Film Noir (literally 'black film or cinema') was coined by French film critics (first by Nino Frank in 1946) who noticed the trend of how 'dark', downbeat and black the looks and themes were of many American crime and detective films released in France to theatres following the war.

A genuine thriller is a film that relentlessly pursues a single-minded goal - to provide thrills and keep the audience cliff-hanging at the 'edge of their seats' as the plot builds towards a climax.

To fully appreciate the films of Christopher Nolan, an understanding of his admiration
for and relationship to film noir is absolutely essential. In fact, Following and Nolan’s second film, Memento (2000), serve as a useful interpretive lens for all of Nolan’s subsequent work, and you won’t fully understand what Nolan is trying to accomplish in his later works without going back and examining the noir-infused structural elements, characters, and themes he explores in his first two directorial outings.

This article explores analyses Christopher Nolan’s Memento as a neo-noir and revenge film. The plot and the narrative structure of Memento – which is extremely complex, clever and demands intelligence and constant attention from its spectators – are also discussed.

Christopher Nolan's recent film Memento (2000) addresses the complexities of surviving trauma. While watching the film is not identical to living through a trauma, responses to an initial viewing often bear witness to a cinematic experience marked by profound disruption of expectation. The film's unusual formal construction certainly unsettles viewer expectations of continuity and coherence, expectations shaped by mainstream Hollywood cinema's commitment to the linear narrative.This article discusses the narratives and themes in Surviving Memento.

This paper explores the ways in which fictional subjectivity intersects with narrative form to produce a fiction of selfhood and masculinity in Christopher Nolan's film Memento (US, 2000). Drawing on psychoanalytic discourses of subjectivity and gender and trauma theory's work on memory, the paper argues that masculinity has become a culturally empty category that can be interrogated and problematised through efforts to reconstruct it through the textual representation of memory and its failure.

This essay provides a feminist analysis of Christopher Nolan’s films; examining the complicated role of women in relation to the guilt-ridden protagonists, with their deaths serving as a foundation for the narrative trajectory of the male characters, and how this conveys messages to the audience that propagate the prevailing patriarchal worldview. Nolan actively blends disparate genres, infusing them with film noir influences that predicate his use of this recurrent theme.

Nolan is an auteur director, which basically means that he has his hand in just about everything. Although stories are his forte, he also pays close attention to the manner in which his films are shot. In particular, Nolan is very careful with where he puts his camera, and what it shows the audience.

More than half a century ago, the legendary film director and critic Francois Truffaut put forth in the legendary Cahiers du Cinema an equally legendary claim—the auteur theory. There he hailed the film director as the auteur and film as the venue for personal ideas. The director, in other words, is the author of the film. S/he is the artist and the movie is the masterpiece.