Beruflich Dokumente
Kultur Dokumente
Lilly Friedman
Miss DeWinne
4 June 2020
In 2020, almost everything seems as though it is entirely outside of our control. Disease,
violence, suffering, and pain surround everyone, but most people can find solace within their
own thoughts, dreams, and imaginations. However, Christopher Nolan’s 2010 film Inception
calls the sanctity of our own minds--and even reality itself--into question. The complex structure
of having dreams within dreams within dreams and so on brings up interesting theories about the
structure and role of the unconscious. Freud’s theories on the structure and importance of meta-
dreaming and unconscious mourning processes are interesting to examine, but the presence of
The concept of a “dream within a dream” has been widely explored throughout
psychoanalytic history, and many different works incorporate similar elements, including
Shakespeare’s use of the “play within a play” in Hamlet. However, Inception does not just stop
at a dream within a dream; most of the movie takes place in a dream within a dream within a
dream, and a large portion takes place in “limbo,” which is a state of “raw, infinite
subconscious” (Inception). Freud theorized that dreams within dreams portray reality and serve
to distance the dreamer from the reality of the events that happen in the dream within a dream,
but he did not explore the deeper levels of meta-dreaming. The behaviors of the characters of
Inception demonstrate that the deeper the level of dreaming--i.e. the more “dream within”s there
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are--the more dream-like reality itself feels. Once a person reaches limbo, which seems to be the
highest level of meta-dreaming, all of reality seems like a dream. This makes sense, considering
that limbo is “infinite,” so any memory, thought, or idea within a person’s mind is put into this
infinite “dream within a dream within a…” state, effectively disproving its reality entirely in the
Within these meta-dreams, one of the most common underlying problems is the
reappearances of Mal within Cobb’s unconscious. Over the course of the movie, the viewers
learn that Cobb feels incredible guilt and grief over the death of his wife, and these repressed
feelings account for why Mal is such an omnipresent part of Cobb’s unconscious. During the
mourning process, Freud says that one needs to “overcome the loss of the object” and “absorb all
the energies of the ego,” but he also details a phenomenon known as “melancholia” that can
profoundly painful dejection, cessation of interest in the outside world, loss of the
capacity to love, inhibition of all activity, and a lowering of the self-regarding feelings to
Clearly, Cobb is experiencing melancholia, as he exhibits multiple of the listed symptoms, most
notable “cessation of interest in the outside world.” Within context, Freud makes it clear that he
is referring to the world outside of a physical home, but Cobb displays a marked lack of interest
in the world outside of his own head. Nearly all of the movie is spent inside of Cobb’s
subconscious, and his frequent encounters with Mal show just how wrapped-up Cobb is with his
Despite the fact that one of the main goals of psychoanalysis itself is to unlock hidden
truths about the human mind, one of the most significant problems with psychoanalysis is
inception itself. Throughout psychological history, there are many well-documented instances of
false memories, or untrue memories formed retrospectively based upon the processing of
information. In fact, the movie is decidedly untrue in saying that people “can always trace the
genesis of an idea” (Inception), as psychological experiments have found time and time again
that wording, carefully slipped details, and other influences can completely modify a person’s
thoughts. A 2008 study used fMRI technology to see if there are any major differences in the
processing of true memories and false memories, which were based upon information carefully
fed to the participants, and both sets of memories activated similar pathways (National Research
Council). Most psychoanalytical conclusions are drawn through psychotherapy and free
association, but the suggestibility of the mind during those processes make it easy to implant
false memories, and Freud himself was accused of taking advantage of clients’ suggestibility in
order to create false memories to justify his own theories (Mendez and Fras). The entire field of
psychoanalysis itself falls apart as soon as inception is considered, as there is no way to know the
The entire premise of the movie Inception, though interesting and arguably in support of
Freud’s many theories about dreaming and mourning, causes the foundations of the
psychoanalytic field to crumble upon closer inspection. By traveling deeper into the unconscious,
the line between reality and fiction become blurred, and the ways in which reality can seem
fictional and vice versa increase. The mind itself is not a fortress, and clearly, so little of what we
know, perceive, experience, and think is within our control. Maybe we should all pick up a totem
and do our best to take control of knowing what is real and what is all inside our heads.
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Works Cited
Freud, Sigmund. "Mourning and Melancholia." The Standard Edition of the Complete
www.english.upenn.edu/~cavitch/pdf-library/Freud_MourningAndMelancholia.pdf.
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Mendez, M F, and I A Fras. "The false memory syndrome: experimental studies and comparison
doi:10.1016/j.mehy.2010.11.033
National Research Council (US) Committee on Military and Intelligence Methodology for
National Academies Press (US); 2008. Appendix F, True and False Memories as an
https://www.ncbi.nlm.nih.gov/books/NBK207945/