Inception, Othello, and the Internet

I chatted with Brother Burton the other day and he encouraged me to share some of my past thoughts

about digital culture and the relation to things I am passionate about. Below is an excerpt of a paper I 

wrote - of which I would love to hear your comments and thoughts. 

            Though the phrase “layered rhetoric” is not often used in literature criticism it is important when drawing connections between Inception and Othello. The term denotes multiple stages of rhetorical implementations directed towards a single desired outcome. In Othello Iago uses this model extensively in act three scene three. The first stage is best illustrated on line 3.3.135, as Iago’s comments begin a string of thoughts in the General’s mind. “Nay, yet there’s more in this. I prithee speak to me as to thy thinkings.” Othello’s desire to know the thoughts of the Ensign lead to the next stage. In referencing Iago, the Moor questions, “Why did I marry? This honest creature doubtless sees and knows more, much more, than he unfolds” (3.3.247). The idea that defines his marriage to Desdemona is changing. Arriving at the third and final level, Iago combines evidences both theoretical (the false dream of Cassio 3.3.415 - 430) and tangible (the handkerchief 4.1.163-200) as proof of Desdemona’s unfaithfulness. Thus Othello is fully persuaded by the layered rhetorical maneuvers of Iago. The single purpose of the wicked Ensign’s designs was achieved when Othello cries out, “I will chop her into pieces” (4.1.190).

            Unlike Othello, Inception depicts the characters literally traveling through layers in which the rhetoric is executed. The goal of the team is for Robert Fischer to break up his father’s company. The method is told clearly in the film when Eames explains the team’s goal in splitting the idea into emotional triggers. “On the top level, we open up his relationship with his father.... Say: ‘I will not follow in my father’s footsteps.’ Next level down we've accessed his ambition and self-esteem. We feed him: ‘I will create something myself.’ Then, the bottom level, we bring out the emotional big guns... ‘My father doesn’t want me to be him.’ That could do it” (Nolan). In the film these stages are all implemented and it is the final evidence of the handmade pinwheel that convinces Fischer of the idea the team had planted in the first layer. Like Iago, the heist members understands the power of ideas, “Once an idea’s taken hold in the brain it’s almost impossible to eradicate. A person can cover it up, ignore it- but it stays there. Information (may be forgotten) yes - But an idea? Fully formed, understood? That sticks” (Nolan). In both cases the criminal(s) use layered rhetoric to fully turn their subjects to a single goal.

            The layered rhetoric strategy used in these instances relies extensively on the subject feeling like they have generated the ideas themselves. It is Iago’s suggestion that gives Othello the idea of his wife’s unfaithfulness, but ultimately it is Othello’s own imagination that brings about his rage and the tragedy of the whole story. It is Fischer’s subconscious that brings him to the conclusion that he will break up his father’s company. Both Othello and Fischer’s behavior reflect Eames’ plot when he explains, “In the dream, I can impersonate Browning and suggest the concepts to Fischer's conscious mind...Then we take Fischer down another level and his own subconscious feeds it right back to him.” Arther is impressed at this idea, “So he gives himself the idea.” To which Eames responds, “Precisely. That's the only way to make it stick. It has to seem self-generated” (Nolan). Iago follows this method very closely as he suggests concepts to Othello when he is relatively passive and unsuspecting. As he leads him to the next levels of rhetoric, Iago begins to reflect Othello’s fears and doubts, “Is’t possible, my Lord?” and “Is’t come to this?” (3.3.363-369) Later he even feigns caution when Othello expresses desire to kill his wife, “Nay, yet be wise; yet we see nothing done. She may be honest yet” (3.3.438). By countering the outrageous claim that Desdemona is unfaithful, Iago encourages Othello to fill his own imagination with opposing opinions. In the final moments of tragedy it is clear that Othello felt the idea was self-generated, and according to Eames it had to be for it to really work.

            Both Othello and Fischer experience a change in perspective and character in their respective narratives. Though it is unlikely that Nolan used Shakespeare as a text to base his film, the comparisons are striking. It is clear that Inception and Othello share similar elements; and though these connections are interesting, it is crucial to look further to obtain supplementary substantial meaning. Of the many different things one could consider in light of layered rhetoric and self-generated persuasion the Internet stands out. While the Internet offers a great wealth of information, it too can act as an Iago or Eames in that it can take away one’s life without the subject even knowing. A sad example of this “Internet inception” can be seen in a study conducted a few years ago.

          
            Nearly 40% of men and 53% of women who play online games said their virtual             friends were equal to or better than their real-life friends, according to a survey of             30,000 gamers conducted by … a recent Ph.D. graduate from Stanford University.             More than a quarter of gamers [who responded indicated that] the emotional             highlight of the past week occurred in a computer world (Alter).

            

In this study it can be observed that many people are being self-deceived by the virtual world. As new multi-level games and interactive software is created, many people find themselves living in a false reality. The Internet is just one example of how studying popular culture with the canon can be beneficial to living a more fulfilling and happy life. This evidence brings up the age-old question of why we study literature, and why we teach it.

What do you think? Has literature or pop culture better helped you understand your relationship with the Internet? Can the delightful Eames really be compared to the awful Iago?