13159539 Nonlinear Narratives

8/13/2019 13159539 Nonlinear Narratives

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ABSTRACT:

Cinema is a powerful medium of expression. Cinema has been continuously

improving and developing towards something different from what it is known

for or what it was in the past. Narrative is the strategy with which any material

is organised and presented to an audience. This is an integral part of a film

and as Thomas Elsaesser argues cinema become a predominantly narrative

medium with the development of its codes of intelligibility.

The classical narration is the type of narration that we all as spectators

normally expect from a film while nonlinear narratives have emerged from the

classical narrative form. Non linear narratives have been in vogue for a long

period of time and were considered by some as being inferior to classical

narrative. owever! non linear narratives are now present in many media

forms and the digital formats have played a crucial role in their development

as "ev #anovich argues$ the use of digital compositing to create continuous

spaces out of different elements can be seen as an example of the larger anti%

montage aesthetics of computer culture anovich! '(((!p.)**+.

, believe that investigating something which is contemporary can be very

motivating and constructive. This dissertation would offer me a good

knowledge and understanding of a concept that would be crucial for my future

career as a filmmaker. -or the research , collected ample amount of literature

from diverse sources. ased on the literature collected , have analysed three

nonlinear narrative films chronologically. -urther to the analysis and literature

collected , have understood many concepts related to non linear narratives

and have arrived at a conclusion as to how non linear narratives have

revolutioni/ed fictional films.

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NON LINEAR NARRATIVES:

HERALDING A REVOLUTION IN FICTIONAL FILMS

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TABLE OF CONTENTS

1. ABSTRACT%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% )

2. CHAPTER 1: INTRODUCTION

1.1. ackground ,nformation %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%0

1.2. 1ationale of 1esearch %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%2

1.3. 1esearch 3uestion %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%41.4. 5b6ectives of 1esearch%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%4

1.5. Conclusion %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%4

3. CHAPTER 2: ACADEMIC CONTEXT

'.). Narratology%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%7

'.'. 8hat is Narrative9 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%7

'.:. Elements of Narrative%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%7

'.;. Components of Narrative %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%)(

'.*. Cinematic Narrative %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%):

'.0. -actors that


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LIST OF ILLUSTRATIONS:

-igure )B


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CHAPTER 1: INTRODUCTION

1.1. Bac!"#$%& I%'#"(a)*#%:

Cinema is a medium through which numerous people shared fictional or non

fictional stories. ,n simpler words cinema catered to a larger section of

population replacing the storyteller with technology and manipulated the

viewers response to the story &"indroos! )777! p.:+.

-ilms revolutioni/ed story telling as it was possible to destruct time scales and

reconstruct them in any order. The viewers perception of the story changed.

Cinema offered the viewer a newer form of spatial and temporal experience

&"indroos! )777! p.;+.

Tom Aunning in his essay The non%continuous of early film talks about early

cinema and its contribution to film history. The challenge that early cinema

offers to film history is a search for a method of understanding the

transformations in narrative form in cinemas first decades$ a method that

maintains as awareness of early films difference from later practices! without

defending if simply as relation of divergence from a method of continuity

&cited by Elsaessar! )77(! p.40+.

,n his book #anovich emphasises the influence that new media has upon

film and conseDuently how things can be modified. e argues that new

media abandons this human%centredF representation altogether @ to put

represented time fully under human control. Time is mapped onto two%

dimensional space! where it can be managed! analysed and manipulated

more easilyF anovich! '(((! p.*)+.

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1.2. Ra)*#%a+, #' R,-,a"c:

-ilms have undergone vast changes over the recent years owing to the digital

media systems. The narrative structure has also undergone many changes. ,t

can be said that the classical narrative has given way to and has emerged as

newer forms &-avero! '(()! p.)+. ,t is commonly perceived that in a digital

medium the narrative structure is non digital and non narrative. ,t is also said

that narrative in a digital media doesnt have any artistic characteristics.

Non linear narrative reflects the real life method in which an information or

story is transferred between people. This techniDue is now been increasingly

used in fictional films. Non linear films now comprises of an immersive

narrative where the viewer assumes an interactive role. ,n the interactive

environment the viewer gets transformed into a protagonist.

Non linear films have changed a passive audience and stifling surroundings

characteristic of a linear film into an active! attentive audience and offer an

unrestricted viewing environment. Non linear narrative has emerged to

prevent spectators from 6ust seeing and comprehending seDuentially arranged

story material &enderson! '((4! p.'+.

The non linear narrative with its unconventional style! dialogues! camera

angles combined with non linear editing techniDues has brought in a change

to fictional films. , have undertaken this research to understand if non linear

narrative techniDues have brought about a revolution in fictional films. ,

believe that the sub6ect , am going to do for my dissertation is appropriate and

valuable because my intentions are to do a profound study on a form of

narration and narration is a basic and significant element of fictional films.

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1.3. R,-,a"c /$,-)*#%:

as non linear narratives revolutioni/ed fictional films9

1.4. O0,c)*,- #' ), R,-,a"c:

To comprehend the meaning of a narrative! the elements and

the components of the narrative

To analyse the cinematic narrative and the different elements of

a cinematic narrative

To understand the narrative devices used in a fictional film

To distinguish between a classical narrative and non linear

narratives

To understand the various issues of nonlinear films

To analyse how non linear editing has helped non linear

narrative develop

1.5. C#%c+$-*#%:

,n my dissertation , intend to explore and research the nonlinear narrative by

studying the fundamental characteristics of this method and the changes that

it brings to fictional films. , would also research about the non linear editing

techniDues and how they have helped non linearity in films. lso , would

analyse three non linear films in a chronological order to understand how non

linearity has developed over time.

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CHAPTER 2: ACADEMIC CONTEXT

This chapter is an analysis of literature collected from diverse sources such as

6ournals! books! conference papers and web pages. This helps in

understanding the basic concepts of narratives and non linear narrative in

particular.

2.1. Na""a)#+#!:

Narratology has two elementsB the story and the way it is said.


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S,))*%!B the location of the story

P,"-6,c)*,B is the way the story elements are told

&Tomas/ewski! '((*+.

2.4. C#(6#%,%)- #' a Na""a)*,:

Narrative includes five basic components. They are spatiality! temporality!

causality! dramaturgy and personification. ,n simpler terms a narrative takes

place in a certain location &spatiality+! at a certain time or within a certain time

frame &temporality+! has characters which perform certain actions &causality+!

the actions which the characters perform are arranged in a seDuence

&dramaturgy+ and all these are received by a receptee who identifies with the

events that has happened &personification+. Not all the elements are present

neither in narratives always nor in the same degrees &Thuresson! )774! p.*+.

S6a)*a+*): narrative has to take place in a location which can either be a

real one or an abstract one. Though location plays an important part in books

and non digital medium to draw the reader into the situation the role of the

same in digital media cant be discounted. The linear narrative details about

the history of the plot and has a strict time line while a non linear narrative

doesnt employ a time line and is more a reflection of a particular moment.

owever! caution should be exercised when using the space or the

environment in the narrative as there are chances that the viewer might be

confused about the story or the story might become fragmented. Certain

elements of the space or environment can be utili/ed to effectively increase

the potentiality of the narrative.

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T,(6#"a+*):

Temporality is the occurrence of an event or a seDuence of events within a

time frame. Temporality in films is achieved through single images presented

one after another within eDual time intervals &Thuresson! )774! p.0+. owever!

the temporality between the successive frames is less effective as the images

inculcate the concept of time only indirectly and the frame and the system that

host these images have certain restraints. ccording to 1icoeur &)74(+

story is made out of events to the extent that plot makes events into a storyF.

lso the concept of time in a narrative in films can be divided into story timeF

and actual timeF. ctual time is the time it takes to present the story as a film

to the audience while the story time is the time frame within which the story

takes place &Thuresson! )774! p.2+.

Editing in films can be defined as the ordering of units of time between which

implicit temporal connections can be established. ,n films the time of telling is

very significant and makes sure that the viewers interest is sustained through

the film. ,t is also not necessary that the seDuence of events should follow a

chronological order &Thuresson! )774! p.2+.

Ca$-a+*):

Causal relationship between the various events is very important in a film

narrative. ,t is the binding force which brings together events that are ordered

by both temporally and spatially. ,n simpler words the actions of certain

characters cause the events in a story to happen. owever! it is also felt that

not all events are causally motivated. owever! the concept of dramaturgy

might establish weak links between these events in a story forming an overall

pattern &Thuresson! )774! p.2+.

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D"a(a)$"!:

ccording to ristotle a story has three acts. ,n the first act the main

characters! the time! location and the conflict between the characters are

presented! in the second act the supplementary characters are introduced

and the conflict develops while the in the third act the conflict is resolved.

owever! each act has an event or disruption which alters the balance of the

story and keeps the story line moving. ,t can be said that characters!

completeness! unity and the motivated incidents are the four factors that

make up a story.

P,"-#%*'*ca)*#%:

ctors perform an action but in some cases the action denotes the characters.

lso these characters evoke an interest in the viewer as the interaction

between the various characters in the network helps in understanding the

narrative &Thuresson! )774! p.7+.

,t can be understood that characters are very important to the narrative in a

digital environment. The viewers interest in a character is developed and

maintained in a digital media like films by considering even a simple

antropomorphic figure as a character! contextuali/ing it and maintain the

interest of the viewer.

H6,"),7)8H6,"(,&*a:

narrative in a digital media can either be linear or non%linear. Non linearity is

achieved in a digital environment by using hypertext or hypermedia. ypertext

can be defined as blocks of text which is non linear in nature and connected

with each other through electronic links offering multiple alternate paths. The

viewer can choose anyone of these paths while reading or viewing. 5ne

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perfect example of hypertext is the ,nternet where blocks of text are

electronically connected and the person browsing the ,nternet is free to

choose any link and browse different information. t present the term

hypertext has been replaced with ypermedia due to the increased use of

graphics and other multimedia components in digital environment. There are

certain elements that are characteristic of hypertext. hypertext does not

have any distinctive starting or ending points not does it include a natural

central pole. Every hypertext section should include comprehensive

information as the reader might have directly clicked on the link to this

hypertext and it cant be confirmed what sections that the user has read

before. This implies that the whole text is fragmented completely and self

explaining or complete in itself &Thuresson! )774! p.)(+. ll the elements of

the hypertext can be applied to hypermedia too.

2.5. C*%,(a)*c Na""a)*,:

narrative can be defined based on its temporal character as the linear

organisation of events! selected and arranged in a particular orderF

&8hitebrook! )77*+. cinematic narrative can be best described as an activity

that organi/es data that is available to provide an experience. Cinematic

narrative includes the temporal element similar to a novel &"indroos! )777!

p.7+. ,t is said that the temporal entity of the narrative assumes importance in

cinema.

cinematic narration demonstrates both events linked together on a spatial or

temporal basis and also the historical events of the story.


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and sound elements to create space! time and causal interaction &"indroos!

)777! p.7+.

-ilm studies talk about diegetic and non diegetic worlds. The diegetic

elements of cinema refer to the events that surround the character and the

seDuence in which these events are presented. ,t includes both visible and

non visible elements such as characters and environment that is not shown in

the film &"indroos! )777! p.4+.

The non diegetic elements of the film help the viewer to understand the

character and the events that surround the character. The films music can be

cited as an example of this and these non diegetic elements support the films

story. viewers distinction of the film into both diegetic and non diegetic

elements plays a significant role in understanding the films narrative. ,n

cinema there is a wide difference between the person who writes the story

and the person who narrates it on screen. There is a difference between

implicit and explicit narration in cinematic narrative. The narrative of the film is

completely different from what the original author of the story intended to

explain &"indroos! )777! p.4+.

-ilms include within themselves a facility to rearrange events from their

original order depending on the storys narrative &"indroos! )777! p.7+.

screen time presents images that can span hundreds of years. spectator

while viewing the films understands these vast leaps in time and links them to

the films narrative to comprehend the film. The technological advantage of

films help in either slowing down an event in screen time! make it appear

rapidly or repeat the same event in different situations. ,t can be easily

concluded that the technological innovation in fictional and other genre films

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has made it possible to cut! arrange and change events of the film. This

technology has led to the emergence of modern narrative techniDues such as

non linear narrative techniDues in films &"indroos! )777! p.)(+.

2.9. Fac)#"- )a) S$-)a*% ), I%),",-) #' V*,,"- *% F*+(-:

There are certain factors that create and sustain the interest in the viewers

when it comes to digital media or in particular films. They areB

,nteresting aspects of the content

Novel and original methods of presentation of the content

=ariety @ The content of film should not be monotonous but should

have a variety in them


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Climax% s discussed earlier each part of the film should end with a

climax


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story occurs while plot duration refers to the time that has elapsed between

the events of the story and the screen duration is the time that the film takes

to complete in a theatre. The other elements of the film narrative are as

followsB

S$-6,%-, a%& S$"6"*-, ,+,(,%)-

F",


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principle using which the story is converted on to the screen for an audience

while narration is the method which determines how and when the audience

understand the information that is presented on screen &ranigan )77'! p. :0+

&ranigan )77'! p. 20+.

2.@. Na""a)*, D,*c,-:

There are certain narrative devices which help to control the transfer of

information to the audience.

S*') *% T*(,:This is achieved through flash backs! dream seDuences!

flash forwards and repetitive seDuences.

S*') *% Na""a)*, P#*%) #' V*,B

). >ivision between audience knowledge and character

knowledgeB 8hen an audience knows something that the

character in the film doesnt know this leads to tension.

'. >ivision between audience knowledge! one characters

knowledge and another characters knowledgeB 5ne

character and the audience knows information which another

character in the film doesnt know.

:. >ivision between one characters knowledge! another

characters knowledge and the audiences knowledgeB This is

when all the three people have differences in the knowledge

of information

;. =oice over narration techniDues &Tarek! '(('+.

2.1. C+a--*ca+ #" L*%,a" Na""a)*,:

Classical narrative focuses on linear presentation and causality which in turn

was accepted as the right form of art by the audience &enderson! '((4! p.'+.

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,n a linear narrative the viewer is passive and identifies with the main

character of the film who has a goal or has been victimi/ed. The viewer

moves with the character from the start till the end of the film. The feelings

that the viewer experiences like anger! satisfaction! tension and suspense are

all dependant on the way how the viewer identifies with the character. ,t can

be said that linear narrative is a non experiment based safe movie experience

where the spectator participation is not present. The narrative style can be

applied to almost all story genres and the viewer once identifies the genre will

know how the story would proceed further. The writer of a linear story follows

many strategies to enhance the relation of the spectator with the films

protagonist. To sum up the spectator performs a non participatory role in a

linear film where hisIher role ends with their identification with the main

character of the film &>ancyger G1ush! '((0! pp.)**%)*0+.

5ne of the ma6or elements of the classical narrative is that many events

happen during the course of the film and is brought to an end or a result is

generated &"indroos! )777! p.)(+.

2.11. P#-) M#&,"%*-( a%& N#% L*%,a"*):

Non linear narrative and post modernism is often discussed on a similar scale.

?ost modernism is where materials and information from previous materials

are taken and then displayed in styles completely in contrast from the original.

Non linear narrative evolved by borrowing heavily from the classical narrative

and being presented in a completely different structure &


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their own way without engagement to any particular meaning &


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non linear presentations the coherence of the data discussed should be

maintained by making inherent decisions &


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considered to offer better freedom. lso it is said that the non linear narrative

reflects the way in which our minds work that is non linearly. owever! the

importance of traditional narrative cant be overlooked. The classical narrative

offers a storyteller the method to order ideas and appeal to the artistic part of

the audience. ,f not executed properly non linear narrative might offer a

feeling of disorgani/ation.

Non linear narrative is unconventional style of filmmaking which doesnt give

importance to a protagonist but has multiple independent stories that end with

a final event where all characters and stories collide and mingle in to one.

,n simple words non linear narrative is one where events are not narrated

chronologically. Events happening in different times may be shown back and

forth or in Duick succession.

,n the non linear narrative the spectator cant identify with any character and

6ust observes the characters in the story unlike the linear narrative where the

viewer travel along with the character in the story. Non linear stories might or

might not include a plot &>ancyger G1ush! '((0! p.)*0+. The structure of the

non linear narrative may either be loose or layered. The linear film generally

has a three act structure while the non linear film might have tow acts or no

act breaks at all. non linear film might have multiple stories presented as

two acts or small short films within a larger film &>ancyger G1ush! '((0!

pp.)*7%)0(+. The tone of the non linear film cant be predicted. ,n linear films

the tone of the film matches the story genre and is constant through out the

film. owever! the tone keeps on changing within the story in a non linear film.

The tone of the film does not correspond to the film but changes with the

writers intensions &>ancyger G1ush! '((0! p.)0(+.

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,n a linear film it is imperative that the antagonist and protagonist has goals

and the clash of the interest in the goals provides the impetus to move the film

forward. owever! the goal may or may not be present in a non linear

narrative. The impetus to take the film forward is done by either positioning

the characters in a situation where they contradict each other. The viewers

can also be made to sit up in their seats with the effective use of dialogues.

The effective use of dialogues is evident in a scene in the film ?ulp -iction.

Two men are discussing a murder of a person over financial matters. The

audience keeps on expecting some kind of dialogues in relation to the matter.

owever! they are taken by surprise as they completely deviate from the

sub6ect and talk about eating! -rench habits and foot massages. This really

pushes the spectator into a surprised state and creates a tension and energy

which propels the movie forward &>ancyger G1ush! '((0! pp.)0(%)0)+.

,n linear stories plot is very important and an integral part. owever! this is not

the case in non%linear narratives. ?lot may or may not be present and if

present is sometimes pushed to the background like in the movie ?ulp -iction

&>ancyger G1ush! '((0! p.)0)+.

2.14. I--$,- *% N#% L*%,a" Na""a)*,-:

V#*c,:

The non linear narrative has both strengths and weakness. owever! one

entity which is really significant to the non linear story is the voice of the writer.

The predominant presence of the writers voice enhances the character and

offers freedom and flexibility to the writer. The voice of the writer acts as a

unifying force in a non linear narrative moulding together different stories in

the narrative.

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F#c$- #% S6,c*'*c Sc,%,-:

The non linear story should focus on individual scenes in the film and treat

them as independent films. This kind of focus increases the intensity of the

story similar to a linear story despite the non linear story having looseness of

plot and insignificant focus on characters &>ancyger G1ush! '((0! p.)0'+.

T, I--$, #' I%#+,(,%):

The non linear story reDuires lesser involvement form the spectator than a

linear story. To address this issue some writers use different strategies such

as more focus on the plot or uniDue characters that attract the attention of the

spectators.


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linear narrative in a film or novel can be a combination of both. Non linear

narrative films reDuire a good amount of concentration and patience from the

audience.

2.15. N#%L*%,a" E&*)*%!:

8ith the advent of computers editing in films have become an easy task with

the computers generating narratives easily and performing the decision

making role &rooks! )770! p.:)4+. Non linear editing is done by storing the

video or movie in a computer and then breaking down the digiti/ed version

into smaller segments. 8ith the help of the director notes and script the

smaller segments are then edited in the system itself. The non linear editor

scores over the linear one as the video and movie is electronically stored the

video is easily accessible &rowne! )774! p.:+.

,n the #ichael randt pro6ect about Traditional -ilm Editing vs Electronic

Nonlinear -ilm EditingB Comparison of -eature films he compares the two

different forms of editing in six different films. ,n this study randt argues that

the editing of the three films cut electronically. There are statistically

differences on a number of measures! and although the sample is not random

&and therefore the differences apply only to these films and not to the whole

universe of ollywood films+M &randt! )77;+.

,n the present age there has been a shift from traditional editing to a non%

linear! electronic editing system such as #ontage or Edit>roid. -ilms which

were edited non linearly were has shorter shot lengths! used double the

number of opticals and had a uniDue dialog seDuences which relied more on

alternate images rather than on the speaker of listener in the scene. 5n an

average it was found that *.)* seconds as the shot time in traditional cut films

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with the electronically edited ones being ;.2*seconds in length. 5ne factor

that needs to be considered while editing films electronically is the time that

the spectator needs to ad6ust with a shot cut. ,t has been proven that an

average viewer takes anywhere between (.* to : seconds to really

understand a shot cut change. ,f the length of the shot in electronically edited

systems is less then the spectator might find it very difficult to completely

comprehend the shot. This would lead to the viewer understanding the

different shots incompletely. owever! such short shot cuts are also creative

and useful to create tensions in the viewer and really create an acute interest

in the proceedings of the film.

,t becomes very easy to use optical transitions in electronic non linear editing

techniDues and subseDuently transition effects such as wipes and fades are

used freDuently in the editing techniDue.


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electronically edited ones. Traditional cut films had an average of ).(7: for

dialogue complexity while it was (.42: for electronically edited films. The

dialog complexity index analyses the dialogue usage and the complexity it

offers to the editor. 5ff screen dialogues are simple while on screen dialogues

are tougher. owever! pictures and sounds are very easily structured and

synchroni/ed by the electronic systems. lso electronically edited films show

alternate images other than the character who is delivering the dialogue. ,n

fact the editors feel that such alternate images are a creative way of editing.

lso electronically edited films used :( less reverse shots when compared

to the traditional ones &randt! )77;+.

Non linear editing techniDues have made the non linear story and films as a

feasible form of narration. ancyger! '((2! p.;)2%;)4+.

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CHAPTER 3: RESEARCH METHODS

This chapter details the method of analysis in this research. The narratology!

the definition of narratives! the basic elements and components of narratives!

the differences and salient features of both non linear and linear narratives

were understood. ased on the literature and for the purposes of this

research , plan to study the process of research and development! the

elements that compose non linear narratives through the analysis of a three

films from different directors in a chronological order.

Though there are numerous non linear films , have chosen >ont "ook Now

&)72:+! ?ulp -iction &)77;+ and ') Arams &'((:+ for the purpose of the study.

These films have been chosen for certain reasons. The film >ont "ook Now

can be termed as a masterpiece from the director while the film ?ulp -iction is

considered to be an influential film. ,t can be safely said that ?ulp -iction

created a new genre of non linear films. The film ') Arams stirs up so much

emotion in the audience which can never be matched by any other film of its

times. The film is noted for its brilliant star cast and techniDues.

ased on the analysis , would comprehend how the characteristics of non

linear narratives are used in these films. , would also analyse how non%

linearity emerged in fictional films and what were the main causes and

influences of its appearance. , will also focus on the development of the

elements of nonlinearity and the expansion of this type of narration based on

these films.

, will examine the style and learn the main characteristics that make nonlinear

narrative so distinctive through a profound research of the authors and

directors who used the nonlinear techniDue in the films. , also intend to verify

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the most common element of nonlinearity and find the reasons for the use of

the same.

, intend to see how each director applies these elements and also to read

their perspectives about the films , will study the techniDues and

methodologies used. , would also concentrate my efforts on the editing

techniDues! camera angles and shots used in this film. , cannot study or make

a paper on nonlinear narrative! without focussing my study on other relevant

aspects of film and nonlinearity. >uring the process of examination! , will also

have to analyse the structure of the film! time and space and compare these

elements between the films.

Time! as the other elements is an important characteristic of every film! and in

nonlinear films! it plays a crucial role as it defines the narrative and situates

the viewer. s #ichael Toolan argues! time itself! in the sense of systematic

measurement of what separates particular states from our present one! is

itself a structuring and structuralist notion &Toolan! )744B4:+. s a result! all

these elements articulate with each other and with the film narrative.

8orking on this pro6ect! would provide me with great knowledge and

understanding of something that is crucial for films and for my future career as

a filmmaker.

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CHAPTER 4: ANALYSIS

4.1. D#%) L## N# N*c#+a- R#,! =1@;3>

S)#":

The story of the film is based on the short story by >aphne &1ebecca+ du

#aurier. The axters Oohn and "aura portrayed by >onald ont "ook Now has an eerie environment dealing with the death of a

young girl and how the axters deal with the tragedy. The film is set in =enice

:(


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in winter. >ont "ook Now can be classified as a peculiar horror film as there

are no scenes which predominantly depict the horror in the movie. owever!

there is always an uneasy tension prevailing in the film which is due to the

grief and death of a small child and the bereavement of the parents.

The film has all the elements that the director is famous for such as the use of

colour! boldness of themes and the structure of the film including aggressive

elements such as the famous love making scene &Jelly! '((4! p.)+.

The film includes impressive imagery with generous use of the colour red

reminding the spectators of the colour of the dress worn by the young girl

when she drowns during the start of the film. The film starts on a shocking

note with the drowning of the small girl and the spectator has a sense of

unease throughout the film as ont "ook Now is a film which aptly subscribes to the view that the director is

a master in creating films that are intellectual pu//les and this is considered

as his best film till date. The opening drowning scene is a shot that has been

tastefully done with a series of synchronous intercuts. The film abounds in

many clues which imply to the spectator what is in store for them in the course

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of the film like


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techniDues and )4( degree action line in addition to unmotivated sounds to

create the mood of the story. ont look now is a thoroughly en6oyable film and thriller with a fitting finale.

The film resembles a fragmented nightmare though delivered on the screen

elegantly.

4.2. P$+6 F*c)*#% /$,%)*% Ta"a%)*%# =1@@4>

S)#":

?ulp -iction has a prologue and epilogue. ?umpkin and oney unny discuss

small robbery in a coffee shop finish their discussion and food following it with

robbery. This can be considered as the prologue of the film. The film then

displays the titles followed by a scene were Oules and =innie discussing about

ig#ac. This scene is considered to set the pace for the entire film and

informs the audience that the two killers works for 8allace and they need to

get back the suitcase. The first story shows how Oules and =innie kill the three

men and the scenes where =innie take #ia out to dinner in addition to the

overdose and recovery of #ia. The second story is about utch and his

watch. The scenes depict what happens to utch as he did not lose the fight

as he had agreed to do so. The third story or part of the film is a continuation

of the first story and shows how #arvins remains which are splattered in the

car are cleaned. Oules! his transformation and his talk about divine

intervention all form the epilogue including a continuation of the robbery that

honey unny and ?umpkin did in the prologue part of the film &


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A%a+-*-:

?ulp -iction can be stated as a film innovative in thought! concept and the

style of execution was considered uniDue.

The plot and the story are non linear in structure and completely

dis6ointed with multiple narrative themes.

The average film goers expectations are aroused as the films opens

not with the main characters but with small and insignificant characters

though the film has multiple main characters. The tempo is sustained

by stopping the oney unny and ?umpkin narrative in the course of

the film and merging it with the =ince and Oules character narratives.

The characters in the film are indifferent to the crime and the hold up

which happens in the film is very natural and not forced in to the

narrative.

Though each of these narratives deals with exclusive problems they

often overlap and mix with each other during the story process.


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sense of time! location and space in addition to irony &English Teaching

5nline! '((:! pp.)%'+. owever! certain mysteries in the film are not

resolved. 5ne example for this is the viewer is not shown what is inside

the briefcase till the end of the movie.

lso unlike a classical narrative the film does not clearly demarcate the

good and bad characters. ll the characters in the films have various

levels of criminality in them leading to a sense of hatred in the viewers

mind about all the characters in the film.

The film is based on the contradicting theories and ides of rescue and

revenge! loyalty and betrayal in addition the violence in the film is given

a very indifferent treatment which is evident from the fact that

sometimes violence is mixed with humour.

The films music and costumes should be given special appreciation as

they span different time periods. The dialogues in the film can be

termed as the most interesting and humorous of its times.

There are minimal establishing shots. -or example! the exact location

of the diner is not determined as the film does not include a shot to

ascertain the place of the diner in which the action happens.

The film defies convention as most of the scenes in the film are

monologues and the camera is focussed on the backside of the

character delivering the dialogue or in other words the face of the

character which is listening. This is in difference to most of the films as

a ma6ority of them use only shot reverse shot techniDue. The film

abounds in shots characteristic of the director Tarantino. 5ne scene

worth mentioning is the scene which focuses on =ince and Oules when

:*


36/47

they open the car boot. ,t gives the viewer a feeling that the scene has

been shot from the boot of the car &English Teaching 5nline! '((:!

pp.)%'+.

The traditional dramatic structure is completely destroyed in the film. s

an audience it was natural for them to expect the criminals to commit a

crime rise and then fall. owever! the crime scene included a

philosophical dialogue between two main characters which completely

douses the anxiety that would build up after the murder would be

executed.

The characters are introduced one at a time and at various points of

the story. ,n the film events are shown from the perspective of each of

the character while each character is depicted independently. owever!

it so happens that characters overlap into other characters sometimes.

,n other words pulp -iction has multiple linear stories with these

overlapping with each other sometime and having a common end in a

single event &?ig! '((4! pp.)%:+.

The time line in the film ?ulp fiction is bit strange. The films reel time is

around one week and movie goes back and forth within this weeks

time. The audience is left wondering for the change in costume of Oules

and =innie. They appear in suits when they enter the apartment to kill

the inhabitants but however! they are in gaudy tshirts and shorts when

they leave the apartment. The costume change is explained later that

is due to the blood of spilling on their suits when he is accidentally

killed in the car. lso the non linear style is evident from the same

opening and closing scene where Oules and =innie declare that they

:0


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have come to rob the coffee shop. The closing and opening scene are

repeated but from different perspectives which is possible only with non

linear story telling techniDue &8iloux! '((4! pp.)%'+.

The movie does not include a cause and effect structure and is famous

for its style of presentation! dialogue and non%linear approach

&>ancyger! '((2! p.;)*+.

4.3. 21G"a(- A+,a%&"# G#%+, I""*)$ =23>

S)#":

The film was directed by a #exican >irector le6andro Aon/Qle/ ,RQrritu in the

year '((: following the death of his young son. The film is written by

Auillermo rriaga and deals with three stories which are all linked togetherwith a common car accident. The film starts with three people in a room with a

gun shot being fired. Oack Oordon &portrayed by enicio >el Toro+ is an ex

convict and is depicted as a person with a rough character while Christina

?eck acted out by Naomi 8atts is a mother and ex drug user while the

professor ?aul 1ivers &ermansky! '((4+. Oack who wants to start life afresh runs over

Christinas husband and two children. Oack is consumed by guilt as he has

been the cause of death of the family and turns himself to the police. Christina

in turn agrees to have her husbands heart transplanted to ?aul to save the

ailing professor. ?aul involves a detective to search for the donor of his heart

and he falls in love with Christina and then they go in search of Oack. The film

ends with a scene involving all three of them in a dingy motel room.

:2


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A%a+-*-:

The film analyses the theme of human morality in different groups of people.

The characters are portrayed differently and are all united by a common

tragedy. The title represents the exact amount of weight that a person loses

when he or she dies. The film deals with a theme of the dead people

exercising an influence over the people who still live. The film is in line with

non linearity principles and doesnt demarcate the characters of the films as

good or bad. The film also doesnt have conventional main characters. The

character Oack runs over a family but does nothing to help them after the

accident. owever! he is consumed by guilt because of the action. The

characters of the film have contradicting features in them.

The film has huge narrative scenes linked to together with emotions. lso the

film uses light as an important ob6ect and pays adeDuate significance to the

concepts of day and night. Till the accident happens the scenes happen in

day light while after the accident there are afternoon! dusk and night scenes.

The film also imbibes the theme of fate and the place in which the action

happens is not defined. The film deals with death and other dark images.

owever! it has an element of hope in it &Curry! '((:+.

The film doesnt have a sense of time and the narrative shifts back and forth

posing a real challenge to the spectators to piece together the chunks of

information. The film has been entirely shot with hand held cameras which

result in grainy pictures. The film is shot in a documentary style and most of

the shots are close ups in bleached style. The films audience doesnt feel the

time space continuity. The film has been edited to present a fragmented

narrative presentation.


39/47

editing as the scenes are cut associately based on the characters emotions

and not linearly.


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CHAPTER 5: CONCLUSION

Cinema has a history of technological innovations and creative diversity.

Cinema is a mix of various elements such as hyper realities! space and time

that weaves magic over the audience in darkened cinema halls.

Through the analysis of relevant literature! related archives and articles ,

understood the basic concepts of narratology! narration! story! elements of

narration and cinematic narration in fictional films. narrative is a series of

events related through causuality! temporally and spatially. film narrative not

only includes formal elements of a story but also the audiences

comprehension of the information that is presented. Narrative includes the

story and the way it is presented. The method of presentation includes

camera shots! angle! technology and techniDues used. Narrative film is

synonymous with fictional films.

Narration can be defined as a set of organised representations of the story

that needs to be delivered to the audience. fictional film is a collection of the

narrative texts which have independent styles. Narrative should always be

analysed based on the history of films! production modes and narrative theory

&-ilm 1eference! '((4+. The classical and non linear narrative forms were

analysed and the principal differences between these two forms of narrative

were outlined.

The research study also included an analysis of three non linear films by

different directors to understand how the non linearity principles have been

used in these films by the directors. fter the analysis certain common

features of non linear films were comprehended.

;(


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They are as followsB

No conventional plot structure

character or event is presented not chronologically but broken down

in to smaller events and rearranged to offer the audience a compelling

movie experience.

Characters in the film are not given any importance

ction is an important element in the plot of non linear films but

however! is not concerned about a single goal that the characters

pursue. Theme is also significant for the plot structure.

>ramatic unity in a non linear film is achieved by a theme and a

framing action

The controlling theme defines the films experience while the framing

action is needed to establish continuity in the story and a context of the

story &Cowgill! '((:+.

fter analysing the films the common non linear techniDues and

characteristics in these three films in particular can be listed out as followsB

The films offer no significance to the traditional plot or dramatic

structure

The films include scenes that are very aggressive in nature

The films dont follow tradition when it comes to defining the virtues of

the characters. There is no demarcation of the good and bad in the

films.

;)


42/47

The films have multiple stories running within them with some scenes

overlapping with each other or all the stories coming to an end with a

single event

The films use a lot of imagery! images and colours

ll the films follow a non linear structure and offer no importance to

time.

ll the films have no proper time lime as the scenes shift back and forth

in time.

The films boast of special shot techniDues such as flash backs! flash

forwards! repetitive loops and intercuts.

Totally disoriented editing style is followed in all the films.

,n the films a bleak and sad nature of the society is presented

ll the films have a theme on which they base the story and narrative

on.

,n some films there is no proper definition of the place or location that

the action is happening in

The films abound in a lot of visual clues to the audience

The style of presentation! dialogue delivery and the film structure is

worth mentioning

The audience is always given an active role in comprehending the film.

Non%"inear narrative has been in vogue from time immemorial. ,n early days

this narrative was present in text only. owever! the developments in cinema

developed the non linear narrative as well to involve the audience as an active

participant.

;'


43/47

,t was understood that non linear narrative has changed cinema into an

immersive narrative space where the viewer becomes the camera person and

editor. Non linear narratives have created a sensation and revolutioni/ed

fictional film making with their uniDue plot! dialogue delivery! tone and story. ,n

its pursuit of excellence non linear narratives have been immensely helped by

the non linear editing techniDues. Non linear editing breaks away the

conventions that a film should have an ordered flow of time. ,n a non linearly

edited film The scenes would be linear in progression. owever! the scene

itself might be placed anywhere in the movie to create an interest in the

viewer.

Non linear editing was never considered to last long. owever! non linear

editing has withstood the travails of time and in fact completely put an end to

off line linear editing techniDues. Non linear editing techniDue is exciting and

an easy to perform operation for editor &rowne! )774! p.'+.

The linear or traditional story is now considered outdated. owever! a non

linear writer needs to address the issues which plague the non linear story

through various strategies in order to lift the narrative style to better levels.

;:


44/47

LIST OF REFERENCES:

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randt! #. &)77;+ T"a&*)*#%a+ F*+( E&*)*%! -. E+,c)"#%*c N#%+*%,a" F*+(E&*)*%!: A C#(6a"*-#% #' F,a)$", F*+(-K,nternetL! aylor Hniversity!vailable fromB ShttpBIIwww.nonlinear;.comIbrandt.htm Kccessed '0Oanuary '((4L.

ranigan! E. &)77'+ Na""a)*, C#(6",,%-*#% a%& ), F*c)*#% F*+(."ondon! 1outledge

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