The Ecstasy of Chaos: Mediations of 9/11, Terrorism, and Traumatic Memory in The Dark Knight

Abstract

The Dark Knight (Nolan, 2008) garnered critical acclaim and box-office success on its release, currently, at the time of writing, the twelfth-highest-grossing film of all time.¹ It was nominated for eight Academy Awards, winning in the categories of Best Sound Editing and Best Supporting Actor (awarded posthumously to Heath Ledger). Yet, like other fantasy films released since 2001, its content reveals a profound nihilism that allegorizes 9/11 and the war on terror. This is immediately evident in its theatrical release poster, in which Batman is set against a blazing skyscraper, viewed from a low-angle perspective. Not only does The Dark Knight incorporate imagery reminiscent of 9/11, but it also draws on events at Guantanamo Bay, Bagram, and Abu Ghraib where, in 2004, the release of photographs revealed abuse of its detainees (see Danner, 2004). Locating aspects of terrorism in the character of the Joker, as well as the film’s themes and visual style, this chapter explores The Dark Knight’s mediation of 9/11 and the war on terror, and their relationship to traumatic memory. Engaging primarily with Jean Baudrillard’s study of terrorism (2003), it equates the Joker’s behavior with chaos theory in that his actions provoke scenes of spectacular destruction. It suggests that the film recreates specific imagery, embedded within the memory of 9/11 witnesses, and that it therefore resonates with contemporary audiences through the mechanics of flashbulb memory and arresting imagery, while its renarrativization of such visuals may enable audiences to address memories of 9/11.