>>100613276The main theme of Snyder's "Batman v Superman" on spiritual dematerialism is not eschatological, but a phenomenological ontology. Thus he implies that we have to choose between predialectic construction and deconstructivist neodialectic theory, essentially Heideggerian as seen in the concept of Dasein. The subject is interpolated then into a cinematic dematerialism that includes spirituality as a whole. But if the Kierkegaardian worldview holds, we have to choose between the cultural paradigm of expression and atomism. In Snyder's own "Man of Steel" he has a character say that "the world's too big”. Inherent in this is how the function of Lebenswelt (cinematically translated by Snyder as "world of life") operates in all his films, chiefly in "Sucker Punch" and "300". We see a phenomenological approach to the world showing a cinematic logic that presupposes a structural constraint in rootedness, another intentionality central to his filmography and philosophy. Because "metaphysical comfort" is not an object of temporality per se, but rather an aspect of automatic condition, as suggested by Cavell. Hermeneutic interpretations are also apparent in his post-"Watchmen" movies; in fact the interchangeable subjectivities are but another representation of Husserl's and Wittgenstein's "form of life". As his academic hero Heidegger succinctly noted, "freedom is the ‘abyss’ of Dasein, its groundless or absent ground". This is essentially the thesis operating in Snyder's films.
