Search Results for "the-cinema-of-christopher-nolan"

The Cinema of Christopher Nolan

The Cinema of Christopher Nolan

Imagining the Impossible

  • Author: Jacqueline Furby,Stuart Joy
  • Publisher: Columbia University Press
  • ISBN: 023185076X
  • Category: Performing Arts
  • Page: 224
  • View: 6061
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Over the past fifteen years, writer, producer and director Christopher Nolan has emerged from the margins of independent British cinema to become one of the most commercially successful directors in Hollywood. From Following (1998) to Interstellar (2014), Christopher Nolan's films explore philosophical concerns by experimenting with nonlinear storytelling while also working within classical Hollywood narrative and genre frameworks. Contextualizing and closely reading each of his films, this collection examines the director's play with memory, time, trauma, masculinity, and identity, and considers the function of music and video games and the effect of IMAX on his work.

Time, Memory & Identity: The Films of Christopher Nolan

Time, Memory & Identity: The Films of Christopher Nolan

  • Author: Stuart Joy
  • Publisher: GRIN Verlag
  • ISBN: 3656317089
  • Category: Performing Arts
  • Page: 69
  • View: 9876
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Master's Thesis from the year 2009 in the subject Film Science, grade: none, , course: Film Studies, language: English, abstract: In spite of the diversity of Christopher Nolan’s body of work, the director’s experience of time, memory and identity has perhaps remained an integral part of his filmmaking. From Following (Christopher Nolan, 1998) to The Dark Knight (Christopher Nolan, 2008) his films are debatably rooted in a cinematic experiment to interrogate the construction of time and the malleable nature of memory and identity. It is this examination of time and identity that unites the wide range of Nolan’s work. Indeed, in many respects Nolan has arguably sought to develop a filmic language that concretely resembles the abstract structures of memory function and systems of identity. With this in mind, this thesis examines the representations of time, memory and identity in Nolan’s films in order to attain an understanding of identity in contemporary cinema and thought. The paper will consider the reflexive strategies and implications behind Nolan’s obsession with identity, not only in terms of his body of work but more importantly, in terms of what it can reveal about cinema's own relationship to issues of identity. More specifically, I contend that the insights of scientific, psychological and sociological literature on identity and memory as well as those of contemporary filmmaking are engaged in communicating the complex relationships amongst memory, identity and post-modernity. To pursue this thesis, the text will analyse a number of Nolan’s films such as Memento, (Christopher Nolan, 2000) Insomnia, (Christopher Nolan, 2002) and The Prestige (Christopher Nolan, 2006) utilising close textual analysis to inform my arguments where appropriate as well as using substantial theoretical underpinning to justify my assertions.

The Traumatic Screen

The Traumatic Screen

The Films of Christopher Nolan

  • Author: Stuart Joy
  • Publisher: Intellect (UK)
  • ISBN: 9781789382020
  • Category:
  • Page: 200
  • View: 4321
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Christopher Nolan occupies a rare realm within the Hollywood mainstream, creating complex, original films that achieve both critical acclaim and commercial success. In The Traumatic Screen, Stuart Joy builds on contemporary applications of psychoanalytic film theory to consider the function and presentation of trauma across Nolan's work, arguing that the complexity, thematic consistency, and fragmentary nature of his films mimic the structural operation of trauma. From 1997's Doodlebug to 2017's Dunkirk, Nolan's films highlight cinema's ability to probe the nature of human consciousness while commenting on the relationship between spectator and screen. Joy examines Nolan's treatment of trauma--both individual and collective--through the formal construction, mise-en-scène, and repeated themes of his films. The argument presented is based on close textual analysis and a methodological framework that incorporates the works of Sigmund Freud and Jacques Lacan. The first in-depth, overtly psychoanalytic understanding of trauma in the context of the director's filmography, this book builds on and challenges existing scholarship in a bold new interpretation of the Nolan canon.

The Fictional Christopher Nolan

The Fictional Christopher Nolan

  • Author: Todd McGowan
  • Publisher: University of Texas Press
  • ISBN: 0292742789
  • Category: Performing Arts
  • Page: 232
  • View: 3502
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From Memento and Insomnia to the Batman films, The Prestige, and Inception, lies play a central role in every Christopher Nolan film. Characters in the films constantly find themselves deceived by others and are often caught up in a vast web of deceit that transcends any individual lies. The formal structure of a typical Nolan film deceives spectators about the events that occur and the motivations of the characters. While Nolan's films do not abandon the idea of truth altogether, they show us how truth must emerge out of the lie if it is not to lead us entirely astray. The Fictional Christopher Nolan discovers in Nolan's films an exploration of the role that fiction plays in leading to truth. Through close readings of all the films through Inception, Todd McGowan demonstrates that the fiction or the lie comes before the truth, and this priority forces us to reassess our ways of thinking about the nature of truth. Indeed, McGowan argues that Nolan's films reveal the ethical and political importance of creating fictions and even of lying. While other filmmakers have tried to discover truth through the cinema, Nolan is the first filmmaker to devote himself entirely to the fictionality of the medium, and McGowan discloses how Nolan uses its tendency to deceive as the basis for a new kind of philosophical filmmaking. He shows how Nolan's insistence on the priority of the fiction aligns his films with Hegel's philosophy and understands Nolan as a thoroughly Hegelian filmmaker.

Classical Hollywood Cinema and Christopher Nolan’s "Memento"

Classical Hollywood Cinema and Christopher Nolan’s

  • Author: Jonas Lucas
  • Publisher: GRIN Verlag
  • ISBN: 3640908295
  • Category: Literary Criticism
  • Page: 7
  • View: 5926
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Seminar paper from the year 2011 in the subject English - Literature, Works, grade: 1,0, Christian-Albrechts-University of Kiel, language: English, abstract: This paper shows that Memento does mostly not fit in with Classical Hollywood Cinema (CHC). It will give a definition of the characteristics and aims of CHC to provide background information. Then, CHC is compared to Memento in the second part of the paper. It is going to show to which degree the film Memento can be seen as CHC, where the similarities and differences are and therefore give a solution of the film’s category.

The Philosophy of Christopher Nolan

The Philosophy of Christopher Nolan

  • Author: Jason T. Eberl,George A. Dunn
  • Publisher: Lexington Books
  • ISBN: 1498513530
  • Category: Philosophy
  • Page: 242
  • View: 9748
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As a director, writer, and producer, Christopher Nolan has substantially impacted contemporary cinema through avant garde films, such as Following and Memento, and his contribution to wider pop culture with his Dark Knight trilogy. His latest film, Interstellar, delivered the same visual qualities and complex, thought-provoking plotlines his audience anticipates. The Philosophy of Christopher Nolan collects sixteen essays, written by professional philosophers and film theorists, discussing themes such as self-identity and self-destruction, moral choice and moral doubt, the nature of truth and its value, whether we can trust our perceptions of what’s “real,” the political psychology of heroes and villains, and what it means to be a “viewer” of Nolan’s films. Whether his protagonists are squashing themselves like a bug, struggling to create an identity and moral purpose for themselves, suffering from their own duplicitous plots, donning a mask that both strikes fear and reveals their true nature, or having to weigh the lives of those they love against the greater good, there are no simple solutions to the questions Nolan’s films provoke; exploring these questions yields its own reward.

The Making of Memento

The Making of Memento

  • Author: James Mottram
  • Publisher: N.A
  • ISBN: 9780571214884
  • Category: Performing Arts
  • Page: 195
  • View: 9517
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Mottram takes the reader--backwards, of course, like "Memento's" structure--through the complete process by which this watershed film was brought to the screen. 25 photos.

Christopher Nolan's Memento - Analysis of the narrative structure of a noirish revenge film

Christopher Nolan's Memento - Analysis of the narrative structure of a noirish revenge film

  • Author: Torben Schmidt
  • Publisher: GRIN Verlag
  • ISBN: 3638183882
  • Category: Literary Collections
  • Page: 28
  • View: 1630
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Seminar paper from the year 2003 in the subject English Language and Literature Studies - Other, grade: 1 (A), University of Frankfurt (Main) (Institute for England and American Studies), course: Decadenca and Modernism in Late 20th Century Cinema, 36 entries in the bibliography, language: English, abstract: Christopher Nolan’s low budget film Memento (2000), which is based on the concept of a short story named Memento Mori written by Nolan’s brother Jonathan, was certainly one of the most successful films in the United States in 2000. In most cinemas it was shown for more than 15 weeks in the summer season – the most competitive season of the year. While the success of many modern Hollywood films is a result of “money, hype and more money”, Memento “represents a triumph of writing, directing, and performance” (Klein 2001). This film belongs to the so called neo-noir and revenge-film genre. In this paper these two genres will first of all be described in detail. Afterwards, the plot and the narrative structure of Memento – which is extremely complex, clever and demands intelligence and constant attention from its spectators – will be discussed.

The Cinema of Aki Kaurismäki

The Cinema of Aki Kaurismäki

Contrarian Stories

  • Author: Andrew Nestingen
  • Publisher: Columbia University Press
  • ISBN: 0231850417
  • Category: Performing Arts
  • Page: 224
  • View: 2242
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Aki Kaurismäki is an enigma, an eminent auteur who claims his films are a joke. Since 1983, Kaurismäki has produced classically-styled films filled with cinephilic references to film history. He has earned an international art-house audience and many prizes, influencing such directors as Jim Jarmusch, Quentin Tarantino, and Wes Anderson. Yet Kaurismäki is often depicted as the loneliest, most nostalgic of Finns (except when he promotes his films, makes political statements, and runs his many businesses). He is also depicted as a bohemian known for outlandish actions and statements. The Cinema of Aki Kaurismäki is the first comprehensive English-language study of this eccentric director. Drawing on revisionist approaches to film authorship, the text links the filmmaker and his films to the stories and issues animating film aesthetics and history, nostalgia, late modernity, politics, commerce, film festivals, and national cinema.