SECTION 1: NARRATIVE AND TIME
Chapter 1. Precursor to the Puzzle: Narrational Strategies in Following
Warren Buckland
Chapter 2. ‘We Need Mirrors to Remind Ourselves of Who We Are’: Anamorphosis and the Singularity of Mirror Motifs in Christopher Nolan’s Memento (2000)
Isabelle Labrouillère
Chapter 3. The Prestige, From Text to Screen: Transformation, Manipulation, Reflexivity
Gilles Menegaldo
Chapter 4. The Trauma Chronotype in Nolan’s Dunkirk and Inception: Time, Space and Trauma
Fran Pheasant-Kelly
Chapter 5. Back From the Future: Tenet and the Politics of Nachträglichkeit
Todd McGowan
SECTION 2: COLLABORATIONS AND RELATIONSHIPS
Chapter 6. “There’s a Point Where We Just Let the Music Take Over Everything”: The Collaboration of Christopher Nolan and Hans Zimmer”
Bernadette Pace
Chapter 7. A “Virtual Carte Blanche”: Christopher Nolan, Warner. Bros., and Authorial Power in Contemporary Hollywood
Kimberly A. Owczarski
Chapter 8. Transnational Filmmaker, Fanboy-Auteur: Screening Nolan’s Inception in China
Lara Herring
Chapter 9. Fractured Men and Cockney Boy: Michael Caine as Star Persona in the films of Christopher Nolan
Stella Hockenhull
Chapter 10. Christopher Nolan and the Quays: Curation, Fandom and the Filmmaker
Claire Parkinson
SECTION 3: POLITICS, IDEOLOGY AND GENRE
Chapter 11. Situating Christopher Nolan’s Ideological Use of Technology: Between Romanticism and Posthumanism
Ben Lamb
Chapter 12. Dark Vision, Global Impact: Christopher Nolan, Box Office Hit Patterns, and Interstellar
Peter Krämer
Chapter 13. Mementos of the Afternoon: Christopher Nolan’s Ambiguous Debt to Maya Deren
Will Brooker
Chapter 14. “Some Men Just Want to Watch the World Burn”: The Politics of Christopher Nolan’s Dark Knight Trilogy
Gregory Frame
Chapter 15. The Experimental Short Films of Christopher Nolan
Stuart Joy
Chapter 16. Catwoman in All But Name: Gender and Adaptation in Christopher Nolan’s Selina Kyle
Miriam Kent