/lit/ - Literature

[Anonymous No.8349365]

>No post-structuralist analysis of the plane scene
I'm disappointed.

[Anonymous No.8349374]

>>8349365
>meme analysis of a religious text
Fuck off

[Anonymous No.8349393]

The opening scene of The Dark Knight Returns, sometimes known as "Bane on Plane," is generally considered to be a variant of surrealism or Dadaism, usually with existential or postmodern undertones related to collapse of meaning and the visceral absurdity of confusion in a symbolic order. On this reading, the scene is designed to evoke a kind of uncanny valley effect in the viewer by presenting him with what is ostensibly an incredibly conventional narrative and semiotic holism - an American action caper, constructed so prototypically from cliches and familiar devices that even the exciting "reveal" of Bane's identity has its anagnorisis and payoff botched well before its presentation as dramatic climax - but subtly and systemically undermining the possibility of semiotic stability throughout the scene, and thereby sabotaging the possibility of the viewer's fusion with the film's semiotic horizon. The experience of watching Bane on Plane is one of profound unease and even dissociation, as the viewer continually tries to assemble coherent meanings, motives, and purposes from a train of malformed tropes, allegories, and metaphors; narratological intuition continually fails to discover any implicit humanity in the behaviour of the actors. The mind reflexively brackets the scene as likely to admit of little variation in its seemingly familiar, even monolithic tropes, but is continually surprised to find that near every trope is "misbehaving." Where at first a single puzzle piece does not "fit" with its puzzle, it is quickly realised that none of the pieces fit; and that this, perhaps, is not a puzzle at all. When asked whether the work of Foucault and Deleuze on the epistemic experience of schizophrenia influenced his choices in his role as Bane, Tom Hardy declined to comment, but referenced Foucault on the discursive constitution of the author-function.

BRAVO SNYDER