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Inception (NARRATIVE (Flashbacks (First scene is Cobb washing up on a…

- - - - he's searching for Saito
      - From this we flash back to the rest of the plot and the job that they complete
  - - - The spectator sees the answer and then a character explains what just ahppened
    - - It explains the scenario we just experienced with the riots, which weren't actually real
      - However as soon as one enigma is answered multiple others open up, ensuring that the experience is active
  - - - it makes us confident that we know exactly what's going on
      - This is training the spectators mind to accept the films premise and concepts as real
  - - - This raises the stakes and makes the possibility of death more realistic
  - - - these visually demonstrate some of the ideas
      - Examples
        
        Bending of the buildings by Ariadne
        
        Rotating corridor Arthur fights within
      - These scenes are spectacles
        
        Makes the spectator feel like they are being let on the secret
- - - - Saito's motivation prevent Fisher controlling almost all energy in world
        
        Anti capitalism sentiment that implies corporate control can have a bad effect on the world
      - Cobol Industries, who initially commissioned Cobb's team to break into Saito's mind are a threatening faceless presence
      - Bland, faceless and interchangeable architecture of global capitalism
        
        utilised by Cobb and his team to construct environments and costumes Fisher would find real
        
        Any of the locations could be identified as tokyo, london or new york
        
        Represents the anonmositing of globalisation
    - - Saito wants to break up Fisher's market dominance to encourage free market capitalism
      - The wider economic effect of the team's mission is never discussed
        
        The smaller people are rearley seen
  - - - Cobb's family structure is unorthodox
        
        Mal is a traditional mother figure who took her life because she didn't know if her family was real or not
        
        Cobb is on the run and his father looks after the children
    - - Cobb’s family structure is portrayed as
        disruptive
        
        Cobb’s father warns him that the children are forgetting him; Cobb himself is tormented by the fact he can’t be there due to the actions of his psychotic/neurotic wife.
        
        patriarchal view of family: that what is
        needed is the stabilising, loving father figure
  - - - Both men and women are portrayed in a
        way that challenges stereotypes.
        
        Cobb flawed hero who is a masculine hero but needs support and is vulnerable
        
        Robert Fisher is also shown as a male character with trauma due to his relationship with his father
    - - male characters all take traditional roles
        
        businessmen, bodyguards, thieves, soldiers
      - sons and fathers’ relationships are also
        foregrounded
      - stereotypically heroic and masculine ways: driving fast cars, shooting bad guys, fist fighting in zero gravity. This offers a very patriarchal view of the world
- - - - Either shown as a memory, reconstruction or a venegful projection of Cobb's guilt
      - Could be a comment on how images of femininity constructed in the media and how 'accurate' these images are
- - - - man wakes up on beach confronted by men with guns, enigmas established and flashback structure used to answer
    - - Tuxedos and double bluffing and Mal's lavish character that can't be trusted but she's cunning, beautiful
    - - concepts are explained like they are sci-fi, while production design is almost corporate thriller
      - Sharp suits, glossy cars, jet planes, cocktail bars
      - Only Sci-fi feature is the dream machine
    - - during the planning of the job
      - criminals sat around a board
    - - once the mission begins because it's more in common with an elaborate con or scam
      - Makr being Fisher lured into a series of bluffs that win his confidence and reveal what the 'gifters' want
    - - a lot of the film consists of fight and chase scenes
- - - - Switching action between multiple levels of consciousness
      - Using familiar movie genre cues to indicate which movie 'world' we are seeing
      - Using Musical cues (each level and reality itself have a different speed of the song 'Je Ne Regrette Rien')
      - Makes us reflect on the construction of 'reality' and the mechanics of the illusion
      - Daniel Chandler notes there is a type of 'gaze' in cinema that is 'self-reflective' reminding us we are watching a constructed world.
        
        Like a film crew, Cobb's crew provide locations, characters in costume, a 'plot' with 'realistic' events and situations
      - Nolan reminds us of the act of immerisce spectatorship that we are allowing ourselves to indulge in