Nonlinear Narratives
Nonlinear Narratives
for or what it was in the past. Narrative is the strategy with which any material
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
narrative. However, non linear narratives are now present in many media
forms and the digital formats have played a crucial role in their development
spaces out of different elements can be seen as an example of the larger anti-
from diverse sources. Based on the literature collected I have analysed three
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NON LINEAR NARRATIVES:
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TABLE OF CONTENTS
1. ABSTRACT-------------------------------------------------------------- 1
2. CHAPTER 1: INTRODUCTION
2.1. Narratology-----------------------------------------------------------9
2.2. What is Narrative? -------------------------------------------------9
2.3. Elements of Narrative----------------------------------------------9
2.4. Components of Narrative -----------------------------------------10
2.5. Cinematic Narrative ------------------------------------------------13
2.6. Factors that Sustain the Interest of Viewers in Films ------15
2.7. Elements of a Film Narrative -------------------------------------16
2.8. Narrative in Fictional Films ----------------------------------------17
2.9. Narrative Devices ---------------------------------------------------18
2.10. Classical or Linear Narrative ------------------------------------18
2.11. Post Modernism and Non Linearity ----------------------------19
2.12. Non Linear Narratives----------------------------------------------20
2.13. Linear Vs. Non Linear Narratives in Fictional Films---------21
2.14. Issues in Non Linear Narratives ---------------------------------23
2.15. Non –Linear Editing -------------------------------------------------25
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5. CHAPTER 4: ANALYSIS
6. CHAPTER 5: CONCLUSION----------------------------------------------40
7. LIST OF REFERENCES----------------------------------------------------44
4
LIST OF ILLUSTRATIONS:
5
CHAPTER 1: INTRODUCTION
Films revolutionized story telling as it was possible to destruct time scales and
reconstruct them in any order. The viewer’s perception of the story changed.
Cinema offered the viewer a newer form of spatial and temporal experience
Tom Gunning in his essay ‘The non-continuous of early film’ talks about early
cinema and its contribution to film history. ‘The challenge that early cinema
In his book Manovich emphasises the influence that ‘new media’ has upon
film and consequently how things can be modified. He argues that “new
represented time fully under human control. Time is mapped onto two-
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1.2. Rationale of Research:
Films have undergone vast changes over the recent years owing to the digital
media systems. The narrative structure has also undergone many changes. It
can be said that the classical narrative has given way to and has emerged as
medium the narrative structure is non digital and non narrative. It is also said
Non linear narrative reflects the real life method in which an information or
Non linear films have changed a passive audience and stifling surroundings
The non linear narrative with its unconventional style, dialogues, camera
angles combined with non linear editing techniques has brought in a change
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1.3. Research Question:
a cinematic narrative
narratives
narrative develop
1.5. Conclusion:
studying the fundamental characteristics of this method and the changes that
it brings to fictional films. I would also research about the non linear editing
techniques and how they have helped non linearity in films. Also I would
analyse three non linear films in a chronological order to understand how non
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CHAPTER 2: ACADEMIC CONTEXT
particular.
2.1. Narratology:
Narratology has two elements: the story and the way it is said. Story is a
medium and is viewed by spectators. This is possible after the story is edited
determining which part of the story should be told and the method it should be
elements of a story and the navigation between the elements of the story
respectively.
Humans have always found the urge to narrate and communicate their
9
Setting: the location of the story
(Tomaszewski, 2005).
(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, 1998, p.5).
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 can’t be discounted. The linear narrative details about
the history of the plot and has a strict time line while a non linear narrative
environment in the narrative as there are chances that the viewer might be
confused about the story or the story might become fragmented. Certain
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Temporality:
one after another within equal time intervals (Thuresson, 1998, p.6). However,
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
story is made out of events to the extent that plot makes events into a story”.
Also the concept of time in a narrative in films can be divided into “story time”
and “actual time”. Actual 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
Editing in films can be defined as the ordering of units of time between which
very significant and makes sure that the viewer’s interest is sustained through
the film. It is also not necessary that the sequence of events should follow a
Causality:
narrative. It is the binding force which brings together events that are ordered
characters cause the events in a story to happen. However, it is also felt that
not all events are causally motivated. However, the concept of dramaturgy
might establish weak links between these events in a story forming an overall
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Dramaturgy:
According to Aristotle a story has three acts. In the first act the main
characters, the time, location and the conflict between the characters are
and the conflict develops while the in the third act the conflict is resolved.
However, each act has an event or disruption which alters the balance of the
story and keeps the story line moving. It can be said that characters,
completeness, unity and the motivated incidents are the four factors that
make up a story.
Personification:
Actors perform an action but in some cases the action denotes the characters.
Hypertext/Hypermedia:
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. One
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perfect example of hypertext is the Internet where blocks of text are
choose any link and browse different information. At present the term
hypertext has been replaced with Hypermedia due to the increased use of
have any distinctive starting or ending points not does it include a natural
information as the reader might have directly clicked on the link to this
hypertext and it can’t be confirmed what sections that the user has read
before. This implies that the whole text is fragmented completely and self
p.9). It is said that the temporal entity of the narrative assumes importance in
cinema.
temporal basis and also the historical events of the story. So a spectator gets
to view the space time on the screen and the story. Cinema also utilizes light
13
and sound elements to create space, time and causal interaction (Lindroos,
1999, p.9).
Film studies talk about diegetic and non diegetic worlds. The diegetic
elements of cinema refer to the events that surround the character and the
sequence in which these events are presented. It includes both visible and
non visible elements such as characters and environment that is not shown in
The non diegetic elements of the film help the viewer to understand the
character and the events that surround the character. The film’s music can be
cited as an example of this and these non diegetic elements support the films
story. A viewer’s distinction of the film into both diegetic and non diegetic
cinema there is a wide difference between the person who writes the story
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
screen time presents images that can span hundreds of years. A spectator
while viewing the films understands these vast leaps in time and links them to
films help in either slowing down an event in screen time, make it appear
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
There are certain factors that create and sustain the interest in the viewers
the film would create a curiosity in the viewer and make him take note
of the events in the film till the suspense is resolved. Suspense has
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Climax- As discussed earlier each part of the film should end with a
climax
the film
Tone of the film: The tone of the film refers to the attitude demonstrated
There are two elements to a narrative: The Story and The Plot. The story has
both explicitly and implicitly presented events while the plot has diegetic and
STORY PLOT
DIEGETIC
ELEMENTS
IMPLIED NON
EVENTS DIEGETIC
ELEMENTS
major events of the plot that force the characters to traverse alternate paths
while satellites are minor events of the plot which are not essential to the plot
but perform the function of adding complexity to the plot and characters.
There are also three types of duration. The story duration is the time that the
16
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
follows:
This is further divided into Direct and Indirect POV (University of Texas,
2005).
A fictional film or a narrative film explains a story and differs from films that
17
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
There are certain narrative devices which help to control the transfer of
of information
was accepted as the right form of art by the audience (Henderson, 2008, p.2).
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In a linear narrative the viewer is passive and identifies with the main
character of the film who has a goal or has been victimized. 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. It 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 film’s
linear film where his/her role ends with their identification with the main
One of the major 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
Non linear narrative and post modernism is often discussed on a similar scale.
are taken and then displayed in styles completely in contrast from the original.
Non linear narrative evolved by borrowing heavily from the classical narrative
This kind of fragmented or non linear viewing of images, films is linked to the
post modernistic attitudes of the people. Non linear narratives have no proper
ending and the viewers are free to interpret the meaning of the narrative in
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their own way without engagement to any particular meaning (Shamtoot,
2006, pp.9-10).
such as fear, anxiety and anger or longing and sorrow are evoked (Knudsen,
1996, p.4).
The challenge of non linear narrative lies in its capacity to arrange fragmented
space with no central core and focuses on a viewer. A film presented in a non
linear form offers the various perspectives to the viewer (Lindroos, 1999,
p.19).
film’s syuzhet [plot] and style interact in the course of cueing and channelling
does not include action driven learning but however, can be compared to a
story narration. A same story can be explained in many different ways. It can
changed to suit the situation. However, non linear presentations have one
they have missed some important parts of the presentation. To avoid this in
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non linear presentations the coherence of the data discussed should be
The possibilities that non linear narratives offer are endless with infinite
and space uniting them in to one single entity. It was believed that one
Non linearity has been in use right from the year 1929 when the first non
linear film hit the theatres (Dancyger &Rush, 2006, p.154). Non linear
narratives have developed tremendously since its early days and have been
fuelled by the non linear editing and computer programs. Computer based
cinematic story telling systems help in the production non sequential or non
The computer applications have enhanced the open nature of the non linear
film. The cuts, the sounds and the fragmentary elements of the non narrative
his/her own methods. The viewer is made aware that besides the story that is
presented there are other versions of the story that are possible. Fictional
Sometime spectators are confused and surprised by the order of the events
narrative is sometimes felt as being very stifling while non linear narratives are
21
considered to offer better freedom. Also it is said that the non linear narrative
reflects the way in which our minds work that is non linearly. However, the
offers a storyteller the method to order ideas and appeal to the artistic part of
the audience. If not executed properly non linear narrative might offer a
feeling of disorganization.
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.
In simple words non linear narrative is one where events are not narrated
In the non linear narrative the spectator can’t identify with any character and
just 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 (Dancyger &Rush, 2006, p.156). 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. A non linear film might have multiple stories presented as
two acts or small short films within a larger film (Dancyger &Rush, 2006,
pp.159-160). The tone of the non linear film can’t be predicted. In linear films
the tone of the film matches the story genre and is constant through out the
film. However, 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
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In 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. However, 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 Pulp Fiction.
Two men are discussing a murder of a person over financial matters. The
However, they are taken by surprise as they completely deviate from the
subject and talk about eating, French habits and foot massages. This really
pushes the spectator into a surprised state and creates a tension and energy
In linear stories plot is very important and an integral part. However, this is not
the case in non-linear narratives. Plot may or may not be present and if
present is sometimes pushed to the background like in the movie Pulp Fiction
Voice:
The non linear narrative has both strengths and weakness. However, one
entity which is really significant to the non linear story is the voice of the writer.
The predominant presence of the writer’s voice enhances the character and
offers freedom and flexibility to the writer. The voice of the writer acts as a
the narrative.
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Focus on Specific Scenes:
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
The non linear story requires 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 unique characters that attract the attention of the
boredom. To prevent this in the movie Pulp Fiction dialogues, plot and
not tried by anyone else it really attracted the attention of the spectators and
lifted the film. Boredom can also be resolved by the appropriate use of writer’s
p.163).
Non linear plots or narratives start and end at a point however, offer multiple
paths or multiple story branches between the point A and B. Though the end
point is certain the means that the end is reached has multiple paths. This
kind of structure makes the spectator more immersed in the narrative and the
audience has the ability to control the development of the plot in the non linear
narrative. A good non linear narrative will either have multiple plot points
which allow the user to manoeuvre between the different plots but reach a
same conclusion or the story might have smaller story branches which are not
linked together and the audience will come to different conclusions. A non
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linear narrative in a film or novel can be a combination of both. Non linear
narrative films require a good amount of concentration and patience from the
audience.
With the advent of computers editing in films have become an easy task with
making role (Brooks, 1996, p.318). Non linear editing is done by storing the
video or movie in a computer and then breaking down the digitized version
into smaller segments. With 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
different forms of editing in six different films. In this study Brandt argues that
‘the editing of the three films cut electronically. There are statistically
(and therefore the differences apply only to these films and not to the whole
In the present age there has been a shift from traditional editing to a non-
were edited non linearly were has shorter shot lengths, used double the
number of opticals and had a unique dialog sequences which relied more on
average it was found that 5.15 seconds as the shot time in traditional cut films
25
with the electronically edited ones being 4.75seconds in length. One factor
that needs to be considered while editing films electronically is the time that
the spectator needs to adjust with a shot cut. It has been proven that an
understand a shot cut change. If 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. However, such short shot cuts are also creative
and useful to create tensions in the viewer and really create an acute interest
It becomes very easy to use optical transitions in electronic non linear editing
techniques and subsequently transition effects such as wipes and fades are
Studies have proven that such transitions appear in around 3.10% of shots
use in electronic editing is obvious as an editor can test how these transition
would look on screen during electrical editing while this is not so in traditional
systems. Not only these transitions but more computer effects would be
It was also found that films electronically edited had more close up shots
when compared to the traditional ones. An editor prefers one particular shot to
others as they might look good in a particular viewing situation. Editors who
use electronic systems might choose close up shots are these might look
good in the low resolution viewing environment of films. Also it was found that
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electronically edited ones. Traditional cut films had an average of 1.093 for
dialogue complexity while it was 0.873 for electronically edited films. The
dialog complexity index analyses the dialogue usage and the complexity it
offers to the editor. Off screen dialogues are simple while on screen dialogues
are tougher. However, pictures and sounds are very easily structured and
alternate images other than the character who is delivering the dialogue. In
fact the editors feel that such alternate images are a creative way of editing.
Also electronically edited films used 30% less reverse shots when compared
Non linear editing techniques have made the non linear story and films as a
feasible form of narration. Since the non linear story does not have a single
main character and there are many short story streams there need to be set
goal to edit the film non-linearly. They can be listed out as follows:
coherent by a shaping device. The shaping device may vary from film
to film. In Pulp Fiction the identity crises faced by the criminals is the
significant plot. There are three stories and they are not presented
energy to propel the film Pulp Fiction comes from its dialogue and
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CHAPTER 3: RESEARCH METHODS
This chapter details the method of analysis in this research. The narratology,
the differences and salient features of both non linear and linear narratives
were understood. Based on the literature and for the purposes of this
elements that compose non linear narratives through the analysis of a three
Though there are numerous non linear films I have chosen Don’t Look Now
(1973), Pulp Fiction (1994) and 21 Grams (2003) for the purpose of the study.
These films have been chosen for certain reasons. The film Don’t Look Now
can be termed as a masterpiece from the director while the film Pulp Fiction is
created a new genre of non linear films. The film 21 Grams 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 techniques.
linear narratives are used in these films. I would also analyse how non-
linearity emerged in fictional films and what were the main causes and
these films.
I will examine the style and learn the main characteristics that make nonlinear
directors who used the nonlinear technique in the films. I also intend to verify
28
the most common element of nonlinearity and find the reasons for the use of
the same.
I intend to see how each director applies these elements and also to read
their perspectives about the films I will study the techniques and
techniques, camera angles and shots used in this film. I cannot study or make
aspects of film and nonlinearity. During the process of examination, I will also
have to analyse the structure of the film, time and space and compare these
nonlinear films, it plays a crucial role as it defines the narrative and situates
the viewer. As Michael Toolan argues, ‘time itself, in the sense of systematic
these elements articulate with each other and with the film narrative.
understanding of something that is crucial for films and for my future career as
a filmmaker.
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CHAPTER 4: ANALYSIS
Story:
The story of the film is based on the short story by Daphne (Rebecca) du
Maurier. The Baxter’s John and Laura portrayed by Donald Sutherland and
Julie Christie are a couple who lose their daughter in a drowning episode in
Britain. The scene opens with the death of the small child. To cope over the
supervises a church restoration where his wife meets two psychic sisters.
killer is on loose killing young women John asks Laura to return back to
Britain. However, Laura refuses. John also sees a small figure in the red
raincoat that the daughter of the couple was wearing on the day of her death
repeatedly. In a chilling climax in the closing scene John sees Laura and the
Analysis:
Nicholas Roeg has changed cinema from a time based medium to a medium
in which time is comprehended by the viewer. Though the director still makes
movies it is his movies in the 1970’s that he is still remembered for. Don’t
Look Now (1973) is often remembered for its famous love making scene
between a bereaved husband and wife. However, the film has many more
The film Don’t Look Now has an eerie environment dealing with the death of a
young girl and how the Baxter’s deal with the tragedy. The film is set in Venice
30
in winter. Don’t Look Now can be classified as a peculiar horror film as there
are no scenes which predominantly depict the horror in the movie. However,
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 (Kelly, 2008, p.1).
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
convince him that his daughter is still alive. The closing scenes of the film with
minds.
Roeg is very creative and does not follow any predetermined story structure.
He is of the opinion that the story needs to evolve all the time. Roeg wanted
his viewers to be surprised by what the camera has captured and always
followed the most original method of making his movies (Kelly, 2008, p.2).
Don’t Look Now is a film which aptly subscribes to the view that the director is
a master in creating films that are intellectual puzzles and this is considered
as his best film till date. The opening drowning scene is a shot that has been
many clues which imply to the spectator what is in store for them in the course
31
of the film like Sutherland’s struggle to rescue the child serves as visual
precursor clue for the sex scene that would come in the film (Moria, 2008).
A red coated small figure is always omnipresent in the camera frame. The
director’s use of the colour red is also appreciated by the spectators. The
scene where Sutherland chases the red coat figure across Venice is a treat to
watch with the colour being depicted in multiple places such as the red
sweater on a clothesline, the red square in Sutherland’s scarf. The colour red
is used as a significant visual symbol across the film. The film also boasts of
daring cross cuts with the love scenes being alternated with scenes in which
the couple dress up for dinner after their act (Moria, 2008).
Non linear techniques are very evident in the film with Sutherland always
closing in on the couple is built up by the director creating a feeling that the
couple have been trapped and cannot escape from the situation. The director
Venice. The director plays with the spectator’s instincts. In the film the locales
of Venice are notably aloof, the streets are deserted, a killer is on the loose,
and a blind psychic says that she has seen Baxter's dead daughter. A strange
and sad quality is presented to the audience in contrast to the good and
happy feel that a tourist destination such as Venice portrays. This creates a
The film is based on the theme of fate and the non linear editing of the film
heightens this. The editing style of the movie is totally disorienting and
32
techniques and 180 degree action line in addition to unmotivated sounds to
create the mood of the story. Story elements are warped by the director and
elements like time and space are connected though in a distorted manner.
Don’t look now is a thoroughly enjoyable film and thriller with a fitting finale.
elegantly.
Story:
Pulp Fiction has a prologue and epilogue. Pumpkin and Honey Bunny 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 Jules and Vinnie discussing about
BigMac. This scene is considered to set the pace for the entire film and
informs the audience that the two killers’ works for Wallace and they need to
get back the suitcase. The first story shows how Jules and Vinnie kill the three
men and the scenes where Vinnie take Mia out to dinner in addition to the
overdose and recovery of Mia. The second story is about Butch and his
watch. The scenes depict what happens to Butch 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 Marvin’s remains which are splattered in the
car are cleaned. Jules, his transformation and his talk about divine
intervention all form the epilogue including a continuation of the robbery that
honey Bunny and Pumpkin did in the prologue part of the film (Syd Field,
2009).
33
Analysis:
Pulp Fiction can be stated as a film innovative in thought, concept and the
The plot and the story are non linear in structure and completely
The average film goer’s 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
the film and merging it with the Vince and Jules 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.
often overlap and mix with each other during the story process. Some
of the places where scenes take place and the scenes are repeated.
However, each scene is dealt with differently and from a different point
their interest throughout the film (English Teaching Online, 2003, pp.1-
2).
The movie uses dialogues to the minimum and does not use this to
inter textual nature, fragmented plot and story, no clear ethical values
reflected in the film, merging of low and high cultural values, no clear
34
sense of time, location and space in addition to irony (English Teaching
Online, 2003, pp.1-2). However, certain mysteries in the film are not
resolved. One example for this is the viewer is not shown what is inside
Also unlike a classical narrative the film does not clearly demarcate the
good and bad characters. All the characters in the films have various
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
they span different time periods. The dialogues in the film can be
There are minimal establishing shots. For example, the exact location
of the diner is not determined as the film does not include a shot to
The film defies convention as most of the scenes in the film are
a majority of them use only shot reverse shot technique. The film
worth mentioning is the scene which focuses on Vince and Jules when
35
they open the car boot. It gives the viewer a feeling that the scene has
been shot from the boot of the car (English Teaching Online, 2003,
pp.1-2).
crime rise and then fall. However, the crime scene included a
douses the anxiety that would build up after the murder would be
executed.
the story. In the film events are shown from the perspective of each of
In other words pulp Fiction has multiple linear stories with these
The time line in the film Pulp fiction is bit strange. The films reel time is
around one week and movie goes back and forth within this week’s
time. The audience is left wondering for the change in costume of Jules
and Vinnie. 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
killed in the car. Also the non linear style is evident from the same
opening and closing scene where Jules and Vinnie declare that they
36
have come to rob the coffee shop. The closing and opening scene are
repeated but from different perspectives which is possible only with non
The movie does not include a cause and effect structure and is famous
Story:
The film was directed by a Mexican Director Alejandro González Iñárritu in the
year 2003 following the death of his young son. The film is written by
Guillermo Arriaga and deals with three stories which are all linked together
with a common car accident. The film starts with three people in a room with a
gun shot being fired. Jack Jordon (portrayed by Benicio Del Toro) is an ex
Peck acted out by Naomi Watts is a mother and ex drug user while the
disease. The lives of these three characters are entwined by a tragic car
accident (Dermansky, 2008). Jack who wants to start life afresh runs over
been the cause of death of the family and turns himself to the police. Christina
in turn agrees to have her husband’s heart transplanted to Paul to save the
ailing professor. Paul 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 Jack. The film
ends with a scene involving all three of them in a dingy motel room.
37
Analysis:
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 doesn’t demarcate the characters of the films as
good or bad. The film also doesn’t have conventional main characters. The
character Jack runs over a family but does nothing to help them after the
The film has huge narrative scenes linked to together with emotions. Also the
film uses light as an important object and pays adequate 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.
The film doesn’t have a sense of time and the narrative shifts back and forth
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 film’s audience doesn’t feel the
time space continuity. The film has been edited to present a fragmented
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editing as the scenes are cut associately based on the characters emotions
and not linearly. Such a non linear presentation makes the spectator sit up
and take note of the film. The film also abounds in a lot of clues some of
The film deals with the theme of death in an indirect and realistic way. In this
film unlike certain films the sub plots are also not in chronological order. The
audience has to pay attention to minute details such as the costumes of the
characters to understand the film’s time line. The film has numerous flash
forwards and flash back shots. However, the film’s music is disappointing
(Antulov, 2004). The spectator is always on the edge having a feeling that he
knows what is going to happen and also that he doesn’t know what is going to
happen.
to a tale of death, tragedy and redemption. The past present and future all
converge together in the movie with no clear demarcation and the film shifts
The film imbibes modernist techniques such as non linear structure to depict
fate, uncertain identity of the characters and time. Non linear narrative
techniques, flash forwards, repetitive loops and theme are merged together to
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CHAPTER 5: CONCLUSION
Cinema is a mix of various elements such as hyper realities, space and time
events related through causuality, temporally and spatially. A film narrative not
analysed based on the history of films, production modes and narrative theory
(Film Reference, 2008). 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. After the analysis certain common
40
They are as follows:
movie experience.
framing action
The controlling theme defines the film’s experience while the framing
After analysing the films the common non linear techniques and
structure
The films don’t follow tradition when it comes to defining the virtues of
films.
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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
All the films follow a non linear structure and offer no importance to
time.
All the films have no proper time lime as the scenes shift back and forth
in time.
The films boast of special shot techniques such as flash backs, flash
All the films have a theme on which they base the story and narrative
on.
worth mentioning
Non-Linear narrative has been in vogue from time immemorial. In early days
this narrative was present in text only. However, the developments in cinema
developed the non linear narrative as well to involve the audience as an active
participant.
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It was understood that non linear narrative has changed cinema into an
immersive narrative space where the viewer becomes the camera person and
fictional film making with their unique plot, dialogue delivery, tone and story. In
its pursuit of excellence non linear narratives have been immensely helped by
the non linear editing techniques. Non linear editing breaks away the
conventions that a film should have an ordered flow of time. In a non linearly
edited film The scenes would be linear in progression. However, the scene
viewer.
Non linear editing was never considered to last long. However, non linear
editing has withstood the travails of time and in fact completely put an end to
off line linear editing techniques. Non linear editing technique is exciting and
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.
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LIST OF REFERENCES:
Browne, E.S. (1992) Nonlinear Editing Basics: Electronic Film and Video
Editing. Illustrated ed. Oxford, Focal Press.
Dancyger, K. (2007) The Technique of Film and Video Editing. 4th ed.
Oxford, Focal Press.
44
Dayaoub, T. (2008) Movie Review [Internet], Available from:
<http://blogcritics.org/archives/2008/03/05/121622.php> [Accessed 26
January 2008].
Film Reference (2008) Defining Film Narrative [Internet], Available from: <
http://www.filmreference.com/encyclopedia/Independent-Film-Road-
Movies/Narrative-DEFINING-FILM-NARRATIVE.html> [Accessed 26
January 2008].
Henderson, T. (2008) Classic Film Narrative and Flying with Pigs: What
Have we been Missing? [Internet], Available from:
<http://www.nausicaa.net/miyazaki/essay/files/TimHenderson_FilmNarrativ
e.pdf> [Accessed 26 January 2008].
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Moria (2008) Don’t Look Now [Internet], Available from:
<http://www.moria.co.nz/index.php?option=com_content&task=view&id=12
00Itemid=1 > [Accessed 26 January 2008].
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University of Texas (2005) Film Narrative [Internet], Available from:
<www.cwrl.utexas.edu/~yeom/courses/spring05/Film%20Narrative.ppt>
[Accessed 26 January 2008].
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