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Gwendoline Race for the Gold by John Willie

By John Willie

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They also mention Nolan’s personal narrative in relation to the quality of the film and positioning the film within specific genre terms (film noir or crime) and industry terms (independent). As discussed above, one way critical discourse helps build an auteur is by creating associations between a director’s other films and his name. Since this was Nolan’s first film, there could not be any film history established, but his name was used multiple times to suggest authority and authorship. Prominent use of a director’s name in the review, through placement and number of mentions, can help develop an auteur persona by implying that the director’s name is worth remembering and that he or she has authority over the film.

Online. html (accessed 29 December 2014). JOEPG$ISJTUPQIFS/PMBO
 The New York Times, 30 October. Online. nytimes. DPNNBHB[JOFUIFFYBDUJOHFYQBOTJWFNJOEPGDISJTUPQIFSOPMBO html (accessed 12 December 2014). Luckhurst, Roger (2008) The Trauma Question. London and New York: Routledge. ____ (2010) ‘Beyond Trauma: Torturous Times’, European Journal of English Studies, 14, 1, 11–21. McGowan, Todd (2012) The Fictional Christopher Nolan. Austin, TX: University of 5FYBT1SFTT Mulvey, Laura (1975) ‘Visual Pleasure and Narrative Cinema’, Screen, 16, 3, 6–18.

And in that case, getting a solid mainstream success like this under his belt is a shrewd move, buying him the freedom to do his own thing in the future’ (Wrathall 2002). With Insomnia Nolan managed in critical discourse to maintain the identity of a creative and i m agi n i n g th e i m p ossi b l e 25 intelligent filmmaker – more than just a director, despite only acting as director – and also to establish that he could bring this creativity in genres (remake, cop-buddy) that may not usually have this level of intelligence.

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