LEADER 03778nam 2200613Ia 450 001 9910810078903321 005 20200520144314.0 010 $a0-292-74278-9 010 $a0-292-73783-1 024 7 $a10.7560/737822 035 $a(CKB)2550000000104651 035 $a(OCoLC)801411607 035 $a(CaPaEBR)ebrary10576478 035 $a(SSID)ssj0000689097 035 $a(PQKBManifestationID)11387586 035 $a(PQKBTitleCode)TC0000689097 035 $a(PQKBWorkID)10618355 035 $a(PQKB)11720427 035 $a(MdBmJHUP)muse17582 035 $a(Au-PeEL)EBL3443607 035 $a(CaPaEBR)ebr10576478 035 $a(OCoLC)932314263 035 $a(Au-PeEL)EBL7171767 035 $a(MiAaPQ)EBC3443607 035 $a(MiAaPQ)EBC7171767 035 $a(DE-B1597)587411 035 $a(DE-B1597)9780292737839 035 $a(EXLCZ)992550000000104651 100 $a20111125d2012 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe fictional Christopher Nolan /$fby Todd McGowan 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2012 215 $a1 online resource (233 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-73782-3 320 $aIncludes bibliographical references and index. 327 $aIntroduction: the ethics of the lie -- The snare of truth: Following and the perfect patsy -- Memento and the desire not to know -- The dirty cop: Insomnia and the art of detection -- The banal superhero: the politicized realism of Batman begins -- The violence of creation in The prestige -- The hero's form of appearance: the necessary darkness of The dark knight -- A plea for the abandonment of reality in Inception -- Conclusion: lying without consequence. 330 $aFrom 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. 606 $aMotion picture producers and directors$xHistory and criticism 615 0$aMotion picture producers and directors$xHistory and criticism. 676 $a791.4302/33092 700 $aMcGowan$b Todd$0776541 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910810078903321 996 $aThe fictional Christopher Nolan$94079260 997 $aUNINA