2. Cinephilia Writ Large: IMAX in Christopher Nolan’s The Dark Knight and The Dark Knight Rises

Creating Claustrophobia in Christopher Nolan’s Dunkirk

“…For example, in Robert Eggers' The Lighthouse (2019) an almost square ratio (1.19:1) not only evokes a feeling of going back in time, but allows one to bring the two characters closer together and make the spaces seem more confined. The director in focus of this article, Nolan, is known for the use of IMAX, which allows to present a bigger image, reveal more space, and provide more information, resulting in, according to Nolan, more immersive experience (Whitney, 2015). Immersion can also be achieved by manipulating the already set aspect ratio.…”

“…In Trey Edward Shults' It Comes at Night (2017), the aspect ratio becomes wider as the film goes on (the image increasingly reduces in height and the characters are pressed into a horizontally narrower space) to show the worsening events of the film and the dark journey that the main character goes on. Homecoming (TV series) (2018-2020, directors Sam Esmail and Kyle Patrick Alvarez) uses square aspect ratio for events of the past; Nolan's Dark Knight Rises (2012) uses IMAX and 35 mm widescreen interchangeably for a variety of purposes, among them immersion, character development, anxiety, and others (Nolan's use of IMAX will be expanded in the later paragraphs), although Whitney (2015) reminds that the interchanging aspect ratios can be a challenge both for the filmmaker and audiences trying to decipher the meaning of the changes. The aspect ratio also directly speaks about the already discussed idea of space -both diegetic (within the story and the cinematic world), and non-diegetic (outside of it, in fact, it could be possible to think about the black bars as non-diegetic covers of the diegetic space).…”

“…IMAX records a bigger image, this way providing better quality that makes it more difficult to hide artificial content, computer graphics, and similar tricks, so the director chooses not to use tricks at all. Apart from his outspoken love for cinema and traditional filmmaking, IMAX helps him maintain the aesthetic quality and achieve greater audience immersion, for the frame is around ten times the size of the traditional 35 mm, and used to be projected on extremely large screens (Whitney, 2015). Since now IMAX has to be experienced in special theatres, the difference in digital reproduction of the image is still visible through the changes in aspect ratio between the footage shot in IMAX and on 35 mm or 70 mm film.…”

“…Since now IMAX has to be experienced in special theatres, the difference in digital reproduction of the image is still visible through the changes in aspect ratio between the footage shot in IMAX and on 35 mm or 70 mm film. Whitney (2015) particularly notes the changes in The Dark Knight Trilogy, and while the interchanging use of differently shot sequences gains critique too, she distinguishes them as being used for different expressive means: character revelations, cognitive dynamics, IMAX for vertigo, 35 mm for claustrophobic effect, and, going back to the "truthfulness" with practical effects, to highlight the "realness" of the image. She also notes that while IMAX is used for more "expected" sequences, such as landscape or action, it can also be encountered in more confined contexts that talk more about the characters and their journey (Whitney, 2015, p. 34).…”

“…These challenges and discomforts are conveyed through screen space as well, with the changes in aspect ratio. Most of the film is shot on IMAX, and although the aspect ratio changes are not that frequent and sometimes, as Whitney (2015) warns, difficult to read, a few clearer ideas can be discussed. For example, all the scenes on the beach are intended to be shown in a 1.43:1 aspect ratio, but some changes occur (it is important to note here that "intended" means that the scenes are shot in this ratio on IMAX, but it depends on viewing technology how much of the image is actually seen.…”