Revelations of the Dream

An Introduction to the Aspectual Field based on the movie Inception as a cultural object that contains the entire field of anamorphic entities with anagogic affects Abstract: An Introduction to the Dreamtime Aspectual Field which contains the Lacanian sub-field of modalities of desire described by Zizek that are made up of ‘anajective’ folded self-intersecting eventities (ejects) prior to the split between Anagogic (subject) and Anamorphic (object) i.e. at the level of Dasein which are the hinges that prepare for and condition changes in Perspective.

2015

is making evident, both through form and narrative, his criticism of the sweeping radicalization of cinematic work that has privileged the technological wonder of the movies over formulations of innovative and complex narratives that deal with human existence." Christopher Nolan's Inception is frst and foremost a flm that unveils for the viewer the process of creating cinema as art. 1) Insofar as technological developments have accentuated the phantasmagorical in cinema, as illustrated by the use of digital manipulation in Avatar,Inception, by contrast, concentrates on the role that

On first look the film Inception seems just to deliver a thrilling new illustration of Descartes' dream argument, that it's impossible ever to be sure you're not dreaming. In fact, it can be seen to offer an important challenge to Cartesian skepticism, and to the solipsistic rationalism that Descartes presents as its resolution. According to the vision of this film, the solution to skepticism is not to question everything and accept only what cannot be doubted. Rather, its hero Cobb must learn to turn away from the spinning top that is supposed to ensure he is not dreaming and learn to trust in the reality of other people.

Rupkatha Journal, 2024

Freud's "unconscious," a lauded seminal psychological contribution, has transitioned into an efficacious narrative device in cinema, evolving into a paradigmatic relationship. This article scrutinizes Inception (2010), a quintessential psychoanalytical film written and directed by Christopher Nolan. It explicates the director's linkage to psychoanalysis and reveals how he demystifies the unconscious through its utilization both as a cinematic form and thematic device, manifested in discernible dream layers. It is ascertained that these layers perform a bifunctional role as cinematic and narrative elements. Intriguingly, this multifaceted structure extends to character development as well, exploiting the complexities of the characters' pathologies. Since the filmic structure leverages the pathologies exhibited by the characters, they constitute secondary data for the analysis. The pathologies are aligned with the mental disorder classifications the Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition, Text Revision (DSM-5-TR TM) (American Psychiatric Association, 2013). Pertinent character data are analysed in the Statistical Package for the Social Sciences (SPSS). The findings, subsequently subjected to psychoanalytic film analysis, enrich a deeper understanding and fuller appreciation of the representation of the unconscious in the cinematic domain.

Current Objectives of Postgraduate American Studies, 2014

By means of their own genre-specific techniques, the movie Inception and the video game Alan Wake incarnate the same concept—that of trauma. While the origin of a trauma is generally agreed upon among trauma theorists, the issue of representation is widely debated. It is the aim of this paper to investigate the representation of traumas across media, to compare the results and thus shed some light on the question of whether trauma can only be psychologically categorized or if it even has become a significant societal trope.

Are you in control of your own mind? Are you currently awake or dreaming? Does the narrative of perceived reality necessarily follow a linear, sequential path? To what extent do other people play roles in our perceived realities distinct from the environments in which we exist and interact? How deeply can we manipulate the mind of another person? What ethical issues does such manipulation raise? These questions, which have both deep philosophical and urgent practical significance, are all raised by the recent film Inception (dir. Christopher Nolan, 2010). In this review, we develop these questions both as they appear in the film and as relate to the world we perceive as being real. Inception is a very dense film, raising more major ideas than we can discuss here. For example, we do not discuss the resilience of ideas within our minds or the power of the subconscious; the latter topic is among those covered in a separate review (Rinesi 2010). In our review, we will give away much of the plot (so please be warned), but also offer topics for consideration that deepen the viewing experience.

Christopher Nolan’s Inception is first and foremost a film that unveils for the viewer the process of creating cinema as art.1) Insofar as technological developments have accentuated the phantasmagorical in cinema, as illustrated by the use of digital manipulation in Avatar, Inception, by contrast, concentrates on the role that cinema has played since its outset. Besides the fantastical and entertaining elements of mainstream film, cinema has developed a blind faith in technological progress as well as an overall sustaining economic discourse that has transformed history into a titillating show of a cul de sac. For cinema has characterized a displacement that allows the viewing public a sense of ubiquity, being in more than one place at once (from the split screen onwards); embracing the exotic as the possible; and by moving through foreign lands and cultures (something that television has familiarized at the nuclear level while erasing public space as a locus of political participation. Inception is then a mechanism of social criticism that attempts to provide viewers the necessary “kick” to reawaken from the dream...

Published in Film and Philosophy, vol 21, 2017, pp. 91-112. Christopher Nolan’s Inception (2010) is a complex saga of corporate espionage, and about implanting ideas in people’s minds. Since the film constructs a complex web of dreamscapes, Freudian theory has become the predominant mode of analysis. While there is much to say about the surrealistic elements in the film, this essay will relate the idea of inception to Louis Althusser’s “symptomatic” critique of ideology, the ideological critique of the Frankfurt School, and the semiological analysis of mythological language in capitalist ideology developed by Roland Barthes. My intent is to highlight the striking parallels between how the protagonist seeks the inception of an idea in his target’s mind and how capitalism incepts its ideology into ours.