quarta-feira, 23 set 2020
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“Inception”: Nolan falls under the spell of Neuroscience

Despite the packaging Gnostic (questions about the nature of reality, dreams like a parallel world, and female character who asks the protagonist to awaken from the sleep of reality) “Inception”, (2010) Christopher Nolan is doing extremely reactionary an apology for the engineering spirit of neuroscience. The symbolism of dreams replaced by invasive mapping of the mind.

It is known that Freudian psychoanalysis in the U.S. enjoys no scientific credibility. Concepts as the unconscious psyche and are ignored because they are not scientific, not empirical evidence. Discuss dreams and desires from human sexuality and relationships child with his mouth and excrement is too outlandish to American Puritanism.

The American culture is more practical: If Freud wished to examine the symbolism of dreams, the imaginary current technological plans a mapping and topology of dreams. Much more practical, as well demonstrated by the neuroscience and neuromarketing. Symbols are too philosophical, as a mapping and topology is much more effective to point out ways to insert ideas into the minds.

“Inception”proves that technological agenda. Although the narrative of the film occurs in dreams, not once hear the word unconscious. She is replaced by the generic concept of subconscious, exposing this array of neuroscientific pragmatism.

Although the principle of  “Inception” seems to be a movie Gnostic, esoteric or “philosophical” as “Matrix,” he has a deep pragmatic sense: the exploration of the last refuge of the individual (mind, dreams) in the invasive world today corporate interests (marketing, advertising, mergers, acquisitions, etc.).
Packing Gnostic

The narrative of  “Inception” uses many elements drawn from films and Gnostics, assigning a cloak “serious” to the story, giving the impression to the public that we are dealing with deep philosophical insigths. For example, when the players go to Mombasa to recruit a specialist pharmacist in hard drugs to help them in the mission, located in a basement dozens of sleeping people. They go there daily to live his dream as a parallel reality. “They come here not to sleep but to wake up,” says the charge of the premises. Evident that resembles Gnostic taken the issues of character Morpheus in the movie “Matrix”. But the protagonists are less that compounding pharmacy to discuss the nature of philosophical or mystical dreams, but to pragmatically use drugs to solve customer business problems Cobb (Leonardo DiCaprio).

Or the evil character, the late wife of Cobb. Apparently it represents the mythical character of the Gnostic Sophia, the Cobb warn about the fictitious nature of reality, calling for her husband to wake up. In the dream is reality and reality is an illusion! She constantly tells Cobb “return home” with it, or return to an idyllic home for lost sleep from reality. She speaks to Cobb: “you do not feel harassed, persecuted by the world for companies anonymous?” Wow! It seems that until we face the plots of Gnostic Philip K. Dick! The female protagonist that will lead to enlightenment, as in the movie Paycheck (2003).

Pure deception. Evil is the projection of the subconscious Cobb, caused by guilt for the death of his wife. As in neuroscience-based therapies (PNL, Scientology etc), he just wants to remove the guilt of his conscience. The whole adventure of the protagonists in the various levels of dreams in insert (inception) the seed of an idea in mind of a person by corporate interests, will only serve to resolve the Cobb with his conscience: delete the subconscious projection of guilt.
The reactionary “Inception”

Therefore, “Inception” is an extremely reactionary movie. Compared to films like “Eternal Sunshine of the Spotless Mind” (2004), Paycheck (2003) and Vanilla Sky (2001), “Inception” glorifies the technologies that neuroscientific want to build happiness into oblivion. If the movies is the denunciation of the Gnostic secret alliance of technology to serve the interests that imprison us to a reality by means of forgetfulness, in “Inception” we have the apology of the effectiveness of technoscience.
In “Eternal Sunshine,” “Paycheck” and “Vanilla Sky”, the female characters Clementine, Rachel and Sophie are key to enlightenment (gnosis) of the protagonist in “The Origin” is hardly a mere parsonage subconscious projection of guilt. Using the same technology that serves corporate interests, he “heals” itself by eliminating the blame of their dreams.

This is surprising, since Christopher Nolan’s films comes from authentic Gnostic questioning of reality as “Memento” (2000) and “The Prestige” (2006) with the participation of the Gnostic pop David Bowie as the mysterious scientist Nikola Tesla).

In “Eternal Sunshine” all the technology you want to manipulate the dreams and memories fall before the outbreak of the unconscious as the only resistance that the individual still has to face the corporate interests in “Inception”, it disappears to give rise to a subconscious which appears as mere dysfunction or obstruction to the adventure of the protagonists.

In “Vanilla Sky” and “Eternal Sunshine” the spirit of engineering technology (neuroscience) are critically themed to the point of irony and ridicule in “Inception”, they are enhanced (the descriptions of the ingenious use of architectures in Escher’s impossible dreams – paradoxes, loops etc.). and sold to viewers as instruments for the happiness of a life without guilt.

Freudian psychoanalysis to the question dream is symbolic, ie, knowledge of the keys that open the doors to rescue what we have been forgotten by represssivos mechanisms of reality. But for Neuroscience’s dream is a simple matter of mapping and surveying: a map of mental associations to easily delete the dysfunctions that plague us.

As in neuromarketing where electrodes placed on the head of a consumer prototype for mapping the mental reactions before advertisements.

Why this decline in Christopher Nolan? In “Memento,” he introduced us bright and Gnostics insigths about the nature of perception, memory and reality in “The Prestige” a bright picture of the origins of modern technology in a historic setting (turn of the XIX-XX), where science, mysticism magic and merged. Maybe Nolan has surrendered to the fascination with neuroscience, after all, offer a simplified model, visual (film) and more pragmatic than the complicated symbolic interpretations. Projections subconscious with weapons in hand and the unconscious translated as vaults within which we keep our secrets and then throw away the combination images are much more compelling and understandable. “Inception” as well as the neurosciences, it wants to find out the actual combination, but only to destroy the safe.

Therefore, the film features an appearance by Gnostic allegedly deep philosophical or existential questions about the nature of reality. The brilliant and complex narrative (Mark Nolan films) of dreams within dreams and the final ambiguous (which takes the viewer to question the very starting point of the film – where the dream ends and reality begins?), Marks the narrative irony Movies Gnostics, are in “Inception” as an attractive package to lure public “heads”. But its interior is extremely reactionary and tuned to the agenda tecnognóstica the glorification of the spirit of engineering.
Credits:
  • Title: Inception
  • Director: Christopher Nolan
  • Screenplay: Christopher Nolan
  • Year: 2010
  • Cast: Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page, Tom Hardy.
  • Production and Distribution: Warner Bros.
  • Country: USA

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Wilson Ferreira
Wilson Ferreirahttps://revistaforum.com.br/cinegnose
Mestre em Comunição Contemporânea (Análises em Imagem e Som). Jornalista e professor na Universidade Anhembi Morumbi nas áreas de Estudos da Semiótica e Linguagem Audiovisual. Pesquisador e escritor, co-autor do "Dicionário de Comunicação" pela editora Paulus, organizado pelo Prof. Dr. Ciro Marcondes Filho e autor dos livros "O Caos Semiótico" e "Cinegnose – a recorrência de elementos gnósticos na produção cinematográfica" pela Editora Livrus.