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Hcbas Final Paper
Hcbas Final Paper
Professor Raider
4/27/18
Batman is one of the most recognizable comic book characters in American culture
alongside Superman, Wonder Woman, and Captain America. The Caped Crusader’s comic book
adventure began shortly after Superman’s success. Like Superman, Batman “wore a costume
and maintained a secret identity”, but what separated Batman from his DC companion is the
fact that he “possessed no superhuman powers” (Wright, 17). This limitation gave Batman a
vulnerability that Superman lacked, and a tragic backstory involving Batman’s parents’ brutal
murder when he was a child adds greater depth to his character. The early Batman comic run
with Bill Finger and Bob Kane were surreal and cinematic in a way that Superman was not. The
comic’s aesthetic even earned it the high praise of being the “Citizen Kane of comic books”
(Wright, 17). Batman’s striking style would diminish after Robin’s introduction, but the
character remained popular and would be one of the first comic book characters to be on the
big and small screen. Batman, while not technically first to the punch in either film or television,
set the tone for comic book characters in both mediums and would be the defining character
Batman’s first feature film appearance was in the appropriately titled Batman (1966; dir.
Leslie H. Martinson). This movie was released between the first two seasons of the Batman TV
show (1966 – 1968; created by William Dozier) and features much of the show’s main cast. The
tone is deliberately campy and over-the-top. The low budget meant that costumes and sets
were cheaply made, which contributed to the idea that the show was more of a joke than a
serious attempt to accurately represent Batman’s dark history in the early 40’s. His origin story
is never mentioned, and the absurdity of his wearing of the Batsuit goes without questioning.
While popular at the time, Bradford Wright observed that “the show reinforced in the public’s
mind the silliness and irrelevance of superheroes” (Wright, 225). The film did not deviate from
the show’s tone whatsoever. Its plot is loose and feels more like three regular episodes stitched
together to reach feature-length time. While Wright is correct in his observation that the show
negatively affected the perception of comic books in mass culture, it does not hold up when
one observes trends in TV and film. Shows like Wonder Woman (1975 – 1977; developed by
Douglas S. Cramer and Stanley Ralph Ross) and The Incredible Hulk (1977 – 1982; developed by
Kenneth Johnson) sprang up in the following decade. They reeled in the amount of cheese and
dropped the parodic nature of the show, but were remained light television fare. In film,
Superman (1978; dir. Richard Donner) would command the highest budget of a film up to that
point and succeed critically and financially, even earning three Academy Award nominations.
The tone was relatively light, but offered a level of complexity in its narrative that a shark-
repellant-equipped Batman simply could not match. Three sequels would spawn from Donner’s
superhero flick. The first two sequels did well financially and did not deviate far from the tone
of the first, but the series was bought up the Cannon Group in the mid 1980’s and a fourth film
was produced. Superman IV: The Quest for Peace (1987; dir. Sidney J. Furie) was noticeably
cheaper than its predecessors and upped the campiness to levels not seen since Adam West
dashed around a shipyard carrying a cartoonish bomb over his head. The film went on to earn
two Razzie Award nominations and put Superman into hibernation for nearly two decades.
Batman’s success in the late 60’s and in syndication in the following decade helped to establish
a winning formula in terms of tone and visual style. Comic book movies and TV shows that
would follow would maintain some elements from the show, but drop the aspects of parody in
It would take two decades before Batman would reemerge from the darkness, and
indeed that is precisely what he did. Batman (1989; dir. Tim Burton) opens with a sequence in
which the shadowy Dark Knight attacks and intimidates two thugs gloating over a robbery. The
darkness that Bob Kane brought to the early Batman comic books was realized on film, and for
the first time, Batman’s origin story was shown. While some changes were made to fit the
movie’s plot—namely that Jack Napier (aka the Joker) killed Bruce Wayne’s parents, not Joe
Chill. The small detail does not override the tragedy of the backstory, however. While New York
City was clearly where the original show and film took place, this film’s Gotham City is dark,
cold, and full of gothic architecture. Combined with the grand orchestral score by Danny
Elfman, the film creates a whole new ugly world for Batman to save. It is important to note the
film’s budget, as it is partially responsible for the flood of superhero films that would follow in
Batman’s wake, while also explaining why the same thing did not occur after Superman. The
budget for Batman in 1989 was $35 million. Adjusted for inflation, Superman would have cost
$104.6 million in that same year. A more modest budget meant a safer investment for studios.
The superhero genre was still very much untried after Superman. Aside from the Superman
sequels, Swamp Thing (1982; dir. Wes Craven) was the only other Marvel or DC superhero to
receive a film adaptation in the 80’s. Batman opened the floodgates and proved that a good
Batman would, like Superman, spawn three sequels. Batman Returns (1992; dir. Tim
Burton) would expand the world of the original and introduce more adult-oriented themes of
sex and violence. The darker tone would be met with backlash from parents who felt it was
inappropriate for children. The concerns over merchandise sales would lead to Burton’s ousting
from the director’s chair and Joel Schumacher replacing him. In spite of this, the genre had a
tone to build off of and a visual style to model itself after. The Crow (1994; dir. Alex Proyas) was
one such film. The story involves a resurrected man seeking revenge against a gang who
murdered him and his girlfriend. Like Batman, it features a tragic backstory and takes place in a
grimy, ugly city which sheds the gothic aesthetic in favor of an industrial one. The movie
incorporates grungy qualities as well. The soundtrack features a variety of hard rock and grunge
outfits and the main character plays electric guitar on his roof. The character is not a direct
result of Batman, as the Crow appeared in his own comic book story in February of 1989, four
months prior to Batman’s release. However, Batman’s success and dark visual style made a film
Joel Schumacher would change the character of Batman into something more familiar
with his two films, Batman Forever (1995; dir. Joel Schumacher) and Batman and Robin (1997;
dir. Joel Schumacher). The most obvious difference between the two directors’ films is the look
of Gotham. Where Burton preferred the city caught in the perpetual cold of overcast and
pollution-choked skies, Schumacher dipped the entire city in neon. Batman is plagued with
visions of his parent’s death in Batman Forever, but any serious narrative possibility is dropped
in favor of the villains’ chewing of the scenery. Indeed, they appear to have walked right out of
the old TV show. Batman and Robin would take this lookback to the olden days as a guide for
the whole movie. In one scene, Batman, now played by George Clooney, air-surfs his way out of
a tight situation, an action that recalls a fight from the Batman TV show in which Batman fights
the Joker on a surfboard. The emphasis on humor and harkening back to the ways of old would
not receive the same positive response as it had three decades prior. Upon seeing the film, one
critic from the LA Times declared “the Batman franchise is no more” (Turan, 1997). Indeed, no
further sequels would be made, and, like Superman’s fourth installment, Batman and Robin
would receive Razzie nominations. In spite of this negative reception, however, Batman would
be an influencer upon the genre. Spawn (1997; dir. Mark A.Z. Dippé) would attempt to find a
happy compromise between the dark world of Burton’s Batman and the humor of
Schumacher’s Batman. A clown even serves as the film’s primary antagonist, drawing
comparisons to Jack Nicholson’s turn as the Joker in Batman. The result, while somewhat
confused, is but one example of a superhero film incorporating elements into its narrative that
first appeared in earlier Batman films. After the turn of the century, Spiderman (2002; dir. Sam
Raimi) would find the tonal balance in its narrative that Spawn sought, but ditched the dark city
in favor of a sunny, warm New York City. Other films like Hulk (2003; dir. Ang Lee), Catwoman
(2004; dir. Pitof), and Fantastic Four (2005; dir. Tim Story) would failed to accomplish the same
thing, but by the time the Fantastic Four had defeated Dr. Doom, Batman was back to redefine
Batman Begins (2005; dir. Christopher Nolan) brought a new level of depth to Batman
and the world he existed within. Gotham is no longer stuck in eternal winter or a neon light
show. It looks like a normal city for the first time since the 60’s. Batman Begins and its
subsequent sequels brought realism to the superhero genre. The success of this creative
decision was not immediately apparent in the box office. Batman Begins brought in ~$375
million. Its sequel, The Dark Knight (2008; dir. Christopher Nolan) brought in ~$1 billion, and
The Dark Knight Rises (2012; dir. Christopher Nolan) brought in ~$1.085 billion. Realism and
desaturated color palettes sold, and the superhero genre was quick to follow suit. Iron Man
(2008; dir. Jon Favreau) is a notable example of this change on the Marvel side of the genre.
Tony Stark “is wounded” and “taken prisoner” by people “who insist that he build a new
weapon for them” (Wright, 215). The people in the movie are Middle Eastern terrorists instead
of Vietnamese Communists, but the idea remained the same. The difference comes from what
follows. In the movie, Tony Stark realizes the world is more complex than he once thought. The
moral ambiguity was typical of Marvel Comics in the late 50’s and 60’s, but also seems to be
inspired by the realism presented in Christopher Nolan’s Dark Knight trilogy. On the DC side of
things, Man of Steel (2013; dir. Zach Snyder) washed away the color of the old films and made
Superman a character afraid of his own power, fearing what the world would think. When he
does use them in the film’s finale, he is responsible for the deaths of thousands in Metropolis.
He is held accountable by United States law in the sequel, Batman v. Superman: Dawn of Justice
(2016; dir. Zach Snyder). The line between good and evil was blurred by Christopher Nolan’s
Batman films, but another change was taking place under Marvel’s supervision that would
change not just the genre, but Batman’s role within it.
Thor: Ragnarok (2017; dir. Taika Waititi) is the tonal culmination of the Marvel
Cinematic Universe. It is more of a comedy than a traditional superhero film. This change from
Iron Man to Thor: Ragnarok was gradual. The success of Guardians of the Galaxy (2014; dir.
James Gunn) proved that comedy and colorful settings could sell well, regardless of the titular
superhero(es). Over the next three years, the style in Marvel films became more apparent.
Psychedelic visual effects and humor became commonplace. Perhaps the most significant
aspect of the MCU is its democratization of the genre. Any character is capable of financial
success and turning out multiple sequels. Iron Man, Captain America, and Thor all have three
films, Ant-Man is receiving a second, the Guardians of the Galaxy a third, and with the huge
financial success of Black Panther (2018; dir. Ryan Coogler), that character will also return in his
own sequels. DC understood the financial viability of the cinematic universe, but did so five
years too late. The result is a hurried Justice League (2017; dir. Zach Snyder) that ranks as the
lowest grossing DC Extended Universe film to date, an alarming stat for what was an ensemble
superhero film. Batman’s role in the titular league is important as well. He may be the authority
figure, but his powers are overshadowed by everyone else’s. In the climactic fight, this
supposed leader becomes the weakest link of the team. He’s just another fighter, and, indeed,
this would appear to be Batman’s role in the superhero genre. As the Marvel Cinematic
Universe continues to expand and experimental with tone and characters, Batman’s influence
gradually wanes. For a majority of the superhero genre’s presence in film and TV, Batman has
been the key figure by which other superheroes measured themselves tonally and visually.
Now, he has evolved into just another member of an ever-expanding genre. There is potential
that a solo Batman movie may bring Batman back out of the shadows again, but for now, it
seems that the character is content to remain there, watching the genre he pioneered carry on
Primary Sources:
Batman, directed by Leslie H. Martinson. 20th Century Fox, 1966.
Batman, produced by William Dozier. Warner Bros. Television Distribution, 1966 – 1968.
Batman and Robin, directed by Joel Schumacher. Warner Bros. Pictures, 1997.
Batman v. Superman: Dawn of Justice, directed by Zach Snyder. Warner Bros. Pictures, 2016.
Black Panther, directed by Ryan Coogler. Walt Disney Studios Motion Pictures, 2018.
The Dark Knight, directed by Christopher Nolan. Warner Bros. Pictures, 2008.
The Dark Knight Rises, directed by Christopher Nolan. Warner Bros. Pictures, 2012.
Guardians of the Galaxy, directed by James Gunn. Walt Disney Studios Motion Pictures, 2014.
The Incredible Hulk, produced by Kenneth Johnson. NBCUniversal Television Distribution, 1977
– 1982.
Superman IV: The Quest for Peace, directed by Sidney J. Furie. Warner Bros. Pictures, 1987.
Thor: Ragnarok, directed by Taika Waititi. Walt Disney Studios Motion Pictures, 2017.
Wonder Woman, produced by Douglas S. Cramer, et al. Los Angeles: DC Comics and
Warner Bros. Television, 1975-1979.
Secondary Sources:
Turan, Kenneth, "Meanwhile, Back at the Batcave . . ." Los Angeles Times. June 20, 1997.
Accessed April 27, 2018. http://articles.latimes.com/1997-06-20/entertainment/ca-
5024_1_batman-forever.
Wright, Bradford W. Comic Book Nation, revised ed. Baltimore: John Hopkins University Press,
2003.