A Critical Analysis of Inception with Respect to the Culture Industry

dc.contributor.advisorHibbs, Thomas S.
dc.contributor.authorAguinaga, Ben
dc.contributor.departmentPhilosophy.en_US
dc.contributor.otherBaylor University.en_US
dc.contributor.schoolsHonors College.en_US
dc.date.accessioned2012-05-03T17:54:59Z
dc.date.available2012-05-03T17:54:59Z
dc.date.copyright2012-05
dc.date.issued2012-05-03
dc.description.abstractPrima facie Christopher Nolan’s blockbuster movie Inception presents a seemingly fanciful idea: the idea that one can successfully implant an idea in the mind of an unaware subject insomuch that the subject believes that the idea is his or her own. Yet, upon further analysis, perhaps there is a more substantive theory that we can gain from Nolan’s work—something practical and far from fanciful. Perhaps inception is real. Theodor Adorno’s book Dialectic of Enlightenment provides a discussion of the deceptive culture industry that undertakes some of the very same actions taken by Nolan’s characters in Inception. The objective of this thesis is to analyze the deception in Nolan’s Inception, analyze the deception in Adorno’s understanding of the culture industry, and, finally, compare the two analyses.en_US
dc.identifier.urihttp://hdl.handle.net/2104/8360
dc.language.isoen_USen_US
dc.rightsBaylor University projects are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. Contact libraryquestions@baylor.edu for inquiries about permission.en_US
dc.rights.accessrightsWorldwide accessen_US
dc.subjectInception. Christopher Nolan. Philosophy. Movies. Movie Industry. Culture Industry.en_US
dc.titleA Critical Analysis of Inception with Respect to the Culture Industryen_US
dc.typeThesisen_US

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