Narrative, Audience and Industry Analysis

Inception can be defined as the starting point of an activity. In the film Inception, the term has been used to refer to the establishment of an idea in someone’s mind. Cobb Dominic acts as a master in manipulating people’s dreams. He is seen as having the ability to come up with an idea deep in an individual’s unconsciousness. The idea he introduces takes over one’s reality and perhaps forces that individual to sanity. The person may question reality and take into consideration the dream world as real and not the material world.

In the traditional version of the movies’ first audiences, any figure sets out the frightened response of the audience to the film. According to several views of history, the audience reared back in their chairs, got up and ran out of the auditorium, while others could yell. Most myths from the beginning, the origin of these accounts remains mysterious. It does not outline any account of the first screening as with the Salon Andien of the Grand Café. With such myths, the principles used require probing just like its actuality. The frightened and frenzied viewers have given the foundation for more myths about the strength and nature of the film image.

The first viewers according to this myth were inexperienced, bumping into this frightening and wild figure with no resistance, having no custom by which to comprehend it. Inception revolves around a technology that allows groups of people to go through experiences of shared dreaming. Participants in the movie can execute stylish, intended events, including the following of tactics developed pre-dream. The technology that the movie employs involves the extraction; taking out information. This has been compared with the word ‘inception’ (Nolan, 2010, p. 49).

The film is a mega mix of not only Nolan’s explorations and other films that have forced the idea of existence and reality. The film is far from introducing the new idea but instead interprets many ideas, in which, if they were not actually familiar and recognizable to the audience, would have made the film hard to understand and engage into. It involves a combination of media principles that exist across and beyond the film. What makes the abstract comprehensible and amazing, is the effective incorporation of those elements.

In the world of media convergence, each important story is told, each brand is sold, and every customer is courted across several media platforms. Convergence is the stream of content across three ideas. These ideas include participatory culture, media convergence and collective intelligence. In an attempt to comprehend the story telling performance of modern American television, one might take into consideration the difficulty as a divergent narration style of as put across by David Bordwell’s analysis. According to him, the mode of narration is a traditionally diverse set of customs of narration comprehension and construction, and one that cuts across specific genres and forges a category of experiences. He draws specific cinematic modes including art films, classical Hollywood and chronological materialism that cover diverse strategies of storytelling while still focusing on one another and establishing the foundation for other modes (Jason, 2006, p. 63).

The story of inception gives the most of the general action hero, and the individual agent who needs to gather his squad to accomplish an enormously hard task. Working in a team is a key element borrowed from comic books and twisted into blockbuster films. Some of the confounding and curious words in media studies are the new Hollywood. In the widest historical meaning, the term relates to the American film after the World War II, when Hollywood fixed studio systems and the commercial television began to be known across the newly semi-urbanized general landscape. This marked the conclusion of Hollywood’s classical era when films were created massively by an interest group for a virtually certain market. They were sold on a movie-by-movie basis, and this led to the end of going to the movies as America’s custom of routine mass mediated entertainment came (Linda, 1995, p. 28).

Following the end of Hollywood, the industry did not only endure, but it advanced greatly in the varying media marketplace. The more notable changes in the current media industry, is the continued power of the studios of media including the Paramount MGN, Warners et al and its theatrically movie that was highly wide and complicated in the entertainment industry. The industry changed to fit those alterations and in the course it ways of carrying out business and of creating movies changed totally. This led to the complexity in classifying the new Hollywood, which indicated something new from one era of alteration to another.

The means to Hollywood survival is, and the enduring survival feature of its postwar conversion has been the stable increase of the blockbuster movies. In terms of production values, budget and strategy of the market, it has been more and more hit driven since the 1950s (Jim, Hillary & Ava, 1993, p. 28).

Narrative structure is most widespread in fictional films, but it can appear in all other cinemas. For example, usually narrative form is used. Many animated movies like the Disney characters and Warner Bros, short cartoons tell stories, though the story told may not be usual. The actual viewers’ sense of fright originates from an immature conviction that they are frightened by an actual locomotive than from an astonishing image conversion happening before their eyes, comparable to the greatest marvel of the magic theatre.

In the magical theatre, the evident pragmatism of the image creates it a victorious fantasy, but one gets to know as a fantasy even so. As such transformation is able to lead to a physical reflex in the viewer, the viewer remains conscious that the movie is simply a projection. Still, the projection becomes endowed with animation as it takes on motion and it is unbelievable moving figure that is so astonishing. The original projection of a still figure, withholding the fantasy temporarily, provides the cause of trepidation to the initial movie shows.

Inception is particularly a new kind of Hollywood film, and is not permitted to break many policies. Many Hollywood movies simply go by the regulations and the reality that this film is essentially about examination of how those rules and regulations work, is among the rationale for the popularity of the movie. A truth has been produced because of the scarcity in inventiveness and imagination in aspect film storytelling. It imitates the originality of storytelling and its connection to modern psychology. The increase of individual psychology has been emphasized in storytelling. Form and technique is particularly crucial to storytelling or filmmaking. It is complicated to achieve and is extremely a worthwhile application to not only figure out the structure, but also to be able to work successfully within it, but the viewers can see it. Story telling rules are widespread and ancient hence do not take into consideration the peculiarities and prejudice of an age. Viewers have prospects for story and will turn away if their prospects are not met. It does not indicate that you cannot play with these expectations.

Since stories are all around us, viewers approach a movie with specific outlooks (Johnson, 2012, p. 42).

The audience may know about the particular story the movie will convey. Perhaps others have come across and read books basing on the film or have caught a glimpse of the movie for which this is a continuation. However, normally they have anticipations, which is a feature of the form of the narrative itself. They assume that there will be characters and some action in which they will involve themselves. They also are in anticipation of the problems that may arise or misunderstanding in the course of the action, which attains some ultimate state where a new light will shine upon them. A viewer avails himself in order to create a meaning of the movie.

From the media position of observation, it is remarkable to imagine that a movie like this was impractical just after ten years ago, preceding the Matrix. The notion of networks, jacking information, regular connectivity and consideration of multiple levels of information, all had to be established for a film such as this to be achievable (Kristin & David, 2008, p. 42).

The film is then a manifestation of the difficult forms of representation and communication that is presently at play and in steady growth in the world. It tries to convey unity to the places perceived in life as beyond one’s understanding. In this sense, it is a phrase of tradition’s fascination with control of nature, the fate of human and all in the middle of the figurative and substance world. It is the result of constant expansion and naturalization of connected media to all aspects of human understanding in the substance world and nothing less. The outcome is that the movie is not able to achieve the position as independent of its own creativity, and up to date, though it is an impressive work on its own right.

In conclusion, the movie falls short of being a perfect film for fundamental grounds, for which compels all creative structures to thrust their own limits to achieve an exceptional position in a territory, where the viewers have the idea that there are no originals but simply artistic recombination of ideas and structures that have been earlier introduced.