The Dark Knight Rises (2012) Directed by Christopher Nolan

The ice could show the breaking of something, yet could also symbolize ‘ice breakers’ much like introducing someone new. The shot is gloomy and dull perhaps representing death and the upcoming scene of a memorial. A voice over is laid on top and creates a smooth transaction into the next shot, which also coincides with a fade in to a synthetic lighted room. This is a stark contrast to the dull ice, containing a large bright portrait of a male, making him appear as a positive person. The long shot is overwhelmed by the sheer dimensions of the picture showing his importance. The juxtaposition of the flags situated either side of the portrait shows patriarchy and perhaps foretells the involvement of the whole of America in the film. It appears to be a memorial, shown by the sadness on the  faces at the bottom of the screen; a male is in the foreground standing behind a lectern and begins a speak.  The magnitude and position of the portrait makes you associate the speech to regard him. The camera is zooming, at a low angle, representing the authority of the man on the screen. This idea of authority is further projected by the man’s smart attire as well as stance. It then fades to black this transition indicates perhaps closure.

Next is a forward tracking crane shot, of a barren grassy land- this instant movement shows travelling plus not dwelling on the past. The camera the then sweeps to reveal an extreme long shot of a field containing a 4x4 driving wrathfully, rapidity.  This shot helps the audience establish the new setting, in addition this emphasizes the emptiness of the land, which could show the absence of help. It then cuts to inside the car whereby visible are men the close proximity to the drivers face shows his seriousness and shows perhaps the severity of the scene, moreover the lack of colour also shows the lack of emotion in the upcoming actions. The lack of lighting forms shadows revealing that there are trying to conceal something as well as foreshadowing lies.  

Next the film displays a long shot allowing us to gather the context of the impending shots, a new man dressed quite casually in combats and polar neck shirt hinting he is part of the CIA, which is also shown by his strong and firm stance. In the background there are three males dressed in army attire, all grasping guns, also a combat plane is grounded looking ready to board- forewarning fighting and conflict. The long shot discloses the power and importance of the plane as this is the largest and most dominant shape pictured; also anchoring that it is an action film. The juxtaposition of the male in the foreground of the soldiers and plane shows that he is backed up and of owns the plane. The male’s postures are open showing they are ready and prepared, which is ironic to what happens later in the scene. This shot is a low angle showing his authority and dominance. Its daytime and the natural lighting is bright showing no shame, perhaps in relation to their next acts.

This is in contrast to the sharp cut to the back of a car showing three masked men, which would be an image we would relate to a kidnap or prisoners, and shows shamefulness and that they are perhaps hiding something. The shot is handheld and is a point of view shot allowing the audience to experience it from the perspective of someone on board it is quite shaky and gives the impression of pain and discomfort. The men are all similarly dressed and of the same build, rather muscularly, which makes us believe they have quite physical jobs as well as ability- which could foreshadow further actions in upcoming scenes. This two shot along with the similarities between the men lead us to believe they are associated to one another. There is then a shot reverse shot of close ups of the two males faces, allowing us to see their intense facial expressions and emotions which look angry- this focus magnifies the importance of them.

Subsequent is a cut to an aerial shot which shows the contrast of the plane and landscape. The planes previous power is then impassive as the screen is now dominated by the landscape which appears to belittle it. This extreme longshot also keeps the audience aware of the setting.

Next it cuts to a long shot inside the plane, which shows the height and power of the CIA man. He is shouting uncontrollably, and the high frequency shows his anger and resentment towards the men. Again this makes us believe they are depraved. Yet there is no dialogue back from the masked men, which shows there calmness and compose. This could perhaps foreshadow future event as their calmness could be due to them knowing what transpires later in the forthcoming scenes (As they are liberated).

Succeeding is then a behind the shoulder shot of one of the hooded men; this is at a low angle- reversing previous conceptions of power and dominance and flips the roles. His dialogue has a low pitch and robotic, perhaps showing he is emotionless and strong. This makes the characters later reveal quite tense as the audience is awaiting a big reveal, through locating this in the opening they are able to promptly grab the audience’s attention and rapidly build the story. His reveal is at a low angle showing his dominance and control of the situation; further foreshadowing his control in future happenings. During this the camera is zooming making the audience fixate on his face and it also creates tension and uneasiness as you are of close proximity to his face. In his dialogue he expresses words like ‘our’ insinuating more people are involved. A focus pull then directs the emphasis on the main CIA’s face showing the power and influence of the male’s dialogue.

Again is the re occurrence of the extreme long shot of the plane in the sky, presenting yet again the empty land, and lack of existence and help. The sky is pictured grey as well as gloomy perhaps forewarning the danger and upset that awaits. Then it flips back briefly to a shot reverse shot between the CIA and ‘Bane’ (the masked male). The CIA male is knelt putting him physically below ‘Bane’ making him appear minor and subordinate to him- it also pictures him as bowing down to him. Then another extreme long shot brings into context a larger plane. This is juxtaposed above the previous plane shows its supremacy over it and presents it as virtually preying over the minor plane like an eagle ready to attack its prey.

Next the cut pace escalates in speed along with the tempo of the non-diegetic music creating a rather unclear confusing atmosphere.  Coinciding with this is the increase in volume of the diegetic and ambient noise, restating a loss of control. Furthermore the exposure of additional characters is very military showing that it was premeditated and therefore was of intent. Most of the men are armed further signifying danger and death. All are males the lack of female presence perhaps is intentionally done to then magnitude the later appearance of ‘Cat women’.  Flicking back to an extreme long shot it helps insinuates the hierarchy of the planes thus further reiterating the magnitude and power of the domineering plane. They use special effects to create the next extreme longshot of the dominant plane looking to virtually drag the second, smaller plane; this creates a thrilling image which is shocking, leaving the audience in a state of suspense. A low angle shot then presents the plane as its wings break off, revealing the force and loss of power of the one plane. This demeans the plane as it loses its function and ability, much like the CIA. This image of dragging gives the impression of a dog and owner showing the control of ‘Bane’. The plane then looks much like a bomb, foretelling perhaps future events. Then it releases the plane and this is shown from a bird’s eye view shot, showing the height and the barren landscape awaiting there is shown to be no indication that it exploded showing maybe that the battle is not over or complete.

The plane is then shown to fly away into clouds, which could show the unawareness of upcoming events or that they have a blurred future. It then fades to black showing closure, and an end.