  Behind the Cape & Cowl: Shedding Light on the Post for ‘The
Dark Knight,’ Part 1  By Michael Kunkes  On July 18, Warner
Bros. releases The Dark Knight, director Christopher Nolan’s
follow-up to 2005’s Batman Begins, nationwide in both 35mm
anamorphic scope and 70mm IMAX. The film is the third
collaboration between Nolan and editor Lee Smith, A.C.E., after
Batman Begins and The Prestige (2006) and features the late
Heath Ledger’s last screen role, playing the nihilistic,
unpredictable criminal The Joker, who creates a state of anarchy
in Gotham City as he pushes Batman (Christian Bale) ever closer
to crossing the line between hero and vigilante.  Most
importantly, about 28 minutes of screen time of The Dark Knight
was originated in IMAX––the first time that a major narrative
feature has even been partially shot with the large format 65mm
cameras. IMAX was used to shoot just a handful of action and
aerial scenes, predominantly the opening six-minute opening bank
heist “prologue” that fronted last December’s W