Splintered Identity In Film

Introduction

Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his or her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to deny the rules of the studio system and create films that were distinctively

One of the many of his definable cinematic devices that Nolan presents in his work is the theme of splintered identity. In Nolan’s world, characters, often the protagonists, suffer from a form of existential crises, being unable to clarify their true self-image. Nolan’s obsession on this rather ‘unusual’ idea (in the Hollywood industry) was initially introduced in his primary feature film, following. In following, the protagonist who is simply known as the Young Man, frankly speaking, has no identity. Without a proper career or name, the Young Man finds himself spending his time by stalking ordinary people. This lack of identity allows the mysterious character, Cobb, to manipulate the protagonist through deception and inspire him to adopt a different persona as a means of ultimately framing the Young Man for a murder Cobb committed. Influenced by Cobb’s guidance, the Young Man goes through physical transformations throughout the narrative, from an archetypical male to a besuited man similar to the image of Cobb’s. Cobb himself has no true identity, and creates himself a deceptive persona to approach the Young Man and become his mentor, which is later revealed to be a disguise to lure his prey. His deceiving features even fool the blonde, tricking her to believe that he is in love with her. Cobb fully exploits this

In consequence, all of his-up to-date films since Memento have been identifiable as his work. Amongst all of the talented people having been associated with Nolan’s films, Wally Pfister, Nolan’s one and only photography director, has had the biggest influence in terms of the visual elements on screen. Inspired by cinematographer Gordon Willis, Pfister utilizes natural lights as much as possible, in other words, minimizes the usage of artificial light. The natural light is derived from sources such as the moonlight, city streetlights, or the window. The soft light coming from these sources is often used to cast a shadow on one side of the actor’s figure.” The other important thing is that it really and truly teaches you a respect for natural light. Before you can know how to place a light, you have to understand natural light. You don 't need technology to have a good eye and an appreciation of the beauty of natural light. Go buy a book on Carvaggio or any of the Dutch Masters. To me, that 's beautiful lighting and it 's all natural and from 500 years ago” (Pfister, 2012). In effect, the characters become optically more realistic and natural through the single source effect of the soft light on the actors. However, the main intention behind the uses of natural light and shadows lies in the tone of Nolan’s films. The constant casting of shadows on the character’s face matches the overall