A Long Dark Night: Gun Violence Romanticized and the New Batman Movie
Photo Credit: gwire at Flickr
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Early morning July 20, we cheered the new Batman movie as a thousand miles away a crowd watching the same film screamed as a gunman, barged in, flung a smoke bomb and began shooting. In San Francisco, we left the cinema laughing at the stupid politics of The Dark Knight Rises. In Aurora, Colorado, 12 were killed and 59 wounded as the shock spread to the nation in the morning news. Already one truth stands out; the shooting is not isolated but like a mirror reflects the dark logic of the film, itself a reflection of America’s romance with violence.
One thing we know about gunman James Holmes is that he wanted a stage. Like the 2007 Virginia Tech massacre gunman Seiung-Hui Cho, who mailed videos of himself; or the 1999 Columbine gunmen, Eric Harris and Dylan Klebold, who meticulously recorded themselves prepping for the massacre; the Dark Knight gunman wanted to be seen. In killing others, he tried to secure for himself the image of a strong powerful man who could wreck havoc on the world. And this is exactly the role that Bane (acted by Tom Hardy), the anarchist villain in The Dark Knight Rises, plays as he bombs Gotham City and unleashes enraged prisoners on the rich. He and Wayne Enterprise executive Miranda Tate (played by Marion Cotillard) avenge those trapped in The Pit and forgotten by society. Already the Herald Sun reports that the Dark Knight gunman was dressed in armor and gas mask, like Bane.
What are we to make of this? Only someone whose self-identity is collapsing is driven to recreate themselves as a new character. It is the dark logic of the Batman films, whose title character begins as a boy who helplessly watches his parents murdered and transforms himself into a terrifying hero who punishes criminals. Is this not the archetypal plot in nearly every American superhero film and tragically, perversely the self-narrative of many gun-wielding mass murderers?
At a deeper, historical level, the superhero narratives are part of our national ideology in which self-creation through violence has always been celebrated. When immigrant Europeans chased the American dream, they did so with guns in their hands. Seizing the Frontier from Natives, they became citizens of a new nation built on stolen land by shooting enemies. Long after the Frontier was paved over, we kept the mythology. Whether it’s the nomadic gunslinger of the Hollywood Western, the renegade cops going rogue or pretty much every action hero, Americans have been raised on the archetypal plot of men recreating themselves through violence.
And this celebrated mythology, replayed every day in every cinema, every TV, in books and music is seductive and dangerous to what German professor Ines Geipel called the "Wounded Outsiders." In her book The Amok Complex, she analyzed five mass shootings in Europe and distilled from the gunmen a common character. They live in pricey towns, come from well-heeled families but are labeled outsiders due to their failure to achieve in the high pressure of class paranoia. In an interview on the German news site DW, she said that after being isolated they retreat into a fictional world. “Most of them have a strong affinity to theater and film,” Geipel said. “It is the desperate search for their own skin, for their own role in life.”
In the British paper the Independent, Dr. Keith Ashcroft wrote how the path from low self-esteem is layered with resentment which becomes paranoia. The retreat from others into a shrinking world of rage and self-pity creates the conditions for more social isolation. A fast and powerful downward spiral begins that pulls the young men into fantasies of revenge. And finally there is some triggering event, loss of a lover or a job or a home that snaps him. “Their paranoia heightens the sense that the whole world is against them, which increases their anger,” he wrote “It is very immature to want a gun in order to have a sense of power and fulfillment. But it is a way of regaining control.”