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Collective Identity
Vanda Thorne
December 1, 2008
Mass Theory In Dark Knight
In Isaac Asimov's Foundation series, 20th Century Marxism and Western sociology were taken
to a logical extreme in his imagined field of “psychohistory.” Psychohistory, as described by Isaac
Asimov, would be a Marxists' holy grail: it was a field of psychology wherein the fates of civilizations
being. Asmiov was born in the Soviet Union, and thus it is not a coincidence that an allegory for
Marxism became the central vehicle of his series. But in Western literature and dramatic structure, the
focus tends to be on the role of the individual; even specifically political plots focus on the role of an
individual rather than mass movements.
Upon the first viewing of The Dark Knight, one might overlook the shift in storytelling structure
within the movie. After all, the vivid protagonists (Batman, Commissioner Gordon, Harvey Dent) battle
with a sharply defined antagonist (The Joker). But throughout the movie, there is a surprising amount
of reference to the citizens of Gotham City, the community wherein they reside. Batman, Harvey Dent,
and the Joker all appear to be more invested in the views of the city and the fate of the mob than in any
individual's actions. In fact, the crafting of the masses in Gotham City is a delicate but fascinating
affair. The movie puts forward its own unique mass theory, unlike those of the 20th or 19th Centuries; it
employs the tools of capitalist and totalitarian images of the masses to create a terrorist theory of the
masses, one with a special resonance for the beginning of the 21st Century.
Gotham's society, before The Joker arrives, is a very conventional capitalist society. There is a
developed system of law and order which is making progress in fighting a deeply ingrained system of
corruption and criminality. This is established in the scene where Harvey Dent, the District Attorney of
Gotham City, lays out the prosecution's case against one of the major leaders of the mafia. Although the
trial does not end in a conviction but rather in an assassination attempt, his girlfriend observes, “The
fact that they're trying to kill you means we're getting somewhere.” Harvey Dent is being hailed as The
White Knight, the answer to Gotham City's prayers.
Then, The Joker appears on the scene. Through a concerted campaign of terrorism, he takes
over the mob, and with a ruthless efficiency dismantles all of the system of order he sees. After
shattering the mind of Harvey Dent, The Joker explains why he does what he does, saying, “Do I look
like a guy with a plan? ... The mob has plans, the cop has plans, Gordon's got plans, you know, they're
schemers, schemers trying to control their little worlds. I'm not a schemer. I'm just trying to show the
schemers how pathetic their attempts to control things really are.” He seems like a classic anarchist.
Alfred, Batman's butler, sums him up by telling a story:
“A long time ago, I was in Burma, my friends and I were working for the local
government. They were trying to buy the loyalty of tribal leaders by bribing them with
precious stones. But their caravans were being raided by in a forest north of Rangoon by a
bandit. So we went looking for the stones.... The bandit was throwing them away...he
thought it was good sport... some men aren't looking for anything logical, like
money...some men just want to watch the world burn.”
This is the anarchist interpretation of The Joker and his actions. He is a man who just wants to unravel
perceived order with disorder; he wants to watch Gotham City burn.
This interpretation does not completely explain The Joker as a phenomenon. As one of my
friends once wondered aloud about a meeting of Anarchists: “How is it that they're always organizing?”
With regards to the Joker, it is not simply a question of how anarchists organize: The Joker is depicted
in the movie with a level of precise organizational ability that the most oppressive of totalitarian
regimes would envy. The opening sequence of the movie, for instance, watches as a typical bank heist
unfolds—but at each turn, the henchmen involved kill each other. At the end, it is revealed that all of the
betrayals have been orchestrated by The Joker himself, who escapes with the money, and no henchmen
to have to pay off. Throughout the rest of the movie, his plans continue with an eerie level of intense
sophistication and skill.
The plans reveal something more important about how The Joker operates. The plans are not
technical in nature—not the usual preoccupation with power, force, and tactics. The Joker's tactics are a
supreme manipulation of the mind—both on an individual level, and on a level of the masses. One
chilling example of mass manipulation comes at the climax of the movie: The Joker has placed bombs
on two ferries, filled with innocent bystanders fleeing Gotham City. Rather than simply threatening
their lives, he gives each boat the remote control to the other boat's bomb. He gives them a set of rules:
at 9 PM, both bombs will explode, unless one of the boats chooses to detonate the other boat first. The
goal in the Joker's mind has nothing to do with the loss of life: he is attempting to force innocent people
to be complicit in their own destruction, to fear each other. The Joker is hitting on the same logic that
led the Nazis to use Jewish prisoners as a police force in Terezin and to staff the gas chambers in
Auschwitz, or the use of Rabbis to select who would be deported to death camps. Another totalitarian
trick which The Joker employs is the use of families' safeties for coercive methods; throughout the
movie, he threatens the lives of police officers' families in order to force them to betray the police force.
How do we account for the totalitarian methods of a clearly anarchistic character? The key is
that each of the totalitarian regimes use those tools for a higher, ideological purpose: Aryan purity, or
MarxistLeninist ideals. But for each of these regimes, the ideology quickly fell away, and they became
simply tools for sustaining power and control. And, from a historical standpoint, they were
unsustainable because they froze history. As Vaclav Havel puts it, [quotation]. But The Joker has an
exactly opposite purpose: he is attempting to destroy any stability. But like the totalitarians, he has an
ideal vision, and he is attempting to force it on the society of Gotham City. Therefore, the same mass
psychological methods of manipulation are required to shift the entire society toward this new ideal.
The Joker, in many respects, was intended to examine the mindset of contemporary terrorists.
Although the terrorists of today have very specific ideological beliefs, whether Islamist or nationalist,
the methodology is very similar—in fact, the tactics of bombings targeting judges, and cheaply made
videos depicting the torture of hostages are modeled off of terrorist groups in Iraq. Totalitarianism and
terrorism shares the same goal of attempting to control the masses with certain psychological levers.
The Joker therefore bridges the same chaotic impulses and brutality of terrorism with the highly
disciplined mental manipulation of a totalitarian regime.
Mass manipulation is not restricted to the way that the Joker manipulates the city. Batman,
Harvey Dent, and The Joker constantly see themselves and their actions from the perspective of their
impact on the masses of Gotham City. Batman looks forward to the day when his vigilante justice is no
longer required to keep the city in order; when the police are honest, the crime is minimal, and the
populace have faith in their city government—and this hope is signified to him in Harvey Dent. He
protects Harvey Dent from performing actions which would tarnish his image as an honest, uncorrupted
man—even when it becomes apparent that Harvey Dent has a slowly building streak of violence and
hatred in him. Wilhelm Reich might cynically notice that the only hope for the people of Gotham is for
there to be a “Big Man” who sets a virtuous example, like Harvey Dent, rather than a “Big Man” who
sows chaos and fear, like The Joker.
Clearly, the central narrative of The Dark Knight is built around mass psychology; the
protagonist of the movie, beyond Batman, Harvey Dent, or The Joker is actually Gotham City's
residents themselves. The climax of the movie is not when Batman finally battles the Joker, or when
Batman is forced to confront Harvey Dent, but in fact the climax of the movie is that scene with the two
ferries. The question at the core of the movie is not “Will Batman defeat The Joker?” or “Will Harvey
Dent beat crime?” but rather, “Will the people of Gotham listen to the better angels of their nature, or
will they turn to fear and chaos.” This is a unique framing of a movie, especially in the American film
canon, an it is a difficult one to pull off, but the movie excels at portraying the individual's relationship
to the mass, and how that effects the political world of the day.