Technique and Politics in Oppenheimer by Christopher Nolan

Authors

DOI:

https://doi.org/10.32870/sincronia.v30.n90.e1071

Keywords:

Politics, technique, Sign, Semiotics

Abstract

This article analyzes Christopher Nolan’s film Oppenheimer (2023) as a cinematic text in which central connotations are present, allowing us to reach deeper levels of meaning. The analysis argues that Oppenheimer transcribes discursive practices in which technology operates as an abstract field and politics as a concrete field of reality. The study is structured into five sections: theoretical framework, narrative structure of the film, semiotic analysis of signs and the hegemonic sign, socio-historical connections, and identification of intertexts.

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References

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Genette, G. (1982). Palimpsestos. La literatura en segundo grado. Taurus.

Husserl, E. (1991). La crisis de las ciencias europeas y la fenomenología trascendental: una introducción a la filosofía fenomenológica. Crítica Editorial.

Lotman, Iuri (1996), La semiosfera I. Semiótica de la cultura y del texto, Madrid, Cátedra.

Lozano, J. (1982). Análisis del discurso. Hacia una semiótica de la interacción textual. Cátedra.

Morales Campos, A. (2020). Signos hegemónicos en el filme Ex-Machina: robotización y control. Contratexto, 34(034), 129-152. Disponible en: https://doi.org/10.26439/contratexto2020.n034.4870

Nolan, C. (Director). (2023). Oppenheimer [Film].

Peirce, C. S. (1986). La ciencia de la semiótica. Nueva Visión.

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Published

2026-06-30

How to Cite

Gallardo Páramo, U. (2026). Technique and Politics in Oppenheimer by Christopher Nolan. Sincronía, 30(90), 1–22. https://doi.org/10.32870/sincronia.v30.n90.e1071

Issue

Vol. 30 No. 90 (2026): July-December 2026

Section

PHILOSOPHY

License

Copyright (c) 2026 Ulises Gallardo Páramo

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