ABSTRACT
In this chapter we examine the Christopher Nolan Batman franchise, arguing that, post 9/11, Nolan had license to create a much darker film series which was more reflective of actual societal fears than past Batman movies had been. We suggest that Batman Begins is the starting gun for the avalanche of superhero movies produced between 2002 and 2019 in which writers and directors moved away from the colorful, “campy” presentation of both superhero and villain and began to consciously process the stark political, philosophical and social questions that the 9/11 attacks raised. An analysis of the films explores how new kinds of villains elicit a response from Batman and other “good guys” fundamentally altering the manner in which they choose to respond and complicating the traditional notion of binary good/evil, right/wrong for the audience. Also examined is the role the physical spaces of Gotham City reflect contemporary issues of class and power.
