The spectator not only sees the represented elements of finished work, but also experiences the dynamic process of emergence and assembly of the image just as it was experienced by the author. And this is, obviously, the highest possible degree of approximation to transmitting visually the author's perceptions and intentions in all their fullness, to transmitting them with 'that strength of physical palpability' with which they arose before the author in his Creative work and his creative vision. (Eisenstein; Film Sense 32)
Ah hah! Not only the author's creative vision but often the author's creative process is transmitted to the work, complete with conscious and unconscious dynamics imbued in the work, during the process and final product.
Is it not fair to believe that the myths of Nolan's subconscious, the mythos most-likely present from a Catholic childhood and years in the Christianized west, a mythos complete with themes of salvation, sin, rise, fall, resurrection, and a plurality of other Christian themes and myths played a great part in both the process and final produce of the Batman trilogy? A mythos recognized and, subconsciously, attributed to the Western manifestation of the mythic cycle; namely, the Christ story? If Nolan is really the artist we think he is (and I, for one, think he is) he would be effective at this transmission of process, a process which is imbued with numerous subconscious elements which would rise also in the viewer of his work. Nolan himself claims his reason for working in Hollywood films is "operatic quality," the ability to blow up emotions (and, I would argue, mythos) to a massive scale available and accessible to a large audience. And this is exactly what happens I think.