Dissertation/ Thesis
Christopher Nolan's postmodernism ; Postmodernizam Christophera Nolana
| العنوان: | Christopher Nolan's postmodernism ; Postmodernizam Christophera Nolana |
|---|---|
| المؤلفون: | Vučković, Martina |
| المساهمون: | Petković, Rajko |
| بيانات النشر: | Sveučilište u Zadru. Odjel za anglistiku. University of Zadar. Department of English. |
| سنة النشر: | 2023 |
| المجموعة: | Croatian Digital Theses Repository (National and University Library in Zagreb) |
| مصطلحات موضوعية: | Christopher Nolan, film noir, postmodern cinema, Memento (2000), The Prestige (2006), Inception (2010), postmoderna kinematografija, Memento (2000.), Prestiž (2006.), Početak (2010.), HUMANISTIČKE ZNANOSTI. Znanost o umjetnosti, HUMANISTIC SCIENCES. Art Sciences |
| الوصف: | This master’s thesis deals with the filmography of Christopher Nolan and his style, and it analyses in detail three of his films: Memento (2000), The Prestige (2006) and Inception (2010). The first chapter focuses on Christopher Nolan’s film style, i.e., it explains the most common techniques he uses, such as nonlinear narration, playing with reality and dreams and his eagerness to include viewers in the cinematic experience. Furthermore, it explains why Nolan is considered to be a postmodernist film director, as well as why his films are modern film noirs. In the next chapter, his first Hollywood film, Memento, is interpreted. It deals with the inverted narration of going back in the past and analyses the characters, such as Leonard and Natalie, whose motifs and memories are portrayed. What is more, the connection between classical film noir and Memento is drawn. The following chapter is concerned with The Prestige, a film in which Nolan uses magic to explain the process of filmmaking. In this, as in many of his films, Christopher Nolan uses ambiguity and clues in narration, because of which the audience must conclude whether Angier’s and Borden’s actions are moral. Additionally, this chapter explains the phenomenon of duplicity, as well as the personality of characters, i.e., what drives them and who they are. Lastly, the final film that is evaluated is Inception, a film in which Nolan blurs the lines between dreamworld and reality, he emphasises the importance of dreams on characters whose actions have been influenced by their past, and the film mostly concentrates on the main character Cobb, i.e., on his path as he accepts the death of his wife Mal and returns to his children James and Phillipa. In the last chapter, all three films are compared based on the main topics that can be found in their plots (inverted narration, film noir elements, the inclusion of audience, identity, and morality). ; Ovaj diplomski rad bavi se filmografijom Christophera Nolana i njegovim stilom, a detaljno analizira njegova tri ... |
| نوع الوثيقة: | master thesis |
| وصف الملف: | application/pdf |
| اللغة: | English |
| Relation: | https://zir.nsk.hr/islandora/object/unizd:7648; https://urn.nsk.hr/urn:nbn:hr:162:240988; https://zir.nsk.hr/islandora/object/unizd:7648/datastream/PDF |
| الاتاحة: | https://zir.nsk.hr/islandora/object/unizd:7648 https://urn.nsk.hr/urn:nbn:hr:162:240988 https://zir.nsk.hr/islandora/object/unizd:7648/datastream/PDF |
| Rights: | http://rightsstatements.org/vocab/InC/1.0/ ; info:eu-repo/semantics/openAccess |
| رقم الانضمام: | edsbas.93C3AED1 |
| قاعدة البيانات: | BASE |
| الوصف غير متاح. |