Capitalism and Schizophrenia in Gotham City – The Fragile Masculinities of Christopher Nolan’s The Dark Knight Trilogy

My article examines the various presentations of masculinity in Christopher Nolan’s The Dark Knight Trilogy and their dependency on gadgets and theatricality. The success of a man’s performance of his masculinity is measured in how convincing he is as either hero or villain and in his exertion of power. I argue thereby that the men appearing in the three installments are stereotypes that cater to a heteronormative world view and constantly need to reassure their sexuality and gender affiliation to persist within the society of Gotham. By contrasting the films’ protagonist Bruce Wayne and his superhero alter ego Batman with the villains, I conclude that the masculinities are fragile because they strongly depend on money, physical strength and control over other, physically and financially weaker people, otherwise they are not of value for the predominant heterocentric, capitalist community. I thus want to stress that the city (and through it the films themselves) requires an immaculate masculinity that is as good as unattainable and promotes obsolete role models. Furthermore, I will point out the subordinate role of femininity in the films which again emphasize the films’ focus on the desire for a hypermasculine saviour.