Idea-wirus w "Incepcji" Christophera Nolana

Idea-Virus in Christopher Nolan’s InceptionChristopher Nolan’s latest film raises questions about the nature of dreams that can be considered as controlled from the outside; in the world created by the director, dream is a complex mental structure developing as a result of an “implanted” idea that — like a virus — feeds on the energy of its carrier. Analysing how much Nolan’s futuristic vision is a part of memetics under the banner of Richard Dawkins, Richard Brodie or Susan Blackmore and how much it goes beyond it, at the same time we consider the function of the game of time, the invariability of the sleep/ reality realm, and the role of things in the game of imagination. Here, as a link of psychoideology, Inception becomes a dynamic element in the game between what is real and imaginary.Idea-Virus in Christopher Nolan’s InceptionChristopher Nolan’s latest film raises questions about the nature of dreams that can be considered as controlled from the outside; in the world created by the director, dream is a complex mental structure developing as a result of an “implanted” idea that — like a virus — feeds on the energy of its carrier. Analysing how much Nolan’s futuristic vision is a part of memetics under the banner of Richard Dawkins, Richard Brodie or Susan Blackmore and how much it goes beyond it, at the same time we consider the function of the game of time, the invariability of the sleep/ reality realm, and the role of things in the game of imagination. Here, as a link of psychoideology, Inception becomes a dynamic element in the game between what is real and imaginary

A Third Time: Image-Time

In her essay Spalińska-Mazur discuss cinema in the context of Gilles Deleuze's notions of difference and repetition as inspired by Nietzsche's philosophy.A brief description of the contents in Englis

Idea-Virus in Christopher Nolan’s Inception

Christopher Nolan’s latest film raises questions about the nature of dreams that can be considered as controlled from the outside; in the world created by the director, dream is a complex mental structure developing as a result of an “implanted” idea that – like a virus – feeds on the energy of its carrier. Analysing how much Nolan’s futuristic vision is a part of memetics under the banner of Richard Dawkins, Richard Brodie or Susan Blackmore and how much it goes beyond it, at the same time we consider the function of the game of time, the invariability of the sleep/ reality realm, and the role of things in the game of imagination. Here, as a link of psycho(ideo)logy, Inception becomes a dynamic element in the game between what is real and imaginary

Osobliwy sen Aleksa. O szczególnej roli obrazu filmowego w adaptacji "Mechanicznej pomarańczy" Anthony’ego Burgessa

ALEX’S PECULIAR DREAM ON THE SPECIFIC ROLE OF THE FILM IMAGE IN THE ADAPTATION OF ANTHONY BURGESS’S CLOCKWORK ORANGEIn Anthony Burgess’s Clockwork Orange, the main character, Alex DeLarge, falls into a nightmarish dream that is the turning point in his fixed inner life. Stanley Kubrick’s motion picture, based on Burgess’s novel, lacks the theme of the nightmarish dream; this is significant and consistent with the strategy regarding director’s own style of dramatisation of novel’s psychological tissue. The dynamic change of Alex’s status from a divine lunatic into a scapegoat means a transformation of destructive and reciprocated violence into uniting and sacrificial violence that kills and revives at the same time. Kubrick understood Burgess’s intentions; thus the film adaptation of Clockwork Orange is an update of the novel. The risk of monstrous violence is still very real. The film is devoid of the nightmarish dream that has saved Alex in the novel. However, there is completely dehumanised simulation of a fantasy for which the nightmare becomes a guarantee in respect of circulation and dynamisation of violence instead. Alex becomes the holder of symbolic power, which should be noticed by the audience. Audience’s position in Kubrick’s text is subordinated to Alex’s reception. The audience has to recognise the simulation and this peculiar role of Alex. Otherwise, he becomes the advocate of violence.ALEX’S PECULIAR DREAM ON THE SPECIFIC ROLE OF THE FILM IMAGE IN THE ADAPTATION OF ANTHONY BURGESS’S CLOCKWORK ORANGEIn Anthony Burgess’s Clockwork Orange, the main character, Alex DeLarge, falls into a nightmarish dream that is the turning point in his fixed inner life. Stanley Kubrick’s motion picture, based on Burgess’s novel, lacks the theme of the nightmarish dream; this is significant and consistent with the strategy regarding director’s own style of dramatisation of novel’s psychological tissue. The dynamic change of Alex’s status from a divine lunatic into a scapegoat means a transformation of destructive and reciprocated violence into uniting and sacrificial violence that kills and revives at the same time. Kubrick understood Burgess’s intentions; thus the film adaptation of Clockwork Orange is an update of the novel. The risk of monstrous violence is still very real. The film is devoid of the nightmarish dream that has saved Alex in the novel. However, there is completely dehumanised simulation of a fantasy for which the nightmare becomes a guarantee in respect of circulation and dynamisation of violence instead. Alex becomes the holder of symbolic power, which should be noticed by the audience. Audience’s position in Kubrick’s text is subordinated to Alex’s reception. The audience has to recognise the simulation and this peculiar role of Alex. Otherwise, he becomes the advocate of violence