessons, nonetheless, learned:
smile as a mask, we all wear masks.
but the ugly are still some how ugly. we cant see bane smile. he is wearing a mask. if your mask is not a smile you are shunned. bane cries.
but most characters are pretty. not so with burton’s series: the villains, the heroes, both monstrous cartoons. in nolan’s most evildoers and righteous look and act like celebrity actors. may be this is a signal that good and evil are blurring by desire lines. this term applies in architecture, when convenience dictates that paths form out side the purview of constructed routes. our best intentions cannot halt the flows of desire, especially when it is socially acceptable to disregard the fencework.

politics as thin grey line between crowds of men. occupyers are ‘liberators’, o the arrogance, the egotistical tyranny. badiou says in godard’s //socialisme//, “any movement on a planar surface, not dictated by physical necessity, is a spatial form of self-assertion, whether it involves empire building or tourism” . which form of self-assertion is batman, is bane, a violent psychotic episode?

the city cops arent crooked, just their bosses. the cops hide money in their mattresses. catwoman seduces bruce in a leninist speech about the unconscionable excesses of the wealthy, who leave nothing for the rest of us. but bane’s vaudevillian address astride the pillars of gotham’s city hall could be pulled from the occupiers in nyc’s finanical district. as if: we’d be living in a totalitarian wild wild west should their ideology take root. save vigilantism there is no political maneuver that doesn’t fall into disrepute. indeed, bane is nolan’s cinematic sonic parable; the sound of banality is that expressions are less clear the louder they appear.

like, football stadium ground zero. and sequence upon sequence whereby a slew of bodies is collateral damage. what when breaking the fourth wall on our top boxoffice grossing fantasies is a colorado shooting..

the emotional wit and stability have caved: alfred’s manic depressive, for most of the film crying in every scene he’s in, then by the end of the film living happily isolate into his delusions.

and a refrain from the second wave: why not a few good women, why only one? great job skinny 1 and nondescript nonwhite 2! for what? catty barbs fall flat except to note that batman has to save his girlfriend. this introduction of jealousy recognizes a multiplicity to our desirable objects–two women over whom to swoon–which, we soon come to under stand is confused over subterfuge.

direktor cjjn

were there nipples on the honorary statue of batman? whose alter ego hangs up the hardwork to hang out at cafes on permanent vacation…hmmm,  sounds like an analogue for the promising nolan cinemascape.


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