Dream as a Heterotopic Site
The paper seeks philosophical depth in the seemingly trivial piece of pop culture that is Nolan’s Inception through spatial analysis of the film and finds the portrayal of space to be different from the traditional approaches to spatio-temporal relations in cinematography. Striving towards the postmodern reading of the film, the paper argues the spatial representations to be heterotopic on several different levels in Inception. The space becomes an active entity in the film, not because of the people that constitute it, or because of the events that occur within it, but because it is prone to changing its physical configuration. As such, it invites viewers to regard it as a character of its own and allows for post-structuralist examination of spatio-temporal relations in the film. The main focus of the paper is not so much to describe a certain site or to review its physical outline. Instead, the main aim is to discern what type of a site in general we are seeing in the film. In Inception, brilliantly, the vehicle for exposing the variability of space is a dream, which is why the dream serves as a basic unit of this paper’s spatial analysis. The paper maintains the “Foucauldian” or “heterotopian” framework, arguing dream-sites to be the “ideal types” of heterotopic spaces, with occasional references being made to Baudrillard’s simulacrum, Freud’s subconscious or Auge’s space-place distinction.