A Study into the Use of Musical Characterisation Techniques in Christopher Nolan’s The Dark Knight

5/24/2018 A Study into the Use of Musical Characterisation Techniques in Christopher Nol...

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A Study into the Use of Musical Characterisation Techniques in

Christopher Nolans The Dark Knight.

Joshua Bell

BA Honours in Popular Music

University of South Wales

Faculty of Creative Industries

May 2014



Abstract

This paper is an investigation into the use of musical characterization techniques

specifically focusing on the The Dark Knight; the second film in Christopher Nolans The

Dark Knight Trilogy. The main focus of this paper is analyzing how music is applied to the

films main antagonist; the Joker, who is portrayed by Heath Ledger. There is a strong

emphasis on investigating how the composers and film-makers employ and adapt the

leitmotif technique.

The paper opens with an Introduction section explaining what my aims and goals were

at the beginning of the project, then moves onto a Literature Review investigating the

existing body of knowledge and research on leitmotifs in music and television. The latter

part of this paper begins by explaining the methods used to undertake my primary research

(Methodology), and then the Discussion & Analysis section

details my analysis of The Dark Knight. The analysis specifically focuses

on how music is applied to the Joker character, with particular attention given to exploring

how the film-makers use and adapt the leitmotif technique to the needs of this particular

character.

Two main musical themes are analyzed, in-particular looking into the uses, purposes,

and effectiveness of these themes within the context of the film. Key points and theories are

demonstrated by discussing specific scenes from the film.

Throughout the analysis, traditional uses of the leitmotif technique are used as key

points of referencepaying close attention to some of the examples that are mentioned in

Section 2. The analysis also draws upon the field of semiotic analysis, particularly the idea

of denotative and connotative signs, as explored by Philip Tagg, Royal S. Brown and



others.

The final section draws conclusions from my research, and explains how I may use this

work as a starting point in furthering my own research.



Contents

1. Introduction .. 12. Literature Review.. 4

2.1 An Introduction to the Concept ofLeitmotifs.

2.2 Origins of the Leitmotif in Wagnerian opera.

2.3 Leitmotifs as Denotative/Connotative Devices and Single Leitmotifs being

assigned to Multiple Ideas.

2.4 Less Conventional Leitmotifuse in Film and Television.

2.5 Conclusions.

3. Methodology..... 164. Discussion and Analysis... 19

4.1 Introduction of Musical Themes

4.2 Musical Representation of the Joker in The Dark Knight

5. Conclusions and Recommendations..... 38Appendix A. 41

Appendix B. 46

Appendix C. 48

Appendix D. 49

Appendix E. 50

Appendix F. 54

Appendix G.... 56

Bibliography, Discography and Filmography........ 58



List of Figures

4.2 Fig. 4.1Joker Theme B......................................................................... 21

4.2 Fig. 4.2Joker Theme A.1.... 26

4.2 Fig. 4.3Joker Theme A.1Resolving.... 27

4.2 Fig. 4.4Joker Theme A.2.... 31

4.2 Fig. 4.5Joker Theme A.2Gambol Murder Scene.... 33



Acknowledgements

I would like to thank my dissertation supervisor Rob Smith for his advice and support

throughout the project. I would also like to thank Paul Carr for his assistance during the

final stages of the project.



Declaration

I declare that all the work presented in this dissertation is my own. Any work of other

authors that is discussed or referred to within this document is clearly cited as such within

the text and is referenced in full within the bibliography.


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Chapter 1

Introduction

Leitmotifshave always been one of the most widely used film composition techniques, and

as such there has been a vast amount of research into their use. As often is the case in

comic-book or superherofilms, much of the narrative in theDark Knightfilms is based

on a wide range of contrasting, often unrealistic and exaggerated characters. Although

Christopher Nolans take on the Batman universe is clearly intended to be a more realistic

version of the comic-bookgenre (compared with Tim Burtons filmsBatmanin 1989 and

Batman Returnsin 1992 for example), these films are clearly still suited to the leitmotif

technique, or at least variations on it. Heavy contrast between characters is created

throughout the trilogy, both by their appearance and their actions on-screenand the music

assigned to each character reinforces these contrasts. Contrasts are particularly evident in

the second part of the trilogy, The Dark Knight (2008), with the introduction of the

characters of Harvey Dent and the Joker. In this instance, Hans Zimmer and James Newton

Howard have stated that they composed the themes for these two characters separately, the

purpose of this being to create two very opposing sets of musical ideas, therefore

reinforcing the characterisations portrayed in the narrative. For example, Hans Zimmer has

stated that when creating music for the Joker he noted how the character was being

portrayed as completely fearless (Brennan, M. 2008) so to support this he wanted to

create something that was provocative and people could truly hate (theMusicFDN. 2009).

The character of Harvey Dent on the other hand is described as truly a white knight

(Brennan, N. 2008) and to this end James Newton Howard was tasked with creating the



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music for this character in order to create music that clearly contrasted with the music for

the Joker.

Rather than looking at both of these characters, my studies will focus purely on the

musical approach for the Joker - with a particular emphasis on the use of leitmotifs, and

how they are used, altered and developed. To support my investigation I will begin by

carrying out a literature review tracing the origins of leitmotifs, and how they have been

adapted for use in film and television. The purpose of this will be to identify gaps in this

particular field of research, therefore aiding the development of my own studies. This will

look at the work of a number of writers, most notably Hanns Eisler and Theodor Adorno,

Peter Larsen, Anahid Kassabian, and Royal S. Brown. In developing my own

methodology and research I will be taking influence from a number of sources. This will

mostly involve semiotic analysis techniques as demonstrated by Philip Tagg, while also

drawing influence from the writers covered in my literature review. I will use the work and

methods of these writers to back-up and reinforce my own theories and ideas. My analysis

will also be using transcriptions of key musical themes and motifs to help illustrate my

analysis.

In demonstrating my findings I am aiming to determine if the characterisation

techniques used in TheDark Knightcan be considered to be leitmotifs in the traditional

senseespecially when compared to notable examples of the technique in film and

television. This is likely to lead into analyzing how the composers have adapted and taken

influence from traditional leitmotif techniques, while not strictly adhering to the rules of the

technique demonstrated by film composers of the early 20th

century. Ultimately I will be

seeking to discover what purposes the music is meant to serve for this particular character,


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what purpose it actually serves, and how effective the music is at supporting the films

narrative. I will conclude my studies by recapping what I have discovered and by

explaining what directions my research may take if I go on to studying music past

undergraduate level.



Chapter 2

Literature Review

2.1 An Introduction to the Concept ofLeitmotif s.

Since music was first introduced into cinema in the early 20th

century, there have been a

number of techniques and devices which have become mainstays in the art of scoring music

to image. One of the most notable and well-known of these is theleitmotif technique. This

technique has been popular amongst composers such as John Williams (Star Wars V: The

Empire Strikes Backin 1980,Raiders of the Lost Arkin 1981,Jaws in 1975), and Ennio

Morricone, (Once Upon a Time in the Westin 1968) and again in more recent years with

composers such as Hans Zimmer (Pirates of the Caribbean: The Curse of the Black Pearl

in 2003andThe Dark Knightin 2008).

Although leitmotifs have always had a huge presence in film music, the technique was

first popularised in the operas of 19th

century composer, German composer, Richard

Wagner. Citing Arnold Whittall (2001), Peter Larsen describes a leitmotif as a theme or

some other musical idea that is used in a musical-dramatic work to represent or symbolize

a person, object, place, idea, state of mind, supernatural force or any other ingredient

(Larsen, P. 2005: 60). In the same book, Larsen also goes on to state that The use of

leitmotifs was one of the most important musical effects in the silent film era and in the

Hollywood Golden Age and that Even today it is extremely rare to hear film music that

does not use leitmotifs in one form or other (Ibid.: 213).

Current and former research on the use of leitmotifsin film music covers a broad range

of studies. This ranges from the opinion that they are not at all suited to film music, for



instance in the work of Theodor Adorno and Hanns Eisler; to simply studying the reasons

for the technique being used, and what effect it can have (using specific examples as case

studies), for example in the work of Royal S. Brown, Peter Larsen and Rob Haskins.

In undertaking this literature review I am seeking to understand what kind of attention

the study of leitmotifs has received. This will cover several authors, in particular the work

of Theodor Adorno and Hanns Eisler, Peter Larsen, Anahid Kassabian, and Royal S.

Brown, amongst others. This will ultimately lead in to my study of Hans Zimmer and

James Newton Howards work on Christopher Nolans The Dark Knight. Discovering what

specific areas of the subject have been covered will allow me to identify any gaps in current

research, which in turn will allow me to understand as to what extent (if at all) The Dark

Knightscore employs the use of leitmotifs.

I will begin by looking into some general reading on the use of leitmotifs, from their

initial use in Wagnerian-opera, to their re-introduction through the medium of cinema. I

will then look at ways in which leitmotifs and other types of theme can be turned into

connotative devices, and how single leitmotifs can be assigned to multiple ideas.Lastly, I

will examine some less traditional leitmotif use in films and television, before finally

drawing some overall conclusions from all of the sources I have looked at. This will allow

me to develop my own methodology and research.

2.2 Origins of the Leitmotif in Wagnerian Opera.

The use of leitmotifs originally dates back to the Wagnerian and Post-Wagnerian operas of

the 19th

century, and it is partly because of this that certain music scholars do not believe

they are suitable for use in film composition. Two of the most well known objectors to

leitmotifs in film are Theodor Adorno and Hanns Eisler, particularly in their 1947 book



Composing for the Films. Here they define leitmotifs as trademarks, by which persons,

emotions, and symbols can instantly be identified (Adorno & Eisler., 1947: 4). Adorno and

Eisler then split their theories into two distinct areas; the technical problem, and the

aesthetic problem (Ibid.: 5). Explaining the technical problem, Adorno and Eisler go on

to say that the simplicity of cinema makes leitmotifs unnecessary, stating that the

fundamental character of the leitmotif its salience and brevitywas related to the

gigantic dimensions of the Wagnerian and post-Wagnerian music dramas, whereas film

music is so easily understood that it has no need of leitmotifs to serve as signposts, and its

limited dimension does not permit of adequate expansion of the leitmotif (Ibid.: 5). With

regard to the aesthetic problem, the two writers state how, in Wagners operas, the

leitmotif was intended not just to characterize various subjects, but also to endow dramatic

events with metaphysical significance (Ibid.: 5). They then go on to say that cinema is the

exact opposite as it seeks to depict reality (Ibid.: 5). Their main point here seems to be

that films are often an attempt to replicate real life, but Wagnerian-operas are associated

more with fantasy and the mythological, something which leitmotifs were a huge part of

depicting. In summary, Adorno and Eisler seem to see the use of leitmotif in film almost as

a lazy technique, and something not needed in film composition, stating that the leitmotif

has been reduced to the level of a musical lackey, who announces his master with an

important air even though the eminent personage is clearly recognizable to everyone

(Ibid.: 6). They conclude this particular section by writing that as the leitmotif cannot be

developed to its full musical significance in the motion picture, its use leads to extreme

poverty of composition (Ibid.: 6). From a similar but slightly different point of view, Royal



S. Brown (1994) has also suggested that film music and Wagnerian opera have both

fundamental differences but also many aspects in common. He begins by stating:

It has also been said that opera like-wise offers an important precedent for film music. But early opera

depends too strongly on the use of various set pieces to offer a valid precedent for narrative film music.

(Brown, R.S., 1994: 1415)

But Brown then goes on to suggest that there are in fact some similarities between the two

styles:

in Wagner full themes and tiny, quasi-thematic fragments-motifs-are more important both in their

immediate emotional impact and in their relationship to the dramatic structure of the opera than they are to

its underlying musical structure. The same can be said to a degree of Wagners harmonic language

(Ibid.: 15).

Like Adorno and Eisler, Brown still suggests that leitmotifs should be more than just

markersannouncing their subjects, and also that they should also have immediate

emotional impact to the narrative. However, unlike Adorno and Eisler, Brown does not

appear to protest against leitmotifs being used in film composition. Peter Larsen, in relation

to Adorno and Eislers arguments, writes that they adopt the diametrically opposite

position (Larsen, P., 1994: 214) to what Claudia Gorbman (1987) has written on the

subject. Larsen states that Gorbman suggests indirectly that Wagners intention was for the

leitmotif to be semantically narrow and precise whereas Adorno and Eisler suggest the

idea of leitmotifs being easy to grasp is an illusion (Larsen, P., 2005: 214). Summarising

Adorno and Eislers viewpoint, Larsen says:

In Wagner the leitmotifs not only characterize people, emotions or things; their purpose is the endowment

of the dramatic events with metaphysical significance. Since mainstream films do not have room for

metaphysical symbolic of this type, there is, according to Eisler and Adorno, no reason at all to use



leitmotifs (Ibid.: 214).

Larsen goes on to say that according to the Adorno and Eisler view, many recurring motifs

in film music are not actually leitmotifs in what Larsen calls the original sense (Ibid.:

215). But he does continue to say that although many other authors are doubtful that

leitmotifs can be used effectively in film, they usually end up claiming that one form of

leitmotif technique or other is actually used in film music (Ibid.: 215). From a less

objective point of view, but in some ways the opposite to Adorno and Eislers viewabout

films depicting reality making leitmotifs unsuitable, Roy M. Prendergast writes When one

considers the epic proportions of Wagners Ring des Nibelungen, it is easy to understand

why the formal device of the leitmotiv fell naturally into use in the composition of scores

for some of Hollywoods epic films (Prendergast, R.M., 1992: 40-41). Prendergast then

goes on to cite Donald Jay Grouts definition of what a constitutes a leitmotif:

the leitmotif is a sort of musical label but it is more than that: it accumulates significance as it recurs in

new contexts; it may serve to recall the thought of its object in situations where the object itself is not

present; it may be varied, developed, or transformed in accord with the development of the plot; similarity

of motifs may suggest an underlying connection between the objects to which they refer; motifs may be

contrapuntally combined; and, finally, repetition of motifs is an effective means of musical unity, as is

repetition of themes in a symphony (1973. As cited by Predergast, R.M., 1992: 40-41).

Prendergast then goes on to say This same observation could be redirected at some of the

better leitmotiv scores for films and be just as valid as it is for WagnersRing des

Nibelungen (Ibid.: 41). This all seems to suggest that Prendergast has no problem with the

use of leitmotifs in film, although he does appear to see them as more suited to what he

calls Hollywoods epic films, perhaps suggesting he would prefer the idea is used in

moderation.



In summary, it seems that most writers are of the view that leitmotifs in film music are

not leitmotifs in the traditional sense, as used in Wagnerian operas, but are instead

variations and adaptations of Wagners original intention for them.

2.3 Leitmotifs as Denotative/Connotative Devices and Single Leitmotifs being assigned

to Multiple Ideas.

As mentioned in Section 2.2, leitmotifs are often intended to do more than simply announce

the arrival of certain characters, emotions or other ideas - although this is sometimes their

only purpose. Here I will look at how they can be used effectively to give clues about the

narrative, and work with images to create various other connotative effects. Leitmotifs can

often work with the images and other musical themes around them to have other effects on

the audience, sometimes deliberately intended by the composer, and sometimes entirely

accidental. One important example of which much has been written about is the filmJaws

(1975), in particular, composer John Williams two-note theme for the shark. Royal.S.

Brown mentions how the sharks themeis used so effectively that even the themes absence

can have an unconscious effect on the viewer. He uses the example of a scene in the film

where, despite the images suggesting otherwise, the absence of the theme tells the audience

that the shark is not actually present:

in the sequence where a pair of boys create general panic with a phony shark fin, the music track remains

silent, unconsciously cuing in the audience that this is not a mythic moment (Brown, R.S., 2004: 10).

TheJawsshark leitmotif is again used as an example by Ronald Rodman, this time when

discussing the denotative and connotative functions of musical themes. He explains how

other objects outside of the films diegesis allows the two-note theme to develop other

connotations. Rodman notes how the two-note theme uses a minor second interval,



something which is usually considered dissonant, and that dissonance, in turn, signifies

instability and harshness. He goes on to say how this combines with the low register of

the motif, which signifies as being sinister and ominous. All this, Rodman says, works

effectively with the dark images of the ocean at the beginning of the film, the fierce

appearance of the shark itself, and the sharks destructive deeds to create part of aneat

package of signification(Powrie, P & Stilwell, R. 2006: 124).

There has also been much written about how leitmotifs can often have more

ambiguous meanings, sometimes applying themselves to more than one narrative idea, or

not actually to any subject at all until much further into a film. This is again relevant to the

work of John Williams, this time with his score for theStar Wars films. Peter Larsen

(2005: 170171) has mentioned that some themes are very obviously connected to certain

characters (or groups or characters), for example the The Imperial March (Williams, J.

1997) for Darth Vader and the Imperial Stormtroopers, and the character of Luke is also

given his own theme. Other themes however refer to several ideas at once, such as the

music for the character of Obi-Wan Kenobi which also refers to the old republic and the

magic power, The Force. It is also important to mention the way many of the Star Wars

themes are used to characterize the referent using musical effects (Larsen, P. 2005: 171).

The most obvious example that Larsen picks up on here is the contrast between good and

evil created by Lukes theme in the major with a simple, straightforward harmonization,

which contrasts directly with The Imperial Marchfor Darth Vader and the Imperial

Stormtroopers, which on the other hand, is based on a series of disconnected minor chords

(Ibid.: 171).

Another common use of leitmotifs, rather than simply distinguishing between characters,



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is to have them altered or alluded to as the narrative progresses, or appear in different

contexts to the way in which they initially appear; a device used to give the audience subtle

clues about what is happening, or what may be about happen. Rob Haskins and Vanessa

Knights have both noticed such devices being used in the television showBuffy the

Vampire Slayer (Buffy the Vampire Slayer: The Complete DVD Collection. 2005),

particularly in relation to the characters of Buffy and Angel and the theme that they both

share. Similarly to theJawstheme, Knights notes how the presence of characters can be

hinted at even though they dont actually appear on-screen:

The Buffy-Angel theme cues alerts listeners that he has called Buffy from Los Angeles in Anne(3.1)

when she answers the phone but gets no reply

(Attinello, P., Halfyard, J. K., and Knights, V. 2010: 9).

In this case, this particular use of leitmotifs is backed-up in the writings of Roy M.

Prendergast, where he cites Donald Jay Grout, who has said that leitmotifs may serve to

recall the thought of its object in situations where the object itself is not present

(Prendergast, R.M., 1992: 41). Similar to Knights, Grout also writes how themes may be

varied, developed, or transformed in accord with the development of the plot (Ibid.: 41),

something which Rob Haskins also picks up on in his studies of the Buffy-Angel theme.

He notes how the themes inBuffywere often re-recorded for each episode, and changed

slightly each time they appeared within single episodes. Haskins has noted how well-

known themes were obliquely varied to comment on narrative progression:

an act 1 scene shows Buffy and Angel touching as they perform Tai Chi; their feelings have begun to

reignite, and the music presents a salient fragment from the love themenot enough material to qualify as

a variation, but something more akin to a brief allusion that foreshadows events yet to come

(Attinello, P., Halfyard, J. K., and Knights, V. 2010: 46).



12

Haskins also analyses the structure of the theme and how this characterizes its subject

matter. He mentions how much of the music inBuffyuses harmonies that surprise because

they are used in unconventional ways, sometimes with unexpected chromatic shifts. He

goes on to say how these qualities - combined with other elements only relevant to the

Buffy-Angel theme- are used to beautifully evoke the unconventional nature of the

relationship between Slayer and vampirethe heartbreaking impossibility of its full

realization, but also its enduring passion (Attinello, P., Halfyard, J. K., and Knights, V.

2010: 46). This has much in common with Larsens writings on the musical portrayals of

good and evil in Star Wars, although in this case the musical characterization is of a more

complex nature.

2.4 Less Conventional Leitmotif use in Film and Television.

During more recent years much broader definitions have been explored as to what can

actually be considered as leitmotif use. Here I will focus on how other factors such as

genre, musical-style and instrumentation can be used in a leitmotif way. This will draw

particular attention to the work of Ronald Rodman, Vanessa Knights, Peter Larsen, and

Anahid Kassabian, amongst others.

Ronald Rodman has detailed how Quentin TarantinosPulp Fiction(1994) uses song

genres to comment on racial stereotypes, gender, and level of intelligence (Powrie, P and

Stilwell, R., 2006: 126). Rodman writes that Unlike themes in the classic film score, traits

ofPulp Fictions characters are not represented by singular leitmotifs: Instead, it is thestyle

of the popular songs that signify as leitmotifs in the film (Ibid.: 126). He notes how the

whitecharacter of Vincent Vega is represented by Southern California surfer music,

whereas the blackcharacter of Jules Winnfield (in the opening scene at least) is associated



with New Jersey funk music (Ibid.: 126). It is important to state that, out of the two

genres, Rodman only considers the surfer-music to be a leitmotifit being a style that

appears several times throughout the film when Vincent is on screen. Rodman also writes

that the genre addresses what he calls the second stipulation for leitmotifs, in that it is

connotative and tells the audience about Vincents character and his traits. Rodman

believes that the surfer-music connects with what the audience sees on screen, for example,

Vincents 1960s car, and the 50/60s-styleretro restaurant that he visits (Ibid.: 127

128). Related to this, Anahid Kassabian has picked up on similar uses of music genres in

the filmLethal Weapon 2(1989), observing that the Eric Clapton cool-jazz-rock-sax-guitar

score suggests a musical discourse that crosses racial lines (Kassabian, A. 2001: 100).

Kassabian notes how the score is in a jazz-fusion style, a genre normally combining

elements of rock-music and jazz-music, which historically have come to represent white

and blackraces, respectively. She concludes that jazz-fusion in this case is meant to

represent blackness, or at least hipness. So althoughthe character of Riggs is not

black, Kassabian suggests that the music is still intended to give the audience clues about

his character, in this case hipness, perhaps in a similar way to the Vincent character in

Pulp Fictionbeing connected to 1950s/60s culture.Vanessa Knights has also made similar

observations in examiningBuffy the Vampire Slayer, noting how the television show uses

music to establish social identity. Paraphrasing S. Rennee Dechert, Knights states that

Characters are coded by the music they listen to and sing (Attinello, P., Halfyward, J. K.,

and Knights, V. 2010: 8). She notes how the protagonist, Buffy, and her allies are defined

by so-called cool music (songs outside the mainstream of pop), whereas people outside

of their group are defined by un-cool music.



All of the above examples are instances of intertextual devices, relying on the

audiences knowledge of music outside of a films world to give clues about the events on

screen.Overallfrom these studies, we can see that film music does not always need

specific themes to support the narrative and create characterisation. Leitmotivic-like effects

can also be created through entire song genres or styles, making the leitmotif technique not

only applicable to classical film scores, but also to sourced, popular music scores, or scores

composed to closely resemble popular artists.

2.5Conclusions.

In reviewing a range of sources I have been able to identify a number of key areas that will

assist me in my analysis of The Dark Knight. Particularly useful in the context of this film,

is the way that leitmotifs can be adapted and alluded to in order to develop the narrative.

This will be relevant in examining whether or not certain themes are developed and altered

across the film. Also of importance to this particular film is the way that themes can

develop connotative functions, a common composition technique in creating musical

characterisation of characters and other subjects. This idea will be particularly useful as my

research will be entirely focused on how musical characterisation is created for a single

character; the Joker.

One key question in my analysis will be to decide whether The Dark Knightuses

leitmotifs in the traditional senseand if it does not then deciding how the technique

differs in this contextand this is something which has been touched on several times in

this section (for example in the arguments of Adorno & Eisler). This will also link with the

work of Rob Haskins, Vanessa Knights, and Anahid Kassabian, who have all explored how

in recent years entire genres have been used to serve leitmotivic purposes; thus showing



that the definition of a leitmotif has drastically changed over time. My analysis will also

address deciding whether or not the leitmotif technique is effective in the context of this

film.



Chapter 3

Methodology

In this section I will explain the methods and processes that I will be using in my

Discussion & Analysis section. As this project is primarily a musicology based study, I

have decided that much of my main analysis will be focused on using semiotic analysis;

examining the meaning behind pieces of music. This has already been covered by several

writers mentioned in Section 2, but I will also be looking to the work of musicologist Philip

Tagg, specifically in his most recent publication,Musics Meanings (2013). Also, because

this project is specifically about film music, my studies will need to accommodate this to

suit this particular area of research, so my analysis will need to cover several key areas;

studying the composition of individual pieces of music, studying the meaning behind

individual scenes while also connecting these scenes to the context of the film, and then

connecting these two areas to examine what purpose music serves for each of these scenes

and for the film as a whole.

I will be examining three main musical themes, although two of these themes are very

closely connected so I will be referring to these as variations of the same theme. To analyze

the composition of each theme I will be referring back to Section 2 and the work of Philip

Tagg, while also providing my own transcriptions of important musical extracts. Using

these to refer back to will allow me to pick out specific examples of leitmotifs that have

already been studied by others. I can then compare these to the themes used in The Dark

Knight, which will allow me to analyze this films themes in a similar way to the themes

that have been studied previously. I will also be seeking to find out how the composition of



each theme makes its suitable for its subject.

In analyzing individual scenes I will be providing a number of supporting materials in

the form ofAppendices. This will first of all include a plot summary (which should be

referred to throughout), which will list the films key characters, plus additional

background on the Joker character; the musical treatment of whom forms the basis of my

analysis. Also to be included in theAppendicesare descriptions and transcriptions of

important scenes and dialogue, respectively. Together theAppendicesshould allow the

reader to greater understand the context of each scene, while also preventing the main

analysis from containing too much irrelevant information. To further clarify exactly what

points in the film I will be referring to I will be using a numbers system, as demonstrated

by Philip Tagg. For example; a six-minute clip (0:06:14 to 0:12:21) fromAmerican

Beauty (Tagg. P. 2013: 543). These methods will help clearly define exactly which scenes

or musical extracts I am referring to.

In studying each musical theme or set of themes, I will be seeking to find out the

following; how each theme functions for its subject, what purpose each theme serves for

the images in individual scenes, and what the purpose of each theme is within the context

of the overall narrative. I will also be looking to see how certain themes are developed and

changed, how they are changed, and what the reasons for these changes are. Overall, I will

be seeking to decide whether or not these themes are leitmotifs, and if they are then to

prove why I believe this is so. To answer these questions I will be putting forward my own

theories, and then backing these up with evidence from the film itself (e.g. putting forward

a theory about what I perceive a musical theme to represent, and then reinforcing my

argument by observing the same musical theme being used in two separate scenes, but both



in similar contexts). I will also use the work of other writers to back-up my theories and to

some extent I will also be referring to statements made by the film-makers and the

composers themselves.



Chapter 4Discussion and Analysis

4.1 Introduction of Musical Themes.

I will begin the main body of research by giving a brief overview of which musical themes

I will be analyzing. I will be focusing on two musical themes that are used throughout The

Dark Knight, both of them associated primarily with the character of the Joker. The themes

I will be analysing are as follows:

-Joker-Theme-Awhich has two main variations -A.1 inFig. 4.2 andA.2 as shown inFig.

4.4- and as such serves more than one purpose. This theme appears almost every time the

Joker is on screen.

-Joker Theme B(Fig. 4.1),which appears much less frequently thanJoker-Theme-A,but

essentially stays the same throughout.

Theme-Bdoes not have any drastic variations butwith regards to each transcription of

Theme-A, the notations should only be taken as a rough guide and not the exact rhythmic

values. Variations on these themes are notated in a similar way. The reason for this is that

A.1andA.2appear so often that they are often adapted to fit with the music that each

appearance may accompany, or they may also change to suit the speed of the images

around them. In order to study the use of each theme in the context of the film, I will begin

by giving a general overview of each theme, while also studying the composition of each

theme. To make the context of each scene easier to understand I have also provided a plot

summary (seeAppendix A).



4.2 Musical representation of the Joker in The Dark Kn ight.

Throughout the history of the DC Comics character Batman, the Joker has always been

a recurring arch-enemy. In The Dark Knight(portrayed in this instance by Heath Ledger)

he is the main antagonist, being responsible for many important events in the films

narrative. Out of all the musical themes in this film, the ideas and processes behind the

creation of the Jokers themes are probably the best documented, as composers Hans

Zimmer and James Newton Howard have spoken about the themes many times in

interviews.In the case ofJoker-Theme-Athe music first appears several times during the

opening scene, which involves the Joker and his accomplices staging a bank robbery.

Joker-Theme-B also appears for the first time towards the end of the same scene. Before

analyzing these themes it may be helpful to look at what the composers have said about the

themes. Although the score The Dark Knightis a collaboration, the music for the Joker was

composed solely by Hans Zimmer, who has stated (in reference to Theme-A) I was trying

to get it down to the most minimal thing that could say exactly what I wanted to say. You

can hear a second of this thing and you know the Joker is out there lurking somewhere

(theMusicFDN. 2009). First of all, this confirms that Zimmer consciously created music to

be associated with the character, and it also strongly implies that the music is intended to

give a leitmotif effect. Similarly to Royal S. Browns analysis of theJawsshark-theme (see

Section 2.3, page 9), Zimmers statement indicates that the theme is meant to signify the

characters presence, although I will come back to this concept further on when analysing

individual scenes. Zimmer has also stated I didnt want to write a summer blockbuster,

happy indulgent score. I wanted something that was truly provocative and people could

truly hate. You know, I made the conscious decision to go out there onto the edge, you



21

know, that was the first step I took (theMusicFDN.2009). This suggests that Zimmer made

a definite decision to compose musical elements that characterized the Joker.

If we start by analysingJoker-Theme-B(Fig. 4.1) at a very basic level we can see the

following: In terms of instruments and timbre the theme appears to have been recorded

using a slightly out-of-tune piano sound (sometimes referred to as a honky tonk piano),

which in itself gives each note a slightly eerie quality. The music is constructed from just

two notes, with each note being played at two different octaves. This makes the key sound

slightly ambiguous and dissonant, but the opening minor 7th

interval (a D note up to a C

note) implies that the music is in the key of D minor. The second half of the theme then

starts with C in a lower octave, before moving up to a D note, which creates an interval of a

major 9th

. To begin analysing the theme in even more detail I will again look towards

studies of the shark-theme fromJaws, only this time in the work of Ronald Rodman.

Rodmans study notes how the shark-theme serves denotative and connotative functions to

create a neat package of signification (Powrie P & Stilwell, R. 2006: 124) (See Section

2.3, page 9 to 10 for details about Rodmans findings). Using Rodmans study as a guide

we can analyseJoker-Theme-Bas follows; like the minor 2nd

in the shark theme, the minor

7th

interval inJoker-Theme-Bcould also be considered as dissonant, and as with theJaws



22

theme signifies instability and harshness. Though not using a low register as with the shark-

theme, the Joker theme is instead in a fairly high register, but this could also be considered

as signifying as sinister and ominousparticularly when taking into account the eerie

quality of the piano sound. And finally, as with the shark-theme combining with the

sharks destructive deeds and the fierce appearance of the shark itself (Powrie, P &

Stilwell, R. 2006: 124), this can again be applied to the Jokers eviland destructive

actions in the film. As the Jokers actions get more extreme and the character becomes

more dangerous, Theme-Btakes on more meanings and connotations, meaning that, as with

the shark theme, the themes become permanently linked with the character and his actions.

Parts of Rodmans model can also be applied toJoker-Theme-A, which I will look at in

more detail further on.

I have already established that I believe both of these themes (Theme-Aand Theme-B) to

be leitmotifs, so next I will seek to prove why I believe this is, and what exactly each theme

represents. Beginning withJoker-Theme-B, this theme appears to represent certain

manipulative aspects of the Jokers personality. In the few instances when it appears, it is

usually in the context of the scene being focused on the Joker and just one other character,

and during these points it is made very clear to the audience that the Joker is attempting to

manipulate the other character towards his own ends. In relation to this, director and story-

writer Christopher Nolan has been quoted as saying What the Joker provides in the second

film is the fact that his entire motivation is to push peoples buttons and find their rules set

and it turn it on itself (Boucher, G. 2008). To fully understand the themes use, I will now

turn my attention to some specific examples of the music being used in this context.

The first time we hear the theme is during the films opening bank robbery sequence,



when one of the Jokers gang members referred to as Grumpy in an early version of the

films script (JoBlo. 2008) - comes close to killing the Joker. In order to understand this

scene I will need to briefly describe the plot at this point in the film. The first time we see

the Joker he is actually disguised as one of his gang members, meaning none of the people

taking part in the robbery actually know that their employer is among them. As the heist

progresses it becomes clear that the Joker has instructed the gang members to murder each

other once each persons part in the robbery iscompleteleaving the Joker left as the only

surviving gang member. For example, the man who shuts down the bank alarm system is

murdered as soon as the system is disabled, and similarly, the man who unlocks the bank

vault is also murdered. This cycle carries on until there are just two gang members left;

Grumpy and the Joker (still in disguise). By this point Grumpy suspects that the remaining

gang member (the Joker) has been instructed to murder him as well, and so he threatens to

kill him. As Grumpy points his gun at the Joker, Theme-Bis introduced for the first time

(00:04:39I will use this numbers system throughout to clearly show what parts of the

film I am describing. It should be read as follows; hour-minute-second). This also marks

the first time that the Jokers voice is heard. The Joker then cleverly manipulates Grumpy

into hesitating and being moved into the path of a school bus that crashes through the bank

walls, apparently killing Grumpy (seeAppendix B). Theme-Bthen ends as the bus arrives

(00:04:54). He then murders the driver of the bus and begins to load the stolen money into

the bus, making him the only remaining gang member, at which point it becomes clear that

his plan has succeeded. The second time Theme-Bappears is during a scene when Batman

is interrogating the Joker (seeAppendix E), and again this is in a context where the Joker is

attempting to manipulate someone. By the end of this particular scene it becomes clear that



one of the Jokers ultimate aims is to coerce Batman into breaking his one rule (Nolan, C.

2008), which the audience knows at this point to be avoiding killing anyone, no matter how

evil he may consider their actions to be. The Jokers aims are confirmed when Batman says

I have one rule, to which the Joker replies the only sensible way to live in this world is

without rules, and tonight youre gonna break your one rule, and Batman says Im

considering it (Nolan, C. 2008). In this instance, when Theme-Bis introduced it is clear

that by drawing parallels between the two of them, the Joker is attempting to aggravate

Batman. This is particularly evident when he says to them [presumably in reference to the

police officers standing outside the interrogation room] youre just a freak like me

(Nolan, C. 2008). The theme begins at 01:28:19, then ends and moves into more intense

music when the Joker finally baits Batman into attacking him (01:29:03), something which

appears to be triggered by the Joker saying Im not a monster; Im just ahead of the curve

(Nolan, C. 2008). By being compared to the Joker, Batman is evidently angered (something

which the Joker starts doing while Theme-B is playing), and as a result of this the

possibility of him breaking his rule and actually killing the Joker seems much more likely.

The fact that the theme ends once Batman attacks him suggests thatsimply by becoming

angry - this is the moment at which Batman has been manipulated into satisfying the

Jokers goal. The theme then appears a further two times, still in relation to the Jokers

ability to manipulate, but in these instances specifically in relation to the transformation of

Harvey Dent into his villainous alter-ego, Two-Face. After Dent has just been disfigured as

a direct result of the Jokers actions, the Joker confronts him in his hospital room (see

Appendix F). This scene marks an important point in Dents ultimate transformation, and,

as shown by his murderous actions later in the film, this moment has a massive effect on



his already damaged mental state. The scene proceeds as follows: Throughout the scene the

Joker is explaining the various reasons behind his actions. Theme-Bbegins as the Joker

places a gun in Dents hand (01:50:25), and then proceeds toplay on Dents beliefs in

justice and fairness, and his obsession with his double-headed coin (now damaged on one

side to resemble Dents disfigured face). The Joker states you know the thing about chaos?

Itsfair(Nolan, C. 2008). This ultimately leads to Dent pointing the gun towards the Joker,

then flipping his coin to decide whether or not to kill him. The theme ends at 01:51:10

when the scene cuts, leaving a brief uncertainty as to the Jokers fate. This scene is recalled

during the Jokers final scene (seeAppendix G), both from what he says and by the return

of Theme-B(02:14:35 to 02:15:10 - this is also the final appearance of the theme). Having

been defeated by Batman, the Joker goes on to explain what he has done to Dent, saying I

took Gothams White-Knight and I brought him down to our level (Nolan, C. 2008). The

themes reappearance in this final scene serves as a musical reminder for the listener of the

Jokers conversation with Harvey Dent. In this way,Joker-Theme-Bin both these cases

becomes clearly associated with Harvey Dent being manipulated by the Joker. It is also

worth noting that, at these two points in the film, Theme-Bactually merges with elements

of Theme-A. The context of the theme has also changed slightly, as the music has

progressed from having a very broad association with the Jokers manipulative actions, to

becoming specifically associated with the transformation of Harvey Dent. The fact that

these are the only two times when the theme is noticeably altered (with Theme-Abeing

played underneath) also helps to link these two appearances of the theme, and to distinguish

them from the other appearances of the theme earlier on.

Moving ontoJoker-Theme-A, this theme has two main variations; Theme-A.1(Fig. 4.2)



and Theme-A.2(Fig. 4.4). Both are based around a D note played on a viola gradually

increasing in volume, butA.2is slightly different in that the note also gradually moves up

in pitch.

I will begin with analyzing Theme-A.1. Compared with Theme-B, both variations of Theme-

Aappear to have a more traditional leitmotif use, in the sense that they are used almost

every time the character is on-screen. However, it should be noted that each variation of the

theme serves a different purpose, usually relevant to what is happening on-screen, and

variations are altered to accommodate these functions. One important function thatA.1

appears to serve is informing the audience of the Jokers presence when he is not clearly

visible on-screen. This is a technique employed extensively in John Williamsscore for

Jaws - something I will return to shortlyand there are several examples of this throughout

the film. Theme-A.1 first appears in the bank robbery scene, which as mentioned earlier,

revolves around the Joker being in disguise, in order to deceive his gang members into

killing each other. From the point of view of an audience that is watching the scene for the

first time, there probably dont appear to be any obvious visual clues to indicate that the

Joker is actually among the gang members, however there are some subtle clues in the



music which tie-in effectively with clues in the visuals - something that I will go into

shortly. The theme first appears at 00:00:44 during the opening titles, before any action is

taking place on-screen. It then continues until the point when one of the gang members

breaks through a window, signalling the beginning of the heist (00:01:11). The theme next

appears when the Joker is waiting to be picked up in a car by some other gang members

(00:01:2100:01:29), then stops as he enters the car. The camera at this point focuses on

the Jokers mask which he is still holding in his hand until immediately before entering the

vehicle. The theme appears again after the Joker guns down the manager of the bank, after

which point the camera gradually focuses onto his masked face (00:03:5600:04:00).A.1

appears again from 00:04:22 to 00:04:25, while the camera focuses on the Joker once again,

this time as he is walking around the bank surveying his hostages. The penultimate

appearance ofA.1in this scene is when the injured bank manager draws the Jokers

attention at 00:05:19 (seeAppendix B). As with previous appearances, the theme builds in

volume and intensity as it plays. However, this time the theme actually resolves after it

reaches its peak of intensity (at 00:05:41seeFig. 4.3),while also synchronizing with the

moment that the Joker removes his mask for the first time. The theme then starts up again

as the Joker boards the school bus (his escape vehicle), and ends as the bus leaves

(00:05:4700:06:00). In this opening sequence, althoughA.1does not appear every single



time the Joker is on screen, it does appear every time that the camera is focused on him. For

example, it does not play while the Joker is travelling with two other gang members to the

bank (from 00:01:45 to 00:01:58), but in this case the Joker is in the background of the

scene, whilst another gang member is speaking in the foreground. On the other hand, when

the camera is clearly focused on the Joker, in these instances the theme does make an

appearance. For example; when he waits to be picked up, both times when he is

approaching the bank manager, when the camera follows him as he watches over the

hostages, and one final time as the bank manager watches him leave. Combined with other

subtle signals in what is happening on screen - such as the Joker drawing the audiences

attention by being the only gang member notto speakand Theme-A.1becomes an

effective tool in helping the audience to realize the true identity of the gang member. This

combination of techniques also gives further weight to the idea that the film-makers

intended the viewer to work out his identity prior to the point when he reveals himself. Also

important is the fact that the music only resolves as the Joker removes his maskfurther

highlighting this particular moment. This indicates that the theme is being used to create a

build-up to the moment when he finally reveals himself, and therefore the Jokers proper

introduction into the narrative. This again reinforces that Theme-Ais definitely intended to

be associated with this character. Overall, although the theme is used in a few different

contexts, Theme-Ain this case can be summarised as signalling the characters presence,

even if his presence is not initially obvious by what can be seen on-screen. There are

several more examples of the theme being used to serve a similar purpose, which I will now

briefly explain to reinforce my point.

The Jokers next appearance is during a scene when he meets the leading mobsters of



Gotham City. This time Theme-A.1once again appears before the character is clearly

visible (00:23:09), once more suggesting his imminent appearance and this is further

confirmed by the sound of his slow, mock-laughter. As the Joker starts to approach the

mobsters he still has his back to the camera, but his face isnt fully revealed until 00:23:19.

As the theme has not been heard since his last appearanceduring which time his voice

was also revealedit is safe to combine these two clues and assume that the Joker is the

person entering the room. Another example appears during the Jokers assassination

attempt on the Mayor of Gotham at the Police Commissioners funeral. At this point in the

film the Joker and his associates have kidnapped a group of police officers, and disguised

themselves in police uniforms in order to assassinate the Mayor (who has been named as a

potential target). Bruce Wayne (not disguised as Batman) finds the kidnapped officers tied-

up in an empty apartment building, at which pointTheme-A (this time in the form ofA.2

the significance of which I will explain further on) begins to play (at 01:01:12). Once again

this indicates that the Joker is nearby, which is confirmed at 01:02:09 when he is revealed

to be hiding in the crowd. The Mayors death is then prevented by Lieutenant James

Gordon moving in front of the Jokers bullet, at which point the theme stops (01:02:10).

Finally, I will mention one more instance where the theme is used in this context, this time

when Harvey Dent has been falsely arrested after taking the blame for Batmans vigilante

activities. Theme-A.1begins at 01:14:33, while the Joker doesnt appear on-screen until

01:14:45 when he is shown to have commandeered a truck from which to attack the prison-

van that Dent is being transferred in.

To conclude, what all these examples have in common is that the music begins playing

before the character is actually visible, therefore giving the viewers clues and warnings as



to what is about to happen. Like RodmansJawsexample, Theme-Ain these cases can also

be viewed as representing the Jokers actions, as well as his simply showing his presence.

In each example, when the theme begins it becomes a clear signal that the Joker is about to

appear, which, as his actions become more murderous and extreme, creates an association

between the actions and the Joker himselfand therefore giving Theme-Athe same

connotations. In this way the themes appearance often serves as a warning to the audience

that more chaos is about to ensue. It may also help to look to Royal S. Browns

interpretation of theJawsshark-theme (see pages 9 & 10 in section 2.3). Brown notes how

the theme is used throughoutJaws to signify mythic moments (Brown, R.S., 1994), by

which he seems to be referring to the films well documented technique of using a simple

two-note motif to imply the sharks presence. In direct relation to this, he notes how during

a scene when the images on-screen imply that the shark is near; the very absence of the

music tells the audience that this isnt so. Similarly, in the scenes when the Joker cannot be

clearly seen (the bank robbery, and the Police Commissioners funeral), the appearance of

Theme-A.1 is a key factor in suggesting to the listener that the Joker is nearby. This idea is

reinforced in the following quote by Hans Zimmer; I was trying to get it down to the most

minimal thing that could say exactly what I wanted to say You can hear a second of this

thing and you know the Joker is out there lurking somewhere (theMusicFDN. 2009). All

of these are definite examples of music being used to effectively put a character into a

scene without them actually being visible. This use of the theme in these cases also

supports Adorno and Eislers description of what a leitmotif should do (page 6, Section

2.2), being that they are trademarks by which persons, emotions, and symbols can

instantly be identified (Adorno, T,. and Eisler, H. 1947:4). But as I have already



31

mentioned, Theme-Aappears many more times over the course of the film, and in these

cases it serves different purposes to the ways already mentioned.

Looking back to Prendergasts definition of a leitmotif (Section 2.2, page 8), he states

that leitmotifs may be varied, developed, or transformed in accord with the development of

the plot (1992:41), and it is partlyfrom this idea that my next analysis will be drawn from.

In the following pieces of analysis I will be examining how Theme-A(specificallyA.2see

Fig. 4.4) is used as a musical representation of the action that is unfolding in the images,

particularly how the theme is able to increase the fear and tension that is created in certain

scenes.

Although Theme-A.2essentially stays the same each time it appears, there are some

subtle variations and extensions to the theme; usually when the theme is played for an

extended period of time and at important points in the characters narrative. The first

example of this is during a scene when - as part of a plan to kill Gambol, a leading Gotham

City mob bossthe Joker fakes his own death. The end result of this being that the other

mob bosses accept the Jokers offer to kill Batman, ultimately leading to his establishment

as a dominant force in Gothams criminal underworld making this a vital point in the



32

Jokers rise eventual rise to power. In order to demonstrate the use of Theme-Ain this

context, I will now make a detailed analysis of the Gambol Murderscene. As mentioned

previously, the other main variation of Theme-Ais theA.2variation (Fig.4.4) and this is

the version that appears in the following scene. This scene lasts from 00:29:36 until

00:31:42, and the theme itself plays from 00:30:08 until 00:31:09, with the point at which

the theme varies and extends appearing at 00:31:10. By this point in the film the theme has

already appeared in two separate scenes involving the Joker, so it already has a strong

association with the character. Having had a bounty put on his life by Gambol, the Joker

has successfully infiltrated Gambols building under the illusion that he has been killed by

bounty huntersthree men who are actually in the employment of the Joker. The bounty

hunters then subdue Gambols bodyguards while the Joker jumpsup and holds a knife to

Gambol. The Joker then begins to tell a story about how he obtained his unusual facial

scars, a story he tells variations of throughout the film (Ill call this the Scars Storyshown

inAppendix C). It is at this point that Theme-A.2begins to play. Throughout this scene the

Joker has a knife held to Gambols mouth, and as the scene progresses and the Jokers

speech becomes more aggressive and threatening it becomes clear that he is going to kill

Gambol. Here, the main way in which Theme-A.2differs toA.1is that - as with the other

examples that I will showit increases in intensity in relation to the intensity of the scene.

The themes other variation in this case is with the introduction of avery high-register

screeching string note as the theme ends, immediately after the D note has moved to one

octave above its original pitch (Fig. 4.5). This signals the end of the theme, as well as

synchronizing with the moment that Gambol is killed. The large leap from the D to the high

C note could also be a deliberate attempt to create shock for the audience. This particular



sound also appears in the scene when the body of a man pretending to be Batman hits the

window of the Gotham mayors office (0:41:45) and later on in the film following the

attempt on the Mayors life (01:02:10)therefore creating an association between this

particular sound, the Joker and death. The Gambol Murderscene is one of three other

scenes whereA.2is used in this context; and is one of two examples of the theme being

played in full (the attempted murder of the Mayor being the other example). By being

played in full, what I mean is that in the other instances when it is used it is often when

the Joker is about to kill someone, but in these cases the theme is interrupted before it has a

chance to conclude with the high-pitched ending that is present in the Gambol Murder

scene. In examining why the screechingnote is able to have such a powerful effect each

time it is used (but is particularly effective in the Gambol Murderscene), here I will look to

the work of Phillip Tagg and his analysis of Bernard Hermanns score for the famous

shower scenefrom Alfred HitchcocksPsycho (1960).

Both pieces of music share a lot of similarities, a style of string music that Tagg

refers to as PSYCHOPATHIC strings as opposed to ROMANTIC strings (Tagg, P.

2013: 264). Tagg notes how the music is composed in such a way so as to represent and

imitate the actions on screen; most notably he states how string notes in the high register



(as heard in the Gambol Murderscene) resemble a combination of female screams of

terror and the sound of a large knife being sharpened (Ibid: 510). This is particularly

important in analyzing the Gambol Murderscene as a knife is the weapon used to kill

Gambol. Additionally, the image of a knife is also consistently associated with the Joker

due to his preference for knives as weapons, and his mysterious back-story which -

although slightly different each time he tells it - always features the use of a knife

(Appendix CandD).

Moving onto two more examples of Theme-A.2being used in this context, the next

scene I will analyze is the scene when Bruce Wayne is holding a fund-raiser for District

Attorney Harvey Dent. During this scene (the entire sequence of which lasts from 00:43:31

to 00:53:19) the Joker and his gang members break into Bruce Waynes penthouse with the

apparent intention of murdering Dent. Unable to find Dentwho has been knocked

unconscious and hidden away by Waynethe Joker instead turns his attention to Rachel

Dawes, Dents partner and a long-time friend of Wayne (seeAppendix D). As with the bank

manager in the films opening scene, the theme at first serves to represent someone drawing

the Jokers attention, starting at 00:50:22. The theme begins in the A.1variation, but as

soon as he grabs her and holds the knife to her it becomes apparent that he intends to kill

her. This is further suggested by him telling the Scars Story, and also by the music

morphing into theA.2 variation. Additionally, after asking the guests for Dents

whereabouts he also states Ill settle for his loved ones (Nolan, C. 2008). However, unlike

the Gambol Murderscene, the potential murder is prevented by the arrival of Batman. The

theme accommodates this by stopping when Batman arrives and attacks the Joker

(00:52:00), so in this sense the theme being interrupted represents the Jokers plan being



prevented, which could potentially have been signalled by the high-register sharpened-knife

note synchronizing with the murder of Dawes. The climax of the scene when Harvey Dent

has been arrested also has similarities to this. After driving at full speed towards the Joker,

Batman makes a last second decision not to run him down. Batman comes to a sudden stop,

resulting in him crashing his motorcycle-like vehicle and knocking himself unconscious.

The Joker takes out a knife and begins to walk towards Batman, at which point Theme-A.2

begins playing (01:22:23), suggesting that he intends to kill him. Holding his knife, the

Joker crouches over Batman, but is again interrupted (01:22:42), this time by the arrival of

Lieutenant James Gordon, and Theme-A.2is again interrupted to accommodate this.

As with theJawsanalysis of the use of Theme-A.1, these examples all show how a

theme can be used to support the narrative. However, what is different with these examples

is that Theme-A.2relies on what is happening on-screen to achieve its effect, and this is

done by increasing in intensity in time with the structure of certain scenes. TheJaws

example on the other hand is effective by relying on what the audience cannot see. By

locking in so closely with what is happening in the images, Theme-A.2is used to immerse

the audience in the action, as well as making suggestions about how events are going to

unfold. Through being constantly used in similar contexts Theme-A.2comes to be a musical

representation of the Jokers murderous actions. Theme-A.1on the other hand has a more

obvious use, in that its main purpose is to signal the Jokers arrival. There are a few subtle

changes and extensions to Theme-A.2(e.g.Fig. 4.5), but these do give weight to

Prendergasts citation of Donald Jay Grouts definition, which is that a leitmotif may be

varied, developed, or transformed in accord with the development of the plot (Prendergast,

R.M. 1992: 40).



As mentioned already, Theme-A.2is clearly intended to be associated with a certain

aspect of the Jokers personality, specifically his enjoyment in murdering people. The

rising tensionelement of Theme-A.2 is created by the note slowly rising in pitch, meaning

the viola string is actually increasing in tension. As shown in the videoHans Zimmer: The

Conscious of Creating the Film Score(theMusicFDN. 2009), this is achieved by the cellist

slowly moving up the neck of the instrument, but this is done so subtly that it almost gives

the impression of the string being bent. Zimmer also mentions that he wanted to give the

impression of a taught string that gets tighter and tighter but never breaks (Ibid.: 2009). In

many ways this is an intertextual device, relying on the audiences knowledge that if an

instrument string is tightened enough, it will actually snap. This snappingcould be

considered as signifying the point at which the Joker is actually allowed to give into his

murderous urges, and this is represented by a sudden harsh, high register notea sound

which creates many connotations. In the other uses of the Theme-A.2that I have mentioned

the Jokers killings are prevented, and the theme itself is interrupted to represent this. In

conclusion of the use of Theme-A in all the forms and variations that I have mentioned, we

can also look to Zofia Lissas ten basic film music functions (1965:115-256, as cited in

Tagg, P. 2013). In these instances, both versions of Theme-Afulfil several of these: They

provide Anticipation of subsequent action (Tagg, P. 2013: 547) by informing the audience

that the Joker is about to attack someone or that the Joker is about to appear, they express

psychological experiences (Ibid.: 547) by creating fear, shock and tension (particularly in

Theme-A.2), which to some extent could also be classed as Providing empathy (Ibid.:

547). Additionally the extension of Theme-A.2provides Stylisation of real sounds (Ibid.:

547) by imitating the sounds of knives and female screams (Fig. 4.5). Finally, Theme-A.2



emphasises movement (Ibid.:547) by increasing in tension as the Joker is physically

moving closer to his victims, or when the moment of his attack is growing closer.



Chapter 5

Conclusions & Recommendations

Through doing this study I have discovered a number of ways in which both the composers

and film-makers have effectively used music as a narrative device. It should also be noted

that I originally intended my studies to cover all three films in The Dark Knight Trilogy.

However, as my research progressed it became apparent that, in this project at least, there

would not be enough room to cover such a large amount of material. Instead, my studies

narrowed down to only cover the second film in the seriesThe Dark Knight. This

eventually narrowed down even further to becoming a detailed focus on the musical

treatment of one key characterthe Joker. In conclusion, it appears that the composers

have definitely taken influence from the traditional leitmotif technique, but then adapted the

idea to the needs of this particular film. To summarize and re-cap what has already been

stated; my analysis has covered three main themes with very distinct uses, but each

demonstrates some of the common stipulations for leitmotifs that have been covered in

Section 2: Theme-A.1has a very traditional leitmotif function - being used to indicate the

Jokers presence when he is not clearly visible on-screen. One key point of reference for

Theme-A.1is theJaws shark-motif, which serves a similar function to that of Theme-A.1

(see Section 2). Theme-A.1is also used in a similar way to the Buffy-Angel theme as

analyzed by Vanessa Knights (Section 2.3, page 11). Theme-A.2is used to represent a

character trait (the Jokers murderous actions)but is sometimes adapted in accordance

with the films narrative (as discussed in Section 2.3). Theme-Bis used to represent another

character trait (the Jokers ability to manipulate people towards his own ends), but takes on



multiple meanings, eventually coming to be associated with Harvey Dents transformation

into the villain Two-Face. Alternatively Theme-Bcan also be seen as representing an idea,

which in this case is manipulation (see Arnold Whittalls definition in Section 2.1). As

demonstrated in theJawsshark-theme, my studies have also noted how leitmotifs can be

composed in such a way so as to link directly with the traits of the subject that the theme

represents - something which can create both intentional and accidental connotations for the

audience. This has been noted in all three themes, for example; the dissonance of Theme-B

links directly with the Jokers eviland destructive actions.

To further this study, there are a number of routes that I might take. I would like to

create a much larger piece of work to further the points made about the Jokers themes, and

to encompass the other characters in the film; in particular looking at how the musical

treatment of the Joker contrasts with that of other characters. Of particular interest here is a

point made by Peter Larsen about musical treatments of good and evilin Star Wars: the

Empire Strikes Back (Section 2.3). This is especially relevant to The Dark Knight, and the

transformation of Harvey Dent from heroto villaincould also be a useful starting point

for looking at this particular area. Furthermore, the study may also incorporate the other

two films in the series -Batman Begins(2005) and The Dark Knight Rises (2012). I also

would like to look into the way intertextual devices are used to comment on characters,

which is something I picked up on in Section 2.4, but had no room to take any further. This

could again be applied to the Joker, as I could study how Hans Zimmer incorporated the

influence of Punk-rock into the music. (Jesser, J.D and Pourroy, J. 2012: 256). For instance,

the chaotic, anarchic, and rebellious nature of the 1970s Punk movement draws some

interesting parallels with the Joker, particular in this version of the character. Exploring the



connotations created through different genres could add a new dimension to my studies,

allowing me to pick up on studies into intertextual devices that I looked at in Section 2.4.

Alternatively, rather than focusing on The Dark Knight Trilogy, I may instead take my

work here as the basis for a more general study on how musical treatment of the Batman

character has developed over time. This may take into account the original Warner Bros

films, as well as animations and video games. This may also lead into much broader studies

into the musical treatment of comic bookcharacters in general.



41

Appendix A

Plot Summary for The Dark Kni ght.

Based on characters first published in DC Comics and following on from the events of

Batman Begins(2005) - where Bruce Wayne (played by Christian Bale) began his

transformation into his vigilante alter-ego, Batman - The Dark Knight (2008)picks up

several months after the events of the first film, and again mainly takes place in the

fictional Gotham City. This film introduces two more key characters; main antagonist the

Joker (played by Heath Ledger), and Gotham District Attorney Harvey Dent (played by

Aaron Eckhart, and who becomes the villain Two-Face towards the end of the film).

Returning characters include; Alfred Pennyworth (Bruce Waynes butler and close friend

played by Michael Caine), Rachel Dawes (Waynes childhood friend and a former love

interest, who is now in a relationship with Harvey Dent. Dawes is played by Maggie

Gyllenhaal), Lieutenant James Gordon (one of the few Gotham City Police Officers who

trusts and works with Batmanhe is played by Gary Oldman), and Lucius Fox (CEO of

Wayne Enterprisesthe company that Bruce Wayne inherited from his murdered parents.

Fox supplies Wayne with the equipment that he uses in his role as Batman and is played by

Morgan Freeman). Some supporting characters include; crime bosses Salvatore Moroni

(Eric Roberts), the Chechen (Ritchie Coster), Gambol (Michael Jai White), and Lau (Chin

Han). Also serving minor roles are Police Commissioner Loeb (Colin McFarlane), Judge

Surillo (Nydia Rodriguez Terracina), Mayor Anthony Garcia (Nestor Carbonell), Wayne

Enterprises account Coleman Reese (Joshua Harto), and corrupt police officers Michael

Wuertz (Ron Dean) and Anna Ramirez (Monique Gabriela Curnen).



42

The films plot revolves around the Jokers attempts to attack the citizens of

Gotham City through means of terrorism, murder and other criminal activity. The Joker is

perhaps the best known adversary of Batman, and has been portrayed by a number of well-

known actors over the years; including Jack Nicholson inBatman(1989) and by Mark

Hamill in several animated television and computer game adaptations. In The Dark Knight,

as with previous portrayals of the character, he is portrayed as the exact opposite of

Batman; choosing to use his skill and intelligence for wrong doings rather than as a force

for good, therefore in direct opposition to Batmans strong moral code and refusal to kill.

One particular reason that he is shown to be such a menacing adversary for Batman (in this

version at least) is the fact that he seems to commit crime mainly for enjoyment, making

him unresponsive to Batmans threats. In this version of the character, rather than appearing

as a crime boss, as he is usually portrayed, he instead takes on the role of a terrorist,

holding Gotham Citys residents to ransom with various threats and actual attacks.

Throughout the film his actions gradually get more extreme and destructive; murdering

several public figures during the first half of the film, demolishing a hospital, then

culminating in him terrifying Gothams citizens into evacuating the city.

Much of the film revolves around Batman, District Attorney Harvey Dent and

Police Lieutenant James Gordons (promoted to Commissioner Gordon later in the film)

attempts to stop the Jokers plans. The Joker is introduced in the films opening scene

where he orchestrates a bank robbery to steal from an account owned by leading mob

bosses Salvatore Moroni, Gambol, Lau and the Chechen. The mob bosses and their

associates then have a meeting where it is revealed that the police have traced their account

locations through the use of marked bills used by undercover police officers to buy



drugs with. In order to avoid any possible prosecution Lau leaves Gotham City to return to

Hong Kong; stating that he is far from Dents jurisdiction. He reveals to the other crime

bosses that he has emptied the accounts and had the money hidden somewhere within

Gotham City, but in order to prevent the police gaining leverage over any of them he has

decided not to disclose the location of the money. The Joker interrupts this meeting and, in

exchange for half of the mobsters money he offers to kill Batman. He warns them that

Batman has no jurisdiction and is likely to bring Lau back to Gotham to face criminal

proceedings and testify against them. He offers to kill Batman to prevent this happening,

but his offer is rejected. The meeting ends with Gambol placing a bounty on the Jokers

life. However, the Joker escapes by revealing that he has explosives attached to his body.

Sometime later, the Joker fakes his own death in order to gain access to Gambol and kill

him. From this point on the Joker becomes allied with the other mob bosses. Meanwhile,

Batman kidnaps Lau from Hong Kong and returns him to Gotham. Lau provides evidence

which allows De

Documents

A Study into the Use of Musical Characterisation Techniques in Christopher Nolan’s The Dark Knight