New Comm Ave

Kevin Medina grew up and currently resides in Irvine, California. He has gone to public school in Irvine his entire life and is now attending Irvine Valley College. In an attempt to broaden his horizons, he will soon transfer to a four-year institution outside of his hometown. If all continues as planned, he will graduate with a BA in Psychology and minor in Communication. Graduate school is tentative, yet probable. Aside from school, Kevin works at Borders, this past May marking their two-year anniversary together. In Kevin's spare time he enjoys hanging out with friends, biking, shopping, singing, music, movies, reading, traveling, photography, sudoku, and exploring new possibilities. Like Morgan Freeman in The Bucket List, he has a highly extensive list of things he wants to try or accomplish before he dies. This publication allows him to add another check mark to his list.

Batman appears to be one of those few media characters that have stayed timeless. First appearing in Detective Comics #27 in May 1939, this new superhero starred in his own magazine in the spring of 1940 with the publication of Batman 1. (4).

Goldenagebatman.com gives a brief synopsis on this classic superhero: “He is unique from most other super heroes of the time in that he has no super powers but instead relies upon superior training and intellect (along with some great toys). He is known as the world's greatest detective. He resides in Gotham City and is the alter ego of millionaire playboy Bruce Wayne."

And though Batman debuted 70 years ago, there endures a craze around this iconic masked hero. The most recent Batman film, The Dark Knight (2008) released with considerable buzz. According to Fandango, The Dark Knight played in 4,366 locations—an industry record (2). It was even able to make the Top-5 presale list of all time, including IMAX movies (2). The movie’s total domestic gross amounts to $533,345,358 (7). As popularity and revenue for the masked superhero have grown throughout the years, there seem to be some modifications on Batman in order for him to reflect society’s current ideologies and norms.

After all, it is nearly impossible to have a character stay popular for 70 years without some changes. According to the Internet Movie Database, The Dark Knight’s obvious and alleged genres are action, crime, and thriller, (8). However, in order to keep the public’s interest, they made several character and plot modifications. One may even argue its characters and plot reflect a psychological theory. The Dark Knight appears to embody Freudian psychoanalytic perspectives on personality as an underlying theme in this film. In fact, there are so many psychoanalytic perspectives and references immersed in the film that perhaps this film should be categorized under a psychology genre. According to Freud, each person has three basic structures of personality—the id, the ego, and the superego. These are not separate parts of the brain structure, but rather distinct psychological processes, (3).

The Joker

One of these processes, the id, is “the completely unconscious, irrational component of personality that seeks immediate satisfaction of instinctual urges and drives,” (3). Dark Knight seems to portray the Joker as the id. The name “Joker” in itself signifies characteristics of the id. Oxford English Dictionary defines Joker as “a playing card with the figure of a jester, used as a wild card,” (1). Freud described the id as “chaos, a cauldron of seething excitement.” (3).

A Joker in a card game can represent chaos for the other players, and can be exciting for the player who holds the Joker card. The basic urge or desire that the player wants is to win, and the Joker card helps the player achieve that desire. Aside from its meaning, there are several instances in The Dark Knight where the Joker conveys id-like qualities. Bruce Wayne threw a party for Harvey Dent, a formal event to serve as a fundraiser. The Joker crashes the party, however he is not in a hurry to harm the guests. Instead, he tells the guests that he is “tonight’s entertainment,” (6). He then proceeds to stuff his face with food and drink, an already started glass of champagne. This likely demonstrates the Joker satisfying his most basic needs. He apparently does not care about eating in a civil manner; he is just focused on eating the food and not the way it gets to his stomach. So it is of no surprise that the food dribbles all over his green vest and purple blazer as he tosses it aside when he is finished. His goal is similar to the ids. “The id strives to increase pleasure, reduce tension, and avoid pain,” (3).

Alfred, Bruce Wayne’s Butler, also gives a significant view of the Joker to Wayne as they are trying to understand the Joker’s motives. "Some men aren't looking for anything logical, like money. They can't be bullied, reasoned, or negotiated with. Some men want to watch the world burn. Some men just do things for good sport," (6). Alfred’s monologue seems to correspond to the definition of the id. The Joker is not looking for anything logical, and is thus illogical. Perhaps, the Joker’s only motivation is pure twisted amusement. The Joker could be one of the people Alfred is referencing, who wants to watch the world burn. Alfred’s theory is later reinforced in the film when the Joker burns an enormous pile of money. The Joker made a deal with the mob; he would help them get money as long as he got 50% of all the takings. He followed through with his offer and managed obtain the money. The mob met the Joker in a warehouse to collect their half, and the Joker proceeded to pour gasoline and light a match on his half of the money.

The mob was taken aback with dumbfounded expressions on their faces. They were stunned because money is a very valuable asset. Money buys people everything from absolute basics to extravagant luxuries, therefore being a logical thing to possess and desire. However, the id does not operate logically, so the Joker did not seem to care. The Joker reasoned that “it’s not about the money, it’s about sending a message,” (6). The Joker is solely trying to entertain and gratify himself, similar to the id’s longing for immediate satisfaction. In another scene, the Joker describes his own characteristics that correlate with the id. The Joker talks to Harvey Dent in the hospital and tries to advocate his lifestyle. “I'm a dog chasing cars. I wouldn't know what to do with one if I caught it. I just do things," (6). Even the Joker admits his motives are not always thought out, and suggests that it is purely for fulfillment. He apparently does not have any logical or tangible incentive, other than raw pleasure.

Batman

The Joker seems to represent only one aspect of Freudian personality theory. According to Freud, the opposite of the wild id is the superego. The superego is “the [preconscious], self-evaluative, moralistic component of personality,” (3). Professor of Communications at Trinity University in Texas, Aaron Delwiche states, “In the '40s, there was not a lot of grey. The superheroes were always right and good.” In traditional superhero movies, the superhero fights crime, takes on villains, and protects the city. The '40s superheroes traits seem to draw a parallel with Freud’s concept of the very moralistic superego. Delwiche further states that “[We now see] really flawed superheroes that are extremely messed up,” (5).

The Dark Knight seems to coincide with Delwiche’s argument: nowadays superheroes’ and villains’ roles are not so clear-cut. Manager of Fantom Comic Book Store in Washington, Kessler speculates that this change has happened because, “In the 1940s, people were so apple pie and we don’t want to read stories like that anymore. People have alcohol problems, identity issues, depression, and people lose their parents. Those are things people can relate to. The publishers are pretty in tune to what people want, [and] flawed characters make better stories,” (5). This new trend that Kessler refers to seems to be present in The Dark Knight. In the beginning of the film, Batman appears to demonstrate the same qualities that most superheroes do. Batman fights crime, takes on the villains, and ultimately protects Gotham. His first moralistic act is when he is able to capture Mr. Lau, a small-time villain, and turn him over to the police.

However, as the film progresses, Batman seems to show more human characteristics.
Batman begins to display uncertainty: a word the superego is seemingly unfamiliar with. Batman begins to notice the new District Attorney, Harvey Dent, gaining massive popularity. Even when Dent, Wayne (Batman), Rachel (Dent’s girlfriend), and Natasha (Wayne’s girlfriend) are at dinner, Natasha presents the concern that has been on Wayne’s mind. Natasha mentions, “…I’m talking about a city that idolizes a masked vigilante. [Harvey] we need heroes like you, elected officials,” (6). This quote introduces Wayne’s doubt about the legitimacy of Batman.

It appears to insinuate that Batman would be symbolically stepping down from representing the superego and that Dent would be taking his place as a somewhat legitimate form of the superego. After all, Dent has already begun doing an excellent job in his short time in office and has been doing it without a mask. Wayne later hints at his own uncertainty at the fundraiser for Dent. Wayne delivers a speech that likely signifies that he is ready to pass on his duties and responsibilities. “I believe that on his watch, Gotham can feel safe and a little more optimistic. This is the face of Gotham’s bright future,” (6). Later on the terrace, Wayne reveals to Rachel that he meant every word that he said. “You know that day you once told me about when Gotham would no longer need Batman, it’s coming. Harvey is that hero. Gotham needs a hero with a face,” (6). In past Batman films, there has not been as much emphasis on the legitimacy of Batman’s role as the superhero. Bruce Wayne reasons that Dent is fighting crime, taking on villains, and protecting Gotham and is doing it all unmasked, therefore Gotham no longer needs Batman. Wayne prepares to reveal himself as Batman at Dent’s press conference; however, Dent announces that he is the Batman. Dent is then taken into custody for being a vigilante and Batman is then forced to continue to represent the superego.

Batman seems to have regained his conventional superego-like qualities when he encounters the Joker after the Joker’s social experiment with the two boats. Batman prevents the Joker from blowing up the people inside of the boats and gets the Joker into a tight grip. The Joker then proceeds into a monologue that further suggests that Batman represents the true and legitimate superego. The Joker says, “You truly are incorruptible aren't you? You won't kill me out of some misplaced sense of self-righteousness. I won't kill you because you're just too much fun," (6). The Joker’s choice of the worlds “incorruptible” and “self-righteousness” are seemingly consistent with Freud’s perception of the ethical superego. The film ends with Batman embracing his traditionally stereotyped superego qualities. He did not want to ruin Gotham’s perception of the prominent and distinguished Harvey Dent. Instead, Batman tells Gordon to inform the police that Batman alone is to blame for the mess that Two-Face left. He sacrifices himself for the greater good. Gordon gives Batman an opportunity to regain his composure.

However, Batman does not take the opportunity. Instead, he rides off into the darkness, doing what is best for Gotham even if it means sacrificing himself. Gordon’s son wonders why Batman is being blamed for something he did not do. Gordon explains that “He is the hero that Gotham deserves, but not the one that it needs right now,” (6). Batman displays true moralistic qualities by putting the blame on himself in order to do what is right. The fact that Batman rides off into darkness may also correspond with the idea that the superego is not in the conscious mind, but rather the preconscious.

Harvey Dent/ Two-Face

The wild id and the moralistic superego are not the only components of personality. Freud’s psychoanalytic perspective on personality is incomplete without the ego. Hockenbury defines the ego as “the partly conscious rational and planful component of personality that regulates thoughts and behavior and is most in touch with the demands of the external world,” (3).

The Dark Knight seems to portray Harvey Dent as the most ego-dominated character. In the beginning of the film, Harvey Dent is starting his new position as Gotham’s District Attorney. This is seemingly coherent with the ego’s characteristics, being in touch with the demands of the external world. For the most part, politicians need a level of charisma and understanding of the people’s needs in order to be elected into a position in the first place. Also, Dent’s job and its duties are seemingly indicative of the ego. Not only is he a district attorney, but he is also fair and liked by the people. He prosecutes outlaws, further carrying out the will of society to have a safe and just community. In another instance, the Joker reveals one of Dent’s characteristics that is similar to the ego’s. “I try to show the schemers how pathetic their attempts to control things really are,” (6).

In this quote, the Joker is referring to the government and how in his opinion they plan and control things too much. “Nobody panics when things go according to the plan, even if the plan is horrifying,” (6). Of course the id, represented by the Joker, is not particularly fond of planning. However, he reveals that Dent and other government officials are. The ego by definition is the “rational, planful, mediating dimension of personality,” (3). These ego characteristics seem to coincide with the Joker’s description of the “schemers”, which refers to the government and ultimately Harvey Dent. The Joker’s discussion seems to be a double entendre, and may reveal another insinuation that Dent represents the ego.

Another indication that Dent may represent the ego is that toward the end of the film he seems to be overridden by the id—the Joker. After Dent’s struggling attempt to save Rachel from being killed, he falls and his face lands in a pool of oil. This oil lights on fire and burns half of his face, making him Two-Face.

While Dent is in the hospital, angry over his loss of Rachel, the Joker pays him a
visit. He seizes his weakened mental state as an opportunity to override his ego-tendencies and preach the ways of the id. Unfortunately, Dent gives into his suggestions and becomes a villain. He goes to the city to seek revenge and leaves people’s fate up to chance. And if the coin lands on heads—he shoots their head off. In this particular instance, it appears that by the Joker advocating his lifestyle to Dent, he is seemingly overriding Dent and his morals.

The ego has a difficult task. “[The ego] must be strong, flexible, and resourceful to successfully mediate conflicts among the instinctual demands of the id, the moral authority of the superego, and external restrictions,” (3). However, sometimes the id and the superego have tendencies to override the ego when the ego fails to remain strong. When this occurs the ego needs a way to reduce anxiety while searching for a more acceptable and realistic solution to a conflict between the id and superego (3). The means of reducing anxiety are called “ego defense mechanisms”. The apparent defense mechanism at work here is displacement. Displacement is the “redirection of emotional impulses toward a substitute person or object, usually one less threatening or dangerous than the original source of conflict,” (3). Dent is emotionally angered by Rachel’s death, and is redirecting his anger at anyone who was indirectly involved. The Joker was the original source of conflict; he tied up both Dent and Rachel to explosives, forced Batman, and the police to choose only one to save. Even though the Joker was directly responsible, he argued to Dent that he is merely a “dog chasing cars” and had no real or true emotional motive for Rachel’s death. However, he insinuated that police force was to blame because they were the ones that actually chose who to save. Perhaps it is easier for the Joker to blame the police force because they appear to be less threatening than the unpredictable Joker. Unfortunately, Dent gave into the Joker’s speech and was overridden to become the villainous Two-Face for the duration of the movie.

Aside from being an ego-dominated character, Dent also seems to reflect Oedipus in the Oedipus Complex. “As the child becomes more aware of pleasure derived from the genital area, Freud believed, the child develops a sexual attraction to the opposite-sex parent and hostility toward the same-sex parent…for boys, the Oedipus Complex unfolds as a confrontation with the father for the affections of the mother. The little boy feels hostility and jealousy toward his father, but he realizes that his father is more physically powerful,” (3). The young boy in this developmental stage seemingly wants to be like his father, and is jealous that he cannot be. In the young boy’s mind, there is a type of competition between himself and his father.

In The Dark Knight, Dent seems to reflect Oedipus, Batman as his father, and Rachel as his mother. A first possible indication is at the beginning of the film at dinner with Dent, Wayne, Rachel, and Natasha. It is revealed to the audience that Dent is dating Wayne’s ex-girlfriend, Rachel. This may represent Rachel being the mother, because Wayne used to date Rachel first and a possible motive for Dent to date Rachel is because she used to date Wayne. Also, Dent reveals that he has an interest in seemingly replacing Batman. Dent mentions, “Whoever the Batman is, he doesn’t want to do this for the rest of his life. How could he? Batman is looking for someone to take up his mantle,” (6). Natasha then asks if he has considered being the one to replace him. Dent replies, “Maybe, if I’m up to it!” (6). It seems as though Dent is symbolically trying to take his father’s place.

As mentioned in the earlier paragraphs, Wayne dealt with the legitimacy of his status as Batman. This is because Dent’s acquired title as Gotham’s District Attorney and rising popularity seems to make him a more legitimate candidate as Gotham’s protector. However, one may speculate that Dent’s motivation to be in office at all and to be Gotham’s protector is because he wants to be like Batman. Dent’s tactic to “kill” Batman would be to acquire his status through his legitimate means, becoming Gotham’s “White Knight”. The instance at the press conference when Harvey Dent reveals himself as the Batman may also be indicative of the Oedipus complex. Dent saying that he is the Batman could have possibly been planned out before, or have been a Freudian slip, because he may truly want to be just like Batman. However, according to the Oedipus Complex, the boy will not be able to because “he realizes his father is more physically powerful,” (3). As the film progresses Dent becomes corrupted by the Joker and is eventually killed. This may represent that Dent was not as physically strong as Batman, his “father” who survived. In fact, Batman is able to physically, mentally, and emotionally survive all of the obstacles throughout the film, remaining uncorrupted.

Final Thoughts on The Dark Knight

The Dark Knight’s ending was jam-packed with action, emotion, and meaning. However, the Joker did not appear in the ending. He seemed to kind of slither away from the plot of the film and escape. Perhaps Kessler is right, people are not as “apple pie” as they were in the ‘40s and necessary changes were made for Batman in order to keep the audience interested. In the traditional superhero movies there seems to be more closure about the villain. The audience is aware of the villain’s fate, whether or not the outlaw got away. However, in this film he sneakily escaped. Instead of finding out the villain’s fate we are left with Two-Face on a vengeful rampage, eventually getting killed. Then, in an attempt to salvage Dent’s good name, Batman sacrifices himself and tells Gordon to inform the police that he is responsible for all of Two-Face’s destruction. The final scene features Gotham’s superhero being chased down by the police and their dogs. In the end, it seemed that the two characters that represented good ended up with the short end of the stick, while the Joker got away. In a sense, the Joker won. This could be explained by Kessler’s theory, that the movie needed to be changed up in order to keep audiences interested. But, why are audiences intrigued with the villains prospering and the superheroes failing? Why is it that the wild id stayed constant and true to itself, while the ego became corrupted and the superego questioned his legitimacy and eventually chased and exiled from Gotham? Perhaps this indicates that we are accustomed to having problems and seeing evil prevailing in our society.

Since the ‘40s, technology has greatly advanced, allowing the media to have a more powerful influence over our lives. Due to the media, society is seemingly more aware about the incessant cases of child abduction and domestic violence; the cases that seem to be happening every day. Modern society is more educated about the Holocaust, the Abu Ghraib prison, and the terrorist attacks of September 11. Perhaps Batman is portrayed with more imperfections in this film because that is our perception of the world today; even the most sincere person, a superhero, has his faults. Because after all, it is difficult to believe that there is good in a world that embodies such intense hatred, pain, and evil.

• 2009 Fall
• Film Analysis