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Inception Film Essay

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Directors immerse viewers into the world of their film in a variety of innovative ways, with popular mainstream directors often trying to break conventions enabling audiences to become disorientated and often leading to the result of an emotional response. Director Christopher Nolan utilises this technique in ‘Inception’. Nolan leaves audiences perplexed from the very beginning of the film, with the sound of non-diegetic waves crashing and a close-up intimate shot of the protagonist lay in the water, eye-level with children he appears to be watching. Through this shot, audiences are immediately introduced into the action and dark sub-plot of the film without being told of its relevancy to the narrative, leaving them distorted. This feeling …show more content…

Spielberg perpetuates the feeling of discomfort through forcing audiences to view explicit imagery of dead bodies and the abuse of the Jews by Nazis, and giving them a minimal amount of time to process this, as the camera often quickly moves back to Schindler’s reaction and then the imagery. Audiences are caused to reflect at the same time as Schindler, which allow his reactions to often infuriate audiences more, as his character’s predictability cannot be gauged by their own emotions due to his distance from the Jewish character’s audiences are allowed to form relationships …show more content…

This is shown through the non-diegetic music placed over a shot of segregated bathrooms, as the music is upbeat, but through this technique, the director also normalises the racism that is not prevalent in today’s society, and allows audiences to see the society slightly from the perspective of the white people in the film, while immersing them more into the ignorance of the society and allowing them to become infuriated with its roles. Tate Taylor also uses conventional stereotypes to allow audiences to form a stronger relationship with the characters, as many people will have or will know people such as ‘Minny’, allowing them to appreciate the

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