“Lysergic Acid Diethylamide”
April 15th, 2011
“I can see it in your eyes – it’s not you.”
Well, that was quite the experiment.
Part of what has made the third season of Fringe so compelling is the degree to which the other universe has been fully realized. It is a place we can journey to, a place with a heartbeat and which moves us beyond the imaginary. Olivia being trapped in that world wasn’t a problem that needed to be solved, it was a situation that begged to be explored. It was an instance of science fiction storytelling that had room to breathe, that could be revealed gradually rather than being defined immediately.
By comparison, the Inception-esque journey that Walter, Peter and William Bell’s consciousness take into Olivia’s mind is pure imaginary. While I do not want to discount the value of the imaginary, and would applaud the show for testing the boundaries of its visual storytelling with its use of animation, the fact remains that “Lysergic Acid Diethylamide” just absolutely failed to resonate for me. As the episode came to its emotional conclusion, I felt one level removed from the action, and I don’t think it was simply because of the fact that the characters in question were cel-shaded.
The 2011 Oscar Nominations
January 25th, 2011
On Twitter, I suggested that I was relatively bored with this morning’s Oscar nominations…or, more accurately, I tweeted “Oscar nods = yawn,” which frankly says more about how much I enjoy being up at 7:30 in the morning than it does about the nominations themselves.
Still, though, I must admit to being fairly unexcited by the whole affair. While there were a few pleasant surprises, and a few snubs which raise my ire in the way that I more or less enjoy, something about the nominations just doesn’t sit right. While the nature of the 10 Best Picture nominations means that a large number of major films from the year enjoy a moment in the spotlight, I would actually argue that there are subtle ways in which this is ruining some of the other categories where voters should be more willing to go out on a limb. With the Academy’s populist and avant garde recognition now done in the main category, the ability for a director like Christopher Nolan to earn a Best Director nomination has been severely diminished, as the legacy of the five-film Best Picture race continues to hang over the remainder of the awards.
And while I wouldn’t quite call it a travesty, I would say that it demonstrates how awards voters only break out of patterns where they are absolutely required to do so.
Some Extraction Required: Interpreting Inception
July 21st, 2010
Although Christopher Nolan’s Inception introduces evidence to the contrary, in our reality dreams are a solitary experience: not only are they personal in terms of context, unique to each dreamer, but they are also personal in that only that dreamer can see the dream as it first appeared. After that point, the dreamer can only relay their memory of the events therein – memory which varies from vivid recollection to vague, disconnected images – to those around them.
And yet, Inception is very much built around the notion of shared experience, both within its story and in its clear desire for the audience to leave the theatre discussing what they just witnessed. In fact, I’m sure some would argue that the film requires this sort of discussion to truly come into its own, demanding that the audience either works with others who shared the same experience to reconstruct its intricacies from memory or to do what dreamers can’t do by going to the theatre and watching it again.
Accordingly, I have no intentions on offering a definitive take on Inception, both because I’m generally bad at developing theories and because a single viewing and an MSN conversation with my brother do not a complete understanding of the film make. Rather, I simply want to discuss how the film goes about creating this seemingly necessary sort of interaction, and why Nolan achieves this less through cheap ambiguities and more through a growing sense of uncertainty which simultaneously breaks down our reading of the film and the film itself as it reaches its conclusion.
A conclusion, by the way, which is not what it appears to be.
SPOILER WARNING: if you haven’t seen the film, and intend to in the future, and don’t want to read spoilers, stop reading.