A Critical Companion to Christopher Nolan provides a wide-ranging exploration of Christopher Nolan's films, practices, and collaborations. From a range of critical perspectives, this volume examines Nolan's body of work, explores its industrial and economic contexts, and interrogates the director's auteur status. This volume contributes to the scholarly debates on Nolan and includes original essays that examine all his films including his short films. It is structured into three sections that deal broadly with themes of narrative and time; collaborations and relationships; and ideology, politics, and genre. The authors of the sixteen chapters include established Nolan scholars as well as academics with expertise in approaches and perspectives germane to the study of Nolan's body of work. To these ends, the chapters employ intersectional, feminist, political, ideological, narrative, economic, aesthetic, genre, and auteur analysis in addition to perspectives from star theory, short film theory, performance studies, fan studies, adaptation studies, musicology, and media industry studies.
Recenzijas
Claire Parkinson and Isabelle Labrouillčres collection successfully brings incisive analyses of Christopher Nolans auteur status and trademarks into dialogue with productive examinations of his collaborations, influences, politics, and shifting industry positions. With chapters ranging in focus from documentary and experimental shorts to landmark indies and Hollywood blockbusters, A Critical Companion to Christopher Nolan is a welcome addition to contemporary film scholarship. -- Kim Wilkins, University of Oslo
SECTION 1: NARRATIVE AND TIME
Chapter
1. Precursor to the Puzzle: Narrational Strategies in Following
Warren Buckland
Chapter
2. We Need Mirrors to Remind Ourselves of Who We Are: Anamorphosis
and the Singularity of Mirror Motifs in Christopher Nolans Memento (2000)
Isabelle Labrouillčre
Chapter
3. The Prestige, From Text to Screen: Transformation, Manipulation,
Reflexivity
Gilles Menegaldo
Chapter
4. The Trauma Chronotype in Nolans Dunkirk and Inception: Time,
Space and Trauma
Fran Pheasant-Kelly
Chapter
5. Back From the Future: Tenet and the Politics of Nachträglichkeit
Todd McGowan
SECTION 2: COLLABORATIONS AND RELATIONSHIPS
Chapter
6. Theres a Point Where We Just Let the Music Take Over
Everything: The Collaboration of Christopher Nolan and Hans Zimmer
Bernadette Pace
Chapter
7. A Virtual Carte Blanche: Christopher Nolan, Warner. Bros., and
Authorial Power in Contemporary Hollywood
Kimberly A. Owczarski
Chapter
8. Transnational Filmmaker, Fanboy-Auteur: Screening Nolans
Inception in China
Lara Herring
Chapter
9. Fractured Men and Cockney Boy: Michael Caine as Star Persona in
the films of Christopher Nolan
Stella Hockenhull
Chapter
10. Christopher Nolan and the Quays: Curation, Fandom and the
Filmmaker
Claire Parkinson
SECTION 3: POLITICS, IDEOLOGY AND GENRE
Chapter
11. Situating Christopher Nolans Ideological Use of Technology:
Between Romanticism and Posthumanism
Ben Lamb
Chapter
12. Dark Vision, Global Impact: Christopher Nolan, Box Office Hit
Patterns, and Interstellar
Peter Krämer
Chapter
13. Mementos of the Afternoon: Christopher Nolans Ambiguous Debt to
Maya Deren
Will Brooker
Chapter
14. Some Men Just Want to Watch the World Burn: The Politics of
Christopher Nolans Dark Knight Trilogy
Gregory Frame
Chapter
15. The Experimental Short Films of Christopher Nolan
Stuart Joy
Chapter
16. Catwoman in All But Name: Gender and Adaptation in Christopher
Nolans Selina Kyle
Miriam Kent
Isabelle Labrouillčre is lecturer inperforming arts and film aesthetics at the ENSAV (Ecole Nationale Supérieure dAudioVisuel), Université Toulouse-Jean Jaurčs.
Claire Parkinson is professor of culture, communication, and screen studies at Edge Hill University.
