From Memento and Insomnia to the Batman films, The Prestige, and
Inception, lies play a central role in every Christopher Nolan
film. Characters in the films constantly find themselves deceived
by others and are often caught up in a vast web of deceit that
transcends any individual lies. The formal structure of a typical
Nolan film deceives spectators about the events that occur and the
motivations of the characters. While Nolan's films do not abandon
the idea of truth altogether, they show us how truth must emerge
out of the lie if it is not to lead us entirely astray. The
Fictional Christopher Nolan discovers in Nolan's films an
exploration of the role that fiction plays in leading to truth.
Through close readings of all the films through Inception, Todd
McGowan demonstrates that the fiction or the lie comes before the
truth, and this priority forces us to reassess our ways of thinking
about the nature of truth. Indeed, McGowan argues that Nolan's
films reveal the ethical and political importance of creating
fictions and even of lying. While other filmmakers have tried to
discover truth through the cinema, Nolan is the first filmmaker to
devote himself entirely to the fictionality of the medium, and
McGowan discloses how Nolan uses its tendency to deceive as the
basis for a new kind of philosophical filmmaking. He shows how
Nolan's insistence on the priority of the fiction aligns his films
with Hegel's philosophy and understands Nolan as a thoroughly
Hegelian filmmaker.
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