Tracing the Filmography of Christopher Nolan’s Cinema through the Lens of James Monaco’s “How to Read a Film?”: A Critical Analysis of The Dark Knight and Oppenheimer PDF Free Download
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International Journal of Research Publication and Reviews, Vol 5, no 8, pp 297-302 August 2024
International Journal of Research Publication and Reviews
Journal homepage: www.ijrpr.com ISSN 2582-7421
Tracing the Filmography of Christopher Nolan’s Cinema through the
Lens of James Monaco’s “How to Read a Film?”: A Critical Analysis of
The Dark Knight and Oppenheimer
Priyansh Dutta Roy1, Mr. Rohit Yadav2
1 Student (A7706123025), 2Assistant Professor
Amity University
ABSTRACT
Cinema has always been a subject of intrigue for civilization and society. The role of film and mass media in shaping human history and society through a gradual
progress in technology and human imagination has been immense. Literature has often inspired and has been inspired by Cinema and vice versa. The symbiotic
relationship between the domains of Literature and Cinema has been studied and brought forth in this academic paper. The paper aims to explore and understand
how a literary text examines and allows the cinematic form of storytelling to fit into its seminal framework. We shall look into the filmography and cinematic
brilliance of the British-American filmmaker, Sir Christopher Edward Nolan through the critical and analytical methodologies enshrined in American film critic
and author James Monaco’s definitive literary text on film and media – How to Read a Film: The World of Movies, Media and Multimedia. The application of
Monaco’s theories on the practical journey of Nolan’s contribution to world cinema has opened up a whole new avenue for discourses on the evolution of Cinema,
the art of filmmaking and the impact of auteurs on modern-day storytelling. Two definitive works of the filmmaker’s brilliant filmography have been selected and
critically analysed through myriad lenses in order to elicit a novel understanding of already beloved works of art. Careful scrutiny of key cinematic approaches
have aimed to find out how the filmography in question resonates with popular culture and modern cinema. To highlight this is the key purpose of the research
paper undertaken by me.
Introduction
Robert Frost once suggested. “If poetry is what you can’t translate, then art is what you can’t define”. The popular concept of film and cinematic elements
as art is a fun yet tricky one to grasp and explain. For thousands of years in recorded human history, the artistic history was essentially the history of
pictorial and literary media. The development of the recreational media brought forth a revolutionary shift in cultural and societal dynamics, dominated
by the recording media. The scientific community recognises and acknowledges the qualitative differences between recreational and recording media.
Anthropologists are quite aware of the leverage film as a medium has over the written word. Film does not eliminate the need of a third party between
the subject and the observer, but significantly reduces the distortion caused by the presence of an artist. One of the oldest theories of art is The Spectrum
of Abstraction, possibly propounded first by the Greek philosopher Aristotle. According to him, art is best understood as a type of mimesis, an imitation
of reality dependent on a medium (through which it is expressed) and a mode (the way the
medium is utilized). The more mimetic an art is, then, the less abstract it is. Film ranges from the broad domains of practical through environmental,
dramatic, narrative to music. Since the idea of film has been established as an art, there has been an attempt made in this paper to examine and apply
certain theoretical approaches discussed by Monaco in his book. I have made an attempt to take up certain important approaches and reflect on these
through the contemporary comparison with a popular body of work. A number of important dichotomies govern the work of film theory. The first, the
contrast between the practical and the ideal, is suggested by the difference between criticism (practical) and theory (ideal). The most important governing
dichotomy is that between theory and practice. The fact is, no filmmaker needs to study the theory in order to practice the art. Indeed, in the early years
very few filmmakers had any interest in theory. They knew (or did not know) instinctively what had to be done. Gradually, however, as film art became
more sophisticated, a bridge between theory and practice was established. As the art and science of film have evolved through the years, normativity has
yielded to more scientific methods of inquiry with film theory becoming less demanding and more inquisitive. The job of film theory now is truly logical
and argumentative. As a fully matured art, film is no longer a separate enterprise but an integrated pattern in the warp and woof of our culture. Cinema is
an expansive set of interrelating oppositions: between filmmaker and subject, film and observer, establishment and avant garde, conservative purposes
and progressive purposes, psychology and politics, image and sound, dialogue and music, montage and mise en scène, genre and auteur, literary sensibility
and cinematic sensibility, sense and the nonsense. a never-ending set of codes that raises fundamental questions about the relationships of life to art, and
reality to language.
International Journal of Research Publication and Reviews, Vol 5, no 8, pp 297-302 August 2024 298
Film Theory: Form and Function
Sergei Eisenstein was one of pioneers of film theory and criticism. A Soviet film theorist and director, he made notable contributions to the ever-changing
landscape of cinema. He developed his terminologies to illustrate the differences in the approaches to the study of film and theory. In his 1945 essay
called “A Closeup View”, he laid down a few terminologies for the theoretical approach. The terminologies were as follows
• Long-shot theory - Theory which deals with film in context, which judges its political and social implications.
• Medium-shot criticism - Theory which focuses on the human scale of the film, which is what most reviewers concern themselves with.
• Closeup theory – Theory which attempts to break down the film into its parts and treat its ‘language’.
Film theory allows us to apply academically rigorous analysis to films. Through this practice, we garner a greater understanding of texts, how they were
made, and their dialectics. Film theory invigorates and approaches the relatively young field of art from an older system of philosophy and structure.
Conceptual framework is one of the key components of any film theory in practice. Nicholas Vachel Lindsay, an influential American poet, wrote a book
with the argument that films could essentially be classified into three types – action films, films of splendour and
intimate films. Action film was “sculpture-in-motion”, film of splendour was
“architecture-in-motion” and intimate film was “painting-in-motion”.
He also described cinema as hieroglyphic in the sense of containing symbols in its images.
I will be discussing three important film theories that have governed the basics of the discipline through their application on two prominent films by a
leading filmmaker of the 21st century. As gender studies, psychoanalytic approaches and political discourses led the conversation the 70s and 80s, film
theory has increasingly begun to approach filmmaking through the lens of these disciplines.
In accordance with Eisenstein’s terminologies, I will be applying the following theories to gain a deeper insight into filmmaking and its implications for
the audiences and makers alike.
For the Long-shot theory, I shall apply the Feminist Film Theory
For the Medium-shot criticism, I shall apply the Auteur Film Theory
For the Closeup theory, I shall apply the Formalist Film Theory
Understanding Feminism, Auteurism & Formalism in Film
James Monaco identifies several theoretical approaches to the understanding of film as a means of mass media. Some of the most important theories he
discusses have been used to study the filmography of a reputed filmmaker. Accessible writing style and a structured analysis make his book a very
valuable resource.
1. Feminist Film Theory - This theory constitutes one of the most prominent and socially relevant branches of film theory and criticism. Feminist
underpinnings and gender studies have brought forth a wave of feminist writers and critics who have tried to approach and study cinema through
the lens of feminist thought and consciousness. It is developed as a separate school of thought since its emergence in the 1970s United States.
Feminists have many approaches to cinema analysis, regarding the analysis of cinematic elements and their theoretical underpinnings. Influenced
by the second-wave feminism that began in the 1960s, Feminist Film Theory deals with the notion that film perpetuates and actively propagates
patriarchal values. Laura Mulvey in her essay “Visual Pleasure and Narrative Cinema” laid emphasis on the inclusion of psychoanalytic feminist
film theory which led to a remarkable shift in the dynamics of film criticism.
2. Auteur Film Theory - This theory is a popular and important criticism concept that views the director as a major creative and artistic force of a
film. The director essentially assumes the role of an “author”, carefully overseeing the process of filmmaking. Auteur theory states that films by
the same director have recurring motifs, similar thematic depths, recurrent actors, cinematographers and composers. A basic tonal and visual
similarity is observed in the filmography of an established auteur. Auteurism originated in French film criticism of the late 1940s, and the critical
and public scrutiny of films shifted from their stars to the overall creation. Andrew Sarris, an American film critic, was one of the leading and
most influential proponents of the theory, who later applied it to Hollywood, leading to its popularisation and acceptance.
3. Formalist Film Theory – This theory concerns itself with the formality and technicality of film and filmmaking i.e. lighting, shot composition,
sound, visual effects, production design, set design, editing and colour. A formalist considers the synthesis of several elements, such as editing,
shot composition, and music. Formalism deals with how a film builds on the themes and emotions rather than the themes themselves. In the
words of James Monaco, “Formalism is more specific, more “scientific,” and more concerned with the elements, the details that go to make up
this force. It is more analytic and less synthetic, and it also carries with it a strong sense of the importance of function as well as form in art.”
During the 1920s, two Soviet filmmakers, V. I. Pudovkin and Sergei Eisenstein, produced not only a number of exceptional films but also an
amorphous body of Formalist theory that had a profound impact on the course of development of film theory.
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Christopher Nolan & Cinema
Biography - Sir Christopher Edward Nolan is a British-American filmmaker widely recognised as one of the most influential filmmakers of the 21st
century. Known for his big budget films with complex narratives, Nolan has carved out a dedicated fanbase across the world. He has also garnered
international acclaim and widespread attention for his myriad filmography, earning him 2 Academy awards for his 2023 biographical thriller film,
Oppenheimer. Born on 30th July, 1970 in London, Nolan developed an interest in the field of cinema from a rather young age, borrowing his father’s
camera to shoot homemade short films using action figures and sets made out of clay and egg boxes. After earning a
bachelor’s degree in English Literature from University College London, he worked as a script reader and camera operator. The success of his first feature
“Following” gave him the opportunity to film “Memento”, which became his breakthrough film. In the 2010s, the success of his gritty superhero trilogy
positioned him from an indie filmmaker to a seasoned master of cinematic escapism. The success of his science-fiction films “Inception”,
“Interstellar” and “Tenet” have led to his massive popularity among the young audiences around the globe. Discussing the difference between art films
and big studio blockbusters, Steven Spielberg referred to Nolan's Dark Knight series as an example of both; he has described Memento and Inception as
"masterworks". Nolan has been nominated for eight Academy Awards (winning two), eight British Academy Film Awards (winning two) and six Golden
Globe Awards (winning one).
Cinematic Style - Christopher Nolan’s filmography largely deals with metaphysical themes while also juggling the concepts of time, identity and life.
Non-linear narrative structures, authentic filming locations and realistic tonal qualities dominate his films. Nolan is known to be an auteur, exerting
considerable creative control over his projects and employing the use of similar motifs and symbols to showcase his cinematic brilliance. Human morality,
causality, self-identity, epistemology are some of the many thematic qualities that are conspicuous across his filmography. His frequent collaborators
include editor Lee Smith, cinematographers Wally Pfister and Hoyte van Hoytema, composer Hans Zimmer, sound designer Richard King, production
designer Nathan Crowley, and casting director John Papsidera. Nolan's films feature many recurring actors, notably Michael Caine, who has appeared in
eight. Nolan’s red-green colour blindness has influenced a unique blend of film noir and colour grading. His fascination with psychological themes,
mathematical shapes and paradoxes in visible in his films. Unreliable narrators and crosscutting editing techniques form the basis of his style and cinematic
ethos. His filmography features slow and emotional atmospheric musical themes using experimental illusionary tunes. Societal issues such as global
warming, corruption, crime, wars and psychological conditions have been heavily featured in his works. His characters are often morally equivocal,
susceptible to guilt, greed, loneliness and deceit. Time is a major thematic element in his strange narrative structures, often interacting with the characters
and audiences while also shaping the overarching plot.
The Dark Knight from Perspectives
Regarded as one of the greatest superhero films and one of the greatest films of all time by critics and audiences alike, The Dark Knight (2008) is a gritty
and realistic adaptation of the Detective Comics superhero, Batman. A sequel to “Batman Begins”, the plot follows the fugitive vigilante Batman who
forms an unlikely alliance with police lieutenant James Gordon, and district attorney Harvey Dent as he tries to bring down the organised crime in the
fictional Gotham City. Everything seems to go well until the psychopathic criminal mastermind Joker shows up to spread his anarchy and test how far
Batman would go to save his beloved city.
I have analysed and recorded my observations after meticulous application of the theories mentioned above on the narrative of The Dark Knight.
A film with many themes, motifs, messages and patterns, it was tricky to read and understand the film from the various perspectives of Feminism,
Auteurism and Formalism. However, I have tried my best to put forth a coherently organised reading of the same with novel inputs and an entirely
different perspective and cinematic aspect as talked about and extensively discussed in James Monaco’s “How to Read a Film”.
A Feminist Reading of The Dark Knight – Several theories have been applied on The Dark Knight throughout the years. Here, I have tried to look at the
critically acclaimed film from a feminist viewpoint. Christopher Nolan has often been criticised for a conspicuous lack of well-developed female
characters who actually serve a purpose. Brilliantly portrayed by Maggie Gyllenhaal, Rachel Dawes is the love interest of Harvey Dent and a childhood
friend cum lover for Bruce Wayne. This love triangle leads to interesting predicaments, and carries the subplot forward. Rachel Dawes is an independent
female tritagonist in the film, going to the lengths of even interrogating and standing strongly in the way of the horrifying antagonist, The Joker. However,
her arc ends with her sad demise, as The Joker captures her in a warehouse and plants it with explosives. We do not get even a single scene of Rachel’s
funeral even when her death is meant to be an emotional heavyweight for Bruce Wayne and Harvey Dent. In the grand scheme of the plot, her death
actually meant much more than her life ever did. The clear case of the “Women in Refrigerator” syndrome actually operates in this context, where the
female lead is sacrificed or killed off to evoke a nuanced emotional response in the male leads. Speaking of which, the Gotham City police department
apparently lacks a lot of female officers as well, a testament to the lack of appropriate female representation in a film of this stature. We do, however, get
a rather one-dimensional character of Detective Anna Ramirez, who assists the character of Commissioner Jim Gordon and provides him with important
leads. Gordon is shown to have a loving relationship with his son (an obscure character in the comics), and the film seems to omit the character of his
daughter Barbara entirely even when she is an important aid to both Batman and Gotham City police in the comics. All in all, The Dark Knight is not
flawless but it manages to deliver on all fronts, regardless of the little imperfections that are bound to occur in a film of such massive proportions.
An Auteurist Reading of The Dark Knight – Often considered the first magnum opus of filmmaker Christopher Nolan, The Dark Knight is a brilliantly
crafted piece of commercial art that transcends the barrier of time and space.
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Christopher Nolan, the renowned auteur, has not failed to leave his signature cinematic marks on his beloved creation. Employing the use of similar
motifs across all his films, Nolan uses the world of The Dark Knight as his creative canvas. From impactful chase sequences featuring heavy cross-cutting
with Batman and The Joker to tense scenes with bleak chiaroscuro lighting to invoke gloom and dread are some techniques that are so inherently
reminiscent of Nolan that these are now quite expected in some way or the other in his filmography. Bruce Wayne’s flashbacks and dimly lit interrogation
scenes with a psychopathic criminal are skilfully shot and executed. Nolan’s use of monumental scores to accompany emotionally captivating scenes are
all very visible in his Inception, Interstellar, Dunkirk, Tenet and The Dark Knight.
Prominent actors Michael Caine, Cillian Murphy, Anne Hathaway, Tom Hardy and music composer Hans Zimmer are some of the many frequent
collaborators of Christopher Nolan who appear across his filmography. There are always the signs and symbols of a typical Nolan film which can make
a casual observer say, “Yes, that is a Christopher Nolan film.” Whether it is the identity crisis between the two magicians in The Prestige, the visible
confusion between dreams and reality in Inception or the character of Christian Bale torn between the identities of billionaire Bruce Wayne and vigilante
superhero Batman in The Dark Knight trilogy, there is a similarity of themes observed in Nolan’s work. The tonal and thematic attributes in his Batman
trilogy have the signature stamp of his past experiences as a director. While he calls himself an indie filmmaker working inside the studio system, Nolan
is a complete auteur in the sense that he involves himself with all aspects of preproduction, production and postproduction, something unprecedented in
the realm of contemporary filmmaking.
A Formalist Reading of The Dark Knight – James Monaco in his “How to Read a Film”, begins a chapter with the words “Every art is shaped not only
by the politics, philosophy, and economics of society, but also by its technology.” If we engage in a technical study of the various elements that operate
in the film, we can clearly analyse how well The Dark Knight crafts the illusion of its universe and the exhilarating amount of creativity and ingenuity
that has enriched it. The Dark Knight features dramatic musical scores, well-designed set pieces, impeccable costume design, striking practical and
computer-generated visual effects and a crisp screenplay that holds the everything together.
Narrative Structure – Non-linear storytelling, multiple character arcs converging to shape the overarching plot and parallelly edited
sequences bear testament to the fact that The Dark Knight is a work of absolute craftsmanship and cinematic camaraderie. The stakes are up
in the second film of Nolan’s Batman trilogy, with the inclusion of masterfully portrayed antagonists carrying the plot forward. Bruce
Wayne’s attempts to hold together his sanity and city coupled with a gritty and reimagined version of classic comic book characters lends
the film its authenticity even after a decade of cinema has passed.
Set Design – Christopher Nolan has perfectly captured the urban decay and moral degradation coming into play in Batman’s Gotham city
and the growing rifts between the city’s wealthy and the underprivileged. Contrasting tones have been skilfully used to convey a feeling of
constant lawlessness and corruption plaguing the city. The billionaire playboy-turned vigilante superhero wearing state-of-the-art suit clashes
with the nobody-turned psychotic madman wearing a cheap old suit with makeup on the choicest set pieces meant to emulate a sprawling
yet dangerous city. Nolan blows up a real building without the slightest use of any computer-generated imagery to reflect on his absolutely
impeccable work ethic and dedication.
Sound Design & Scoring – Hans Zimmer’s electronic and orchestral music with alternating tones and an emotionally charged themes are
evident in the film’s soundtrack. Composer James Howard envisioned a musical portrayal of a hopeful vigilante who suffers moral corruption
and goes to extreme limits. A rising string “punk” note has been used for The Joker’s theme signifying decay, unease and fear, reminiscent
of horror films. Brilliant sound design includes the design of physical combat, vehicular sounds, ambient effects and other environmental
sound effects. Crisp and well-written dialogues embellish the sound effects, delivered by absolutely brilliant actors like Heath Ledger,
Morgan Freeman, Christian Bale and Garry Oldman.
Cinematography & Editing – Wally Pfister’s crucial role as a masterful cinematographer bolsters the film as one of the best in its genre.
Sweeping establishing crane shots, impactful medium shots, bleak colour grading, swift camera work, iconic wide-angle shots are sprinkled
throughout the brilliant cinematography. Batman’s internal conflict after Rachel’s death is reflected in an absolutely beautiful medium shot
of him watching over debris, accompanied by tightly edited and well- paced sequences juggling both chaotic scenes and serene shots.
Urgency and uproar are displayed through the use of smart cross-cutting during the bank heist and highway chase sequences.
Oppenheimer From Perspectives
Oppenheimer (2023) is Christopher Nolan’s boldest and most ambitious magnum opus yet. The film saw around two decades of his filmmaking prowess
culminating in its conception and release. An epic biographical thriller, the film follows the life and journey of American theoretical physicist Julius
Robert Oppenheimer (considered the father of the atomic bomb), his overseeing of the secret Los Alamos Laboratory, involvement in the Manhattan
Project and the 1954 security hearing which questioned his troubled past. Considered to be an example of masterful modern storytelling, the film won 7
Academy Awards and 5 Golden Globe Awards.
Oppenheimer is replete with emotional weight, thematic exploration, excellent craftsmanship, historical and scientific commentaries; However, there has
been considerable inactivity when it comes to addressing and exploring the acclaimed film from a novel perspective. Oppenheimer is a film that must be
reflected upon and seen through the lens of socially relevant and cinematically resonant theories and ideas. Here is my analysis of the film.
A Feminist Reading of Oppenheimer – Oppenheimer is a historical and political commentary on the society and culture of an era that faced the brunt of
a global conflict. The film is a critique on the patriarchal setup of the 1940s where people were expected to confirm to traditional gender roles. Julius
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Robert Oppenheimer is the titular lead of the film, and he offers us an insight into the social arrangement of his time from his own perspectives. The
political landscapes established by the dominating men lead to global consequences, as the art of war and weapons is manipulated to fuel their own
twisted narratives. In this world of men with troubling politics, Emily Blunt’s character Kitty
Oppenheimer, the titular man’s wife, steps into the picture. Her presence is that of an independent, fierce and imposing lady who takes matters in her own
hands when the entire nation seems to come down on her husband for his troubled past. She boldly asks Oppenheimer to confront his demons and stand
firm on his ideals, even as the media and colleagues-turned prosecutors try to downplay his legacy. Even after Oppenheimer carries on with his clandestine
relationship with Jean Tatlock, Kitty keeps his family from falling apart. Out of compassion and empathy, Kitty helps her husband cope and lets him
prioritise his work over their intimacy and relationship. Kitty sacrifices her independence, her ego, her self-interests for her husband’s integrity and love.
Kitty begins to testify in her husband’s defence, and we can clearly see the conflict that arises in her mind after witnessing tumultuous events and learning
shocking new secrets. She begins to hallucinate visions of Jean and Robert engaging in physical intimacy in the middle of the hearing. A deep-seated
psychological condition does not seem to shake her strong resolution despite all the odds against her. In an earlier scene, we see a brief but impactful
scene involving Mrs. Hornig, a female chemistry graduate and Oppenheimer, who directly confronts him after the “Personnel” department at the Los
Alamos laboratory refers her to the “typing” branch, overlooking her scientific background due to perceived gender roles. Even Jean Tatlock is a troubled
character who caters to the sexual acts of Oppenheimer. The film is a subtle jibe at traditional gender roles and tries its best to display feminist ideas
through an ensemble cast of mostly dominating male historical figures.
An Auteurist Reading of Oppenheimer – Written, directed and produced by Christopher Nolan, Oppenheimer is everything an auteur would conceive
and produce. Nearly a decade in the making, Nolan had long desired to make a film on the controversial scientist’s life. Based on the 2005 book “American
Prometheus” by Martin J. Sherwin & Kai Bird, Nolan uses his signature cinematic style to create an experience unprecedented in the history of cinema.
From using IMAX cameras to direct to using a very fragmented and non- linear structure to carry the plot forward, the film is a rather personal project
for Christopher Nolan. Employing the use of themes like Scientific Advancement & Ethical Dilemmas, Human Morality & Death and Time, Nolan clearly
shows an affinity for already established themes in his past filmography, including Interstellar, Dunkirk and Tenet. The narrative structure includes the
signature use of emotionally tantalising flashbacks, extensive practical effects, forced perspectives and macrophotography to depict the world of quantum
physics. The depiction of parallel narratives has been used to show the subjectivity and objectivity in Oppenheimer’s life. Nolan alternates between colour
(Oppenheimer’s subjectivity) and achromatic (Strauss’s objectivity) scenes. Nolan uses music to build tension, denote triumph and peep into the mind of
the titular character. The use of extreme close-up shots is a technique used by Nolan on several of his films, most notably in Interstellar. The film marks
the collaboration of Nolan and Irish actor Cillian Murphy for the sixth time, notwithstanding a recurring ensemble cast, the mark of an auteur. Nolan’s
personal distinctive thematic and visual styles reinforce his status as a modern example of a complete auteur.
A Formalist Reading of Oppenheimer – Oppenheimer is an aesthetically pleasing and visually striking piece of modern filmmaking that transcends and
recreates the boundaries of what it means to experience the magnificent progress of artistic cinema as a commercial product. Oppenheimer is a rich and
layered example of refined filmmaking. It manages to break the shackles of traditional views on narration, editing, scoring, set design and cinematography
to create a marvellous phenomenon on the big screens. A formalist reading of the film shall elucidate on a more nuanced analysis.
Narrative Structure – Oppenheimer is a film that does not shy away from including an unconventional narrative structure, held together
by the smart use of flashbacks, non-linear juxtapositions and a variety of framing techniques. The narrative element does not seem to dull
or wear out even for a minute, a testament to the brilliant acting by an ensemble cast. Auditory and visual motifs are used to support the plot
structure, enhancing the level of storytelling operating in the film. Use of chromatic and achromatic scenes elevate the overall experience of
the narration in the theatres.
Production Design – Authentic recreation of a historically accurate depiction of 1940s America, Los Alamos laboratory, scientists,
politicians, important influential figures, authentic costume and prop design lend a sense of accuracy and cohesion to the overall plot. The
entire set design was controlled and meticulously researched by the filmmaking team, their brilliant craftsmanship and aesthetic sense visible
in the film. Nolan used extensive practical shots to minimise the use of computer-generated imagery. An actual explosion was simulated by
Nolan and his team using a controlled detonation to mimic the atomic bomb test that was used on Hiroshima and Nagasaki during the second
world war.
Cinematography – Hoyte van Hoytema brilliantly induces a sense of dread, misery, awe, triumph through his incredible camera work,
colour grading, shot composition and scale. Extreme wide-angle shots are used to depict the massive scale of New Mexico while extreme
close-up shots depict the psychological and moral turmoil brewing inside Oppenheimer’s mind. The camera movement ensures that we as
an audience are sucked into the immersive world built by the film and its cinematic elements. A bleak colour palette is reminiscent of the
bleak political and social conditions brought along with the second world war. A constant sense of dread and rivalry lingers on in the
cinematography. The use of IMAX format ensures that the film is produced with striking details.
Scoring & Sound Design – Composer Ludwig Goransson’s theme “Can You Hear The Music” is an auditory ecstasy, one that transports
the audiences to the world of Oppenheimer. Beautifully conveying the themes of the film, from triumphant tunes to horrifying consequences
of one’s action, the use of violin perfectly balances the conflicting emotions. Silence and shepherd tones are used in quick succession to
build on the tension and temporal race depicted in the film. Excellent sound design, audible dialogue delivery and the use of diegetic ambient
effects elevate the experience of witnessing how music transforms a film. Oppenheimer might even be a rather dull film without its
soundtrack.
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Editing – Clever use of compelling montages, compositing macro images, cross- cutting sequences, juxtaposing Oppenheimer’s private life
with his professional life are a result of crisp and clear editing. The pace of the film is a breeze of fresh air, with its mammoth 3-hour runtime
feeling like a 1.5-hour film due to quickly edited sequences. Tonal and rhythmic montages in the beginning and the ending act as complete
circles, utilising the power of symbolic storytelling and thematic motifs. Editing plays a large role in making such a niche film accessible to
the modern audience not deeply aware of scientific and historical underpinnings that are at play in this epic saga of one of the most influential
figures in the history of the world.
Conclusion
James Monaco elucidates on a central idea in his much revered and referred book ‘How to Read a Film’, “The job of film theory now is truly dialectical.
As a fully matured art, film is no longer a separate enterprise but an integrated pattern in the warp and woof of our culture.” Film theory is a rather
unstructured discipline, fragmented and relatively intangible, as compared to literary or scientific theories. Notwithstanding, film theories have always
adopted a unique and appealing approach to understand an artform that is so ingrained in our cultural ethos and is yet so unknown and cryptic. Through
the academic discourse above, I have tried to explain and understand the phenomena of film through the myriad lenses of important theories acting as the
crux of film studies. I have tried to establish a connection between the field of literature and film, showing how the two so very different artistic approaches
are actually so very intertwined. Using examples from a modern auteur’s filmography, I have sought to strike a balance between two conflicting genres
by evaluating them using the same objective principles of theoretical approach. I hope that this discourse will help the reader understand and evaluate the
importance of film studies in our contemporary cultural perception. Understanding film is futile if we fail to understand the cultural connotations and
historical implications of the artform that we respect and love.
“And most important, we need to remember that there is still a vestige of reality beyond film, beyond media, beyond multimedia.”
As we enter a new era of filmmaking and media consumption, we must not stand oblivious to the fact that centuries of history, art, politics, culture,
religion, language, technology have led to such a monumental display of cinema and its immense power to control narratives and shape perceptions.
Both The Dark Knight & Oppenheimer are the products of our collective political, cultural and psychological motivations, needs and consciousness.
Highly relevant in an increasingly polarised modern world, every individual must watch the films at least once to admire and analyse the subtle ideas
perpetuated by them.
I thereby conclude my research, and I wish to be critically evaluated by my supervisors and colleagues for they are the ultimate judges of my work for
my own improvement. My results underscore a glaring need for continued research and interest in this area, as well as the development of novel theories
for a more critical evaluation of cinema and its varied elements.
References
Monaco, J., & Lindroth, D. (2009). How to read a film: movies, media, and beyond: art, technology, language, history, theory. In Oxford University Press
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Nelles-Sager, M. (2018, July 20). The Dark Knight and what to Do with Women in Superhero Movies. Medium.
https://medium.com/@maianellessager/the- dark-knight-annd-what-to-do-with-women-in-superhero-movies- eaa0149aa50a
Heckmann, C. (2024, January 30). What is Film Theory — How to Study Film (And Why). StudioBinder. https://www.studiobinder/blog-what-is-film-
theory- definition/
Jørgensen, J. B. (2023, February 1). Film Theory | Definition & 7 Theories Worth Knowing | Wedio. Become Better Creators — Together.
https://academy.wedio.com/film-theory/
Wikipedia contributors. (2024b, July 4). Oppenheimer (film). Wikipedia. https://en.wikipedia.org/wiki/Oppenheimer_(film)
https://www.pitt.edu/pittwire/features-articles/oppenheimer-female-physicist- representation-film
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