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놀란의 우파성

얘기하셨는데 주말에 <크리스토퍼 놀란> 뒤적여 보다가 에드먼드 버크를 언급하는 대목이 나오더군요


https://www.popmatters.com/162559-reflections-on-the-revolution-in-gotham-of-burke-and-batman-2495821494.html





REFLECTIONS ON THE REVOLUTION IN GOTHAM: OF BURKE AND BATMAN

By PopMatters Staff / 20 September 2012

(Warning: spoilers ahead.)

Perhaps the most embarrassing part of the lead-up to The Dark Knight Rises were the frenzied, clumsy efforts to dragoon Christopher Nolan’s blockbuster into contemporary Team Blue-Team Red debates. A Democratic strategist suggested parallels between Mitt Romney’s former employer Bain and Tom Hardy’s homophonous brawler. Republicans, meanwhile, delighted in interpreting terrorist appropriation of Occupy rhetoric to brand the film as a Tea Party manifesto. More observant critics believed that Nolan’s political messaging was both muddy and shallow—insofar as they at least perceived that the film could not be wielded as a cudgel with which to club one’s partisan foes. That Nolan suggests political moods without political prescriptions is true- and precisely why his film is so necessary in our polarized discourse.

Nolan clearly relishes his film’s visual parallels to the French Revolution: the storming of Blackgate as a Bastille (with Heath Ledger’s death depriving us the glorious liberation of a purple clad, grinning de Sade), the show trials purging aristocratic parasites (leavened somewhat by Cillian Murphy’s grimly hilarious “death… by exile” delivery), and of course, the revolutionary ideologues bestriding white-columned government halls, be they Parisian sans-culottes or masked ninjas. While Nolan explicitly borrows from the text of Dickens’s Tale of Two Cities in the film’s closing moments, I would argue that his sensibilities owe as much or more to political theorist and Irish MP Edmund Burke (and, to a lesser extent, those of Dickens’s and Burke’s fellow critic of the French Revolution, Alexis de Tocqueville.) Burke’s Reflections on the Revolution in France cautioned readers to remember the fragility of society—built on the accumulated wisdom of generations and the day-to-day practices of citizens and quiet institutions—unlike the utopian schemes and abstract political theory he believed had brought France to its knees.




중략







Less apparent than the striking images are these skeptical, quintessentially British political mores that the Nolan brothers—despite Jonah’s American accent—have infused into their trilogy. Critic Devin Faraci writes that Nolan embraces the “central thesis that institutions will fail us again and again… But where David Simon’s seminal [The Wire] wrestled with what that means and how we can create change within that environment, Nolan’s films take a decidedly more libertarian slant.” This strikes me as a misreading of The Dark Knight Rises, which celebrates those mediating institutions, what Edmund Burke called “little platoons”: the small, often invisible, and organic structures and bonds that slowly develop into a functioning society. It is not the failure of the federal government that has hollowed out Gotham’s core, but the withdrawal of those intermediate institutions that generated the vacuum Bane claims to fill.

에드먼드 버크 진짜 오랜만에 접하는 이름이었습니다. ㅎ ㅎ


이 책 조금씩 넘겨 보니 프란시스 베이컨 회화를 놀란이 좋아해 베이컨이 자살한 연인 조지 다이어 그린 그림을 <인셉션>에 사용한 것뿐 아니라 교황 그림은 <다크 나이트>의 조커와 한스 짐머의 음악 구상에도 썼다네요.

<인셉션>은 <현기증>언급하고 <다크 나이트>는 큐브릭의 <킬링>에서.  <인셉션>은 죽은 여자의 기억에 사로잡힌 남자, 아리아드네의 회색 정장 투피스와 머리 모양을 통해 오마주한 티가 나죠.

발 루튼 제작하고 자끄 트루니에가 만든 영회들도 언급됩니다.1970년 대 생이 1940년 대에 나온 영화들 좋아하더군요.첫 장편 <미행>만들 때 참고했다고.

<히트>뿐만 아니라 <맨헌터>의 감방 안에 가둘 수 없는 광기를 뿜는 렉터가 뇌리에 남았다고 하고요.


이런 걸 보면 요즘 영화,드라마만 파지 않고 옛날 영화도 좀 보고 회화도 봐야 합니다. 기예르모 델 토로만 해도 영화만 아니라 펄프 소설들, 파트리샤 하이스미스의 말, <크리스티나의 세계>(1948)같은 그림 창작노트에 언급합니다.  <판의 미로>는 <벌집의 정령>레퍼런스

놀란 주인공들은 음모를 짜거나 정체성을 짓거나  바쁜 인물들이라 스나이더 배트맨의 자기파괴적인 면모는 없이 금욕적이고 분주함.