Christopher Nolan is the writer and director of Hollywood blockbusters like The Dark Knight and The Dark Knight Rises, and also of arthouse films like Memento and Inception. Underlying his staggering commercial success however, is a darker sensibility that questions the veracity of human knowledge, the allure of appearance over reality and the latent disorder in contemporary society. This appreciation of the sinister owes a huge debt to philosophy and especially modern thinkers like Friedrich Nietzsche, Sigmund Freud and Jacques Derrida. Taking a thematic approach to Nolan's oeuvre, Robbie Goh examines how the director's postmodern inclinations manifest themselves in non-linearity, causal agnosticism, the threat of social anarchy and the frequent use of the mise en abyme, while running counter to these are narratives of heroism, moral responsibility and the dignity of human choice. For Goh, Nolan is a 'reluctant postmodernist'. His films reflect the cynicism of the modern world, but with their representation of heroic moral triumphs, they also resist it.

Christopher Nolan is the writer and director of Hollywood blockbusters like The Dark Knight and The Dark Knight Rises, and also of arthouse films like Memento and Inception. Underlying his staggering commercial success however, is a darker sensibility that questions the veracity of human knowledge, the allure of appearance over reality and the latent disorder in contemporary society. This appreciation of the sinister owes a huge debt to philosophy and especially modern thinkers like Friedrich Nietzsche, Sigmund Freud and Jacques Derrida. Taking a thematic approach to Nolan's oeuvre, Robbie Goh examines how the director's postmodern inclinations manifest themselves in non-linearity, causal agnosticism, the threat of social anarchy and the frequent use of the mise en abyme, while running counter to these are narratives of heroism, moral responsibility and the dignity of human choice. For Goh, Nolan is a 'reluctant postmodernist'. His films reflect the cynicism of the modern world, but with their representation of heroic moral triumphs, they also resist it.

This multimodal approach to linguistic landscapes examines the role of linguistic and semiotic regimes in constructing landscape affect. Affect, as distinct from emotion, is object-oriented, and can be analysed in terms of structures of language and signs which operate on individuals and groups in specific spatial settings. Analysing a series of landscape types - including 'kawaii', 'reverenced', 'romance', 'friendly', 'luxury' and 'digital' landscapes - Lionel Wee and Robbie B. H. Goh explore how language plays a crucial role in shaping affective responses to, and interactions with, space. This linguistic and semiotic construction of different spaces also involves cultural contestations and modulations in spatial responses, and the book offers an account of the different conditions under which 'affective economies' gain or lose momentum.

This multimodal approach to linguistic landscapes examines the role of linguistic and semiotic regimes in constructing landscape affect. Affect, as distinct from emotion, is object-oriented, and can be analysed in terms of structures of language and signs which operate on individuals and groups in specific spatial settings. Analysing a series of landscape types - including 'kawaii', 'reverenced', 'romance', 'friendly', 'luxury' and 'digital' landscapes - Lionel Wee and Robbie B. H. Goh explore how language plays a crucial role in shaping affective responses to, and interactions with, space. This linguistic and semiotic construction of different spaces also involves cultural contestations and modulations in spatial responses, and the book offers an account of the different conditions under which 'affective economies' gain or lose momentum.