Please use this identifier to cite or link to this item: http://hdl.handle.net/10609/147485
|La huella epistemológica en el cine de Christopher Nolan
|Gómez Nuño, Susana
|Masotta Lijtmaer, Cloe
|Universitat Oberta de Catalunya (UOC)
|The central object of this paper is Christopher Nolan's film Inception (2010). The research includes a narratological analysis of the film and is approached from an epistemological perspective in order to detect the philosophical currents on which the British filmmaker constructs his fiction. To this end, the film’s narrative is qualitatively analysed on the basis of Gerard Genette's structuralist postulates adapted to the filmic sphere by André Gaudreault and François Jost. Likewise, it is based on the acceptance of the epistemological potential implicit in cinematographic art to carry out the description, categorisation and cognitive transmission capacity of the different philosophical theories underlying the film. These mainly refer to the dualist thought of René Descartes, the soul-body unity postulated by Thomas Fuchs, the political space understood from the position of Henri Lefebvre, the allegory of the cave presented by Plato and the maieutic method of Socrates. To this backbone of the study, other complementary questions are implemented, which deal with the Nolan's work in its historical, social and cinematographic context, and include the determination of the defining features of his filmic praxis.
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