Christopehr Nolan's Inception

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Christopher Nolan, the british-american director of the critically acclaimed “Momento” and the most recent “Batman” movies has a fearless mentality for the complicated plots and epic themes which his films bestow. And one of his most epic new thrillers and astonishing new story is his 2010, “Inception.” Over ten years, Nolan had contemplated the idea of a movie around the dream world where action scenes could be manipulated and redoubled continuously. And that time of sitting on the idea led Nolan to dig much deeper into the idea that though before, diving into the realm of dreams within dreams and tiered action within each dream level as they go deeper into the subconscious. In Christopher Nolan’s “Inception,” the main character Cobb remarks, “The mind creates and perceives our world. It does it so well, we don’t realize that we’re doing it.” To tell a story about a man washed up on the shore of his own subconscious, Nolan captivates audiences by propelling them along his non-traditional narratives full of complex themes and intricate story lines. He blurs the lines of reality and dream through parallel editing, set design and architecture. As a result the audience believes whole heartedly the repeated notion that “downward is the only way forward.”

As an audience, we become involved in the plot not through learning about characters’ backgrounds and traits. Instead, we learn information at the same time through the mechanics of the plot and editing. We are made to work to understand the workings of the plot. As we watch the film unfold, the editing takes the along for the ride rather than watching from a distance. the audience and characters sweat together as surprises arise in the well-thought out plan and the way the movie ...

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...ut instead this time through set design and editing, Nolan uses the tornado to represent a heightened sense of panic and dismay as Cabb says to Mal, “I miss you more than I can bear but we've had our time together and I need to let you go.’ In both situations, Nolan questions the outcomes of Fisher and Cobb and Mal, and poses a question through the collaboration of set design editing. Will Cobb be lost in limbo forever and stay connected to his projection of Mal or will he make it through, and will Fisher forever be a shell of a person who never believed his father loved him, that doesn't have any self esteem. In both points it boils down to will they forever be lost or will they find themselves. Nolan’s revisiting of each catharsis example issue twice through editing and the different set designs you can see the characters true issues and how they became so trapped.

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