Nonlinear Narratives

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 intelligibilit y’. The classica classicall narrat narration ion is the type of narrat narration ion that we all as spect spectato ators rs 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. However, non linear narratives are now present in many media forms and the digital digital formats formats have played played a crucial crucial role in their their developm development ent as Lev Manovich argues; ‘the use of digital compositing to create continuous spaces out of different elements can be seen as an example of the larger antimontage aesthetics aesthetics of computer culture’ culture’ (Manovich, 2000,p.155). 2000,p.155). I believ believe e that that invest investiga igatin ting g somet somethin hing g which which is conte contemp mpora orary ry can be very very motiv motivat atin ing g and and cons constr truc ucti tive ve.. This This diss disser erta tati tion on woul would d offe offerr me a good good knowledge and understanding of a concept that would be crucial for my future career as a filmmaker. For the research I collected ample amount of literature from diverse sources. Based on the literature collected I have analysed three nonlinear narrative films chronologically. Further to the analysis and literature collected I have understood many concepts related to non linear narratives and and have have arriv arrived ed at a conc conclu lusi sion on as to how how non non line linear ar narra narrativ tives es have have revolutionized fictional films.

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NON LINEAR NARRATIVES: HERALDING A REVOLUTION IN FICTIONAL FILMS

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TABLE OF CONTENTS

1.

ABSTRACT-------------------------------------------------------------ABSTRACT-------------------------------------------------------------- 1

2. CHAPTE CHAPTER R 1: INTROD INTRODUCT UCTION ION 1.1.

Background Information ---------------------------------------6

1.2.

Rationale of Research -----------------------------------------7

1.3.

Research Question ---------------------------------------------8

1.4.

Objectives of Research-----------------------------------------8

1.5.

Conclusion --------------------------------------------------------8

3. CHAPTE CHAPTER R 2: ACADEM ACADEMIC IC CONT CONTEXT EXT 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. 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 4.

CHAPTER 3: RESEARCH METHODS--------------------------------28 METHODS --------------------------------28

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5. CHAPT CHAPTER ER 4: ANA ANAL LYS YSIS IS 4.1. Don’t Look Now---------------------------------------------------------30 4.2. Pulp Fiction---------------------------------------------------------------33 4.3. 21 Grams-----------------------------------------------------------------37 Grams-------------------------------------------------------- ---------37

6.

CHAPTER 5: CONCLUSION----------------------------------------------40 CONCLUSION ----------------------------------------------40

7.

LIST OF REFERENCES----------------------------------------------------44 REFERENCES ----------------------------------------------------44

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LIST OF ILLUSTRATIONS:

Figure 1: Suspense –Arc and its five act structure-----------------15

Figure 2: Elements of a Narrative---------------------------------------16

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CHAPTER 1: INTRODUCTION

1.1. 1.1.

Back Backgr grou ound nd Inf Info orm rma atio tion:

Cinema is a medium through which numerous people shared fictional or non fictio fictiona nall stor storie ies. s. In simp simple lerr word words s cine cinema ma cate catere red d to a larg larger er sect sectio ion n of  popula populatio tion n replac replacing ing the storyt storytell eller er with with techno technology logy and manipu manipulat lated ed the viewer’s response to the story (Lindroos, 1999, p.3). 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 (Lindroos, 1999, p.4). 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 offe offers rs to film film hist histor ory y is a sear search ch for for a meth method od of unde unders rsta tand ndin ing g the the transformations in narrative form in cinema’s first decades; a method that maintains as awareness of early film’s difference from later practices, without defending if simply as relation of divergence from a method of continuity’ (cited by Elsaessar, Elsaessar, 1990, p.86). In his book Manovich emphasises the influence that ‘new media’ has upon film and conseq consequen uently tly how things things can be modified modified..

He argues argues that “new

media media abando abandons ns this this “human “human-ce -centr ntred” ed” repres represent entati ation on altoge altogethe therr – to put repres represent ented ed time fully under under human human control. control.

Time is mappe mapped d onto onto two-

dimensiona dimensionall space, space, where it can be managed, managed, analysed analysed and manipulated manipulated more easily” (Manovich, 2000, p.51).

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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 also undergone many changes. changes. It can be said that the classical narrative has given way to and has emerged as newer forms (Favero, 2001, p.1). It is commonly perceived that in a digital medium the narrative structure is non digital and non narrative. It is also said that narrative in a digital media doesn’t have any artistic characteristics. Non linear narrative reflects the real life method in which an information or  story is transferred between people. This technique is now been increasingly used used in ficti fiction onal al film films. s. Non Non line linear ar film films s now now comp compris rises es of an imme immers rsiv ive e narrative where the viewer assumes an interactive role. In 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 unrest unrestric ricted ted viewin viewing g enviro environm nment. ent. Non linear linear narrat narrative ive has emerg emerged ed to prevent spectators from just seeing and comprehending sequentially arranged story material (Henderson, 2008, p.2). The non linear linear narrat narrative ive with with its unconv unconvent ention ional al style, style, dialog dialogues ues,, camer camera a angles combined with non linear editing techniques has brought in a change to fictional films. I have undertaken this research to understand if non linear  narrat narrative ive techni technique ques s have have brough broughtt about about a revolu revolutio tion n in fictio fictional nal films films.. I believe that the subject I 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. Research Question: Has non linear narratives revolutionized fictional films? 1.4. Objectives of the Research: 

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 distin distingui guish sh betwee between n a classi classical cal narrat narrative ive and non linear  linear  narratives



To understand the various issues of nonlinear films



To analy analyse se how how non non line linear ar edit editin ing g has has help helped ed non non line linear  ar  narrative develop

1.5. Conclusion: In my dissertation I 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. 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 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   jo journ urnals, als, books, oks, conf confer eren ence ce papers pers and web web pages. ges. This This helps lps in understanding the basic concepts of narratives and non linear narrative in particular. 2.1. Narratology: Narratology Narratology has has two elements: elements: the story story and the way way it is said. Story is a chro chrono nolo logi gic c orde orderi ring ng of even events ts rela relate ted d caus causal ally ly whil while e the the meth method od of  presentation of a story is called narration (Tomaszewski, (Tomaszewski, 2005). The story becomes a narrative or a narration when the story is placed on 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 told. Narrative and narration can be distinguished as the collection of the elements of a story and the navigation between the elements of the story respectively. 2.2. What is Narrative? Huma Humans ns have have alwa always ys foun found d the the urge urge to narra narrate te and and comm commun unic icat ate e thei their  r  experiences to others through various mediums (Thuresson, 1998, p.5). In genera generall a narrat narrative ive is a linear linear,, organi organized zed,, unifor uniform m progre progressi ssion on of ideas. ideas. Narrative is “chain of events in cause-effect relationship occurring in time and space” (Bordwell & Thompson, 2005, p.69). 2.3. Elements of a Narrative: A narrative has certain elements such as 

Action: Action: the events of the story



Characters: Characters: the enactors of the story

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

Setting: Setting: the location of the story



Perspective: Perspective: is the way the story elements are told

(Tomaszewski, 2005). 2.4. Components of a Narrative: Narrative Narrative includes includes five basic basic compone components. nts. They are spatiality spatiality,, temporality temporality,, causality, dramaturgy and personification. In 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 the actio actions ns whic which h the the char charac acte ters rs perf perfor orm m are are arra arrang nged ed in a sequ sequen ence ce (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).

Spatiality: 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 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 doesn’t employ a time line and is more a reflection of a particular moment. Howe Howeve verr, caut cautio ion n shou should ld be exer exerci cise sed d when when usin using g the the spac space e or the the environment in the narrative as there are chances that the viewer might be confus confused ed about about the story story or the story story might might becom become e fragm fragment ented. ed. Certai Certain n elements of the space or environment can be utilized to effectively increase the potentiality of the narrative.

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Temporality: Temporality is the occurrence of an event or a sequence of events within a time frame. Temporality in films is achieved through single images presented one after another within equal time intervals (Thuresson, 1998, p.6). However, However, the temporality between the successive frames is less effective as the images inculcate the concept of time only indirectly i ndirectly and the frame and the system that host these images have certain restraints. According to Ricoeur (1980) “A 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 takes place (Thuresson, 1998, p.7). Editing in films can be defined as the ordering of units of time between which implicit temporal connections can be established. In films the time of telling is 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 chronological order (Thuresson, 1998, p.7). Causality: Causal relationship between the various events is very important in a film narrative. It is the binding force which brings together events that are ordered by both both tempor temporally ally and spati spatially ally.. In simple simplerr words words the action actions s of certai certain n 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 pattern (Thuresson, 1998, p.7).

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Dramaturgy: Acco Accord rdin ing g to Aris Aristo totl tle e a stor story y has has thre three e acts acts.. In the the firs firstt act act the the main 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. However, each act has an event or disruption which alters the balance of the story story and and keep keeps s the the story story line line movi moving ng.. It can can be said said that that char charac acte ters rs,, comple completen teness ess,, unity unity and the motiv motivate ated d incide incidents nts are the four four factor factors s that that make up a story. Personification: Actors perform an action but in some cases the action denotes the characters. Also Also these these charac character ters s evoke evoke an intere interest st in the viewer viewer as the intera interacti ction on between the various characters in the network helps in understanding the narrative (Thuresson, 1998, p.9). It can be understood that characters are very important to the narrative in a digital environment. The viewer’s interest in a character is developed and main mainta tain ined ed in a digi digita tall medi media a like like films films by cons consid ider erin ing g even even a simp simple le antrop antropomo omorph rphic ic figure figure as a charac character ter,, contex contextua tualiz lizing ing it and maint maintain ain the interest of the viewer. viewer. Hypertext/Hypermedia: 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. Hypertext 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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perf perfec ectt exam exampl ple e of hype hypert rtex extt is the the Inte Intern rnet et wher where e bloc blocks ks of text text are are electr electroni onical cally ly connec connected ted and the person person browsi browsing ng the Intern Internet et is free free to choo choose se any any link link and and brow browse se diff differ eren entt info inform rmat atio ion. n. At pres presen entt the the term term hypertext has been replaced with Hypermedia due to the increased use of  graphics and other multimedia components in digital environment. There are certain elements that are characteristic of hypertext. A hypertext does not have any distinctive starting or ending points not does it include a natural cent centra rall

pole pole..

Ever Every y

hype hyperte rtext xt sect sectio ion n

shou should ld incl includ ude e

comp compre rehe hens nsiv ive e

info inform rmat atio ion n as the the read reader er migh mightt have have dire direct ctly ly clic clicke ked d on the the link link to this 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  explaining or complete in itself (Thuresson, 1998, p.10). All the elements of  the hypertext can be applied to hypermedia too. 2.5. Cinematic Narrative: A narrative can be defined based on its temporal character as “the linear  orga organi nisa sati tion on of even events ts,, sele select cted ed and and arra arrang nged ed in a part partic icul ular ar orde order” r” (Whitebrook, 1995). A cinematic cinematic narrative can be best described as an activity that that organi organizes zes data data that that is availa available ble to provid provide e an experi experienc ence. e. Cinem Cinemati atic c narrative includes the temporal element similar to a novel (Lindroos, 1999, p.9). It is said that the temporal entity of the narrative assumes importance in cinema. A cinematic narration demonstrates both events linked together on a spatial or  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

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and sound elements to create space, time and causal interaction (Lindroos, 1999, p.9). Film Film stud studie ies s talk talk abou aboutt dieg dieget etic ic and and non non dieg dieget etic ic worl worlds ds.. The The dieg dieget etic ic 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 film (Lindroos, 1999, p.8). The non dieget diegetic ic elemen elements ts of the film help help the viewer viewer to unders understan tand d 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 eleme elements nts plays plays a signi signific ficant ant role role in unders understan tandin ding g the film’ film’s s narrat narrative. ive. In 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 (Lindroos, 1999, p.8). Films Films includ include e within within thems themselve elves s a facili facility ty to rearra rearrange nge events events from from their  their  origin original al order order depend depending ing on the story’ story’s s narrat narrative ive (Lindr (Lindroos oos,, 1999, 1999, p.9). p.9). A 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 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  rapi rapidly dly or repe repeat at the the same same even eventt in diff differ eren entt situ situat atio ions ns.. It can can be easi easily ly 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 techniques such as non linear narrative techniques in films (Lindroos, 1999, p.10).

2.6. Factors that Sustain the Interest of Viewers in Films: There are certain factors that create and sustain the interest in the viewers when it comes to digital media or in particular films. They are: 

Interesting aspects of the content



Novel and original methods of presentation of the content



Variety – The content of film should not be monotonous but should have a variety in them



Suspense- The viewer needs to have as suspense embedded in the film to sustain his concentration in the film. The suspense element in 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 many different segments. These segments were clearly explained by Aristotle. This diagrammatically represented below:

Fig.1. Suspense –Arc and its five act structure

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

Climax- As discussed earlier each part of the film should end with a climax



Surprise- This can be achieved by including subtle shock elements in the film



Tone of the film: The tone of the film refers to the attitude demonstrated (Thuresson, 1998, p.8).

2.7. Elements of a Film Narrative: 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 non diegetic elements.

STORY

PLOT

DIEGETIC

IMPLIED

NON

EVENTS

DIEGETIC

Fig.2. Elements of a Narrative

The The even events ts of a plot lot can eith either er be orde ordere red d chro hronolo nologi gica call lly y or nononchronologically or can be classified into hubs or satellites. Hubs are significant 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

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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 follows: 

Suspense and Surprise elements



Frequency: Frequency: Refers to the number of times that the story elements occur in the plot.



Characters: Can either be a flat character with predictable behaviour  and one dimensional presentation or a round character which has been pres presen ente ted d

thre three e

dime dimens nsio iona nally lly with with

unpr unpred edic icta tabl ble e

and and

multi multipl ple e

characters. There can be major, major, minor and marginal characters. 

Time Time and and Sp Spac ace e Sett Settin ings gs:: Includ Includes es locati location, on, date, date, chara characte cters, rs, education, habits and other traits



Point of View (POV): This can either be a physical or mental point of  view view.. Phys Physic ical al poin pointt of view view refe refers rs to the the came camera ra angl angle e or how how a particular character observes an event while mental point of view is the mental viewpoint of a character or narrator about an event. This can be furthe furtherr classi classifie fied d as omnis omniscie cient nt POV in which which the cinema cinematog tograp rapher  her  uses uses the the came camera ra unre unrest stri rict cted edly ly and and capt captur ures es comp comple lete te deta detail ils. s. Subjective POV is the perception of an individual character of the story. story. This is further divided into Direct and Indirect POV (University of Texas, Texas, 2005).

2.8. Narrative in Fictional Films: A fictional film or a narrative film explains a story and differs from films that explai explain n inform informati ation on or docume documenta ntarie ries. s. Narrat Narrative ive in a fictio fictional nal film film is the

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principle using which the story is converted on to the screen for an audience while narration narration is the method method which which determine determines s how and when the audience audience understand the information that is presented on screen (Branigan 1992, p. 36) (Branigan 1992, p. 76). 2.9. Narrative Devices: There There are certai certain n narrat narrative ive device devices s which which help help to contro controll the transf transfer er of  information to the audience. 

Shift in Time: This is achieved through flash backs, dream sequences, flash forwards and repetitive sequences.



Shift in Narrative Point of View: View: 1. Divis ivisio ion n

betwee tween n

audien dience ce

know knowle ledg dge e

and and

charac aracte ter  r 

knowle knowledge dge:: When When an audie audience nce knows knows someth something ing that that the character in the film doesn’t know this leads to tension. 2. Divi Divisi sion on betw betwee een n audi audien ence ce know knowle ledg dge, e, one one char charac acte ter’s r’s knowl nowled edge ge

and and

anoth nother er

char charac acte ter’ r’s s

know knowle led dge: ge:

One

character and the audience knows information which another  character in the film doesn’t know. 3. Divis ivisio ion n

betwe etween en

one

charac aracte ter’ r’s s

knowl nowle edge dge,

anoth nother  er 

character’s knowledge and the audience’s knowledge: This is when all the three people have differences in the knowledge of information 4. Voice over over narration narration techniq techniques ues (Tarek, (Tarek, 2002). 2002).

2.10. Classical or Linear Narrative: Classical narrative focuses on linear presentation and causality which in turn was accepted as the right form of art by the audience (Henderson, 2008, p.2).

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In a line linear ar narr narrat ativ ive e the the view viewer er is pass passive ive and and iden identif tifie ies s with with the the main 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 many strate strategie gies s to enhanc enhance e the relati relation on of the spectato spectatorr with with the film’s film’s protagonist. To sum up the spectator performs a non participatory role in a linear linear film film where where his/he his/herr role role ends ends with with their their identi identific ficati ation on with with the main main character of the film f ilm (Dancyger &Rush, 2006, pp.155-156). 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 generated (Lindroos, 1999, p.10). 2.11. 2.11. Post Modernism and Non Linearity:

Non linear narrative and post modernism is often discussed on a similar scale. Post 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 (Shamtoot, 2006, p.4). 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 their own way withou withoutt engage engagemen mentt to any partic particula ularr meanin meaning g (Sham (Shamtoo toot, t, 2006, pp.9-10). 2.12. Non Linear Narratives: Narratives structures in films play a very significant role in stirring up different emotions in the spectator. Depending on the type of narrative either emotions 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 t o arrange fragmented imag images es and and seco second ndary ary visu visual als. s. Thou Though gh fragm fragmen ente ted d imag images es or acti action ons s produces a feeling of disruption of continuity these non linear narratives have the the abil ability ity to expl explai ain n real reality ity (Lin (Lindr droo oos, s, 1999 1999,, p.17 p.17). ). A mode modern rn film film is an independe independent nt entity composed composed of discontinu discontinued ed images, images, disturbed disturbed time and space with no central core and focuses on a viewer. viewer. A film presented presented in a non linear linear form form offer offers s the variou various s perspe perspectiv ctives es to the viewer viewer (Lindr (Lindroos oos,, 1999, 1999, p.19). Fictional narrative according to David Bordwell is the “process whereby the film’s syuzhet [plot] and style interact in the course of cueing and channelling the specta spectator’s tor’s constr construct uction ion of the fabula fabula [story [story]”. ]”. Non linear linear presen presentat tation ion 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 eith either er be shor shorte tene ned d or deal dealtt with with in deta detail il or the the sequ sequen ence ce of narr narrat atio ion n changed to suit the situation. However, non linear presentations have one major disadvantage. The presentation’s progression is changed at decision points leading to a feeling of dissatisfaction in the viewer and a thought that they have missed some important parts of the presentation. To avoid this in

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non linear linear presen presentat tation ions s the cohere coherence nce of the data data discus discussed sed shoul should d be maintained by making inherent decisions (Schneider, (Schneider, Bleimann, Harriehausen & Phippen, 2006, p.2). The possib possibili ilitie ties s that that non non linear linear narrat narrative ives s offer offer are endle endless ss with with infini infinite te variation of time space elements either moving backward or forward or time and and spac space e unit unitin ing g them them in to one one sing single le enti entity ty.. It was was beli believ eved ed that that one one needed to have a lot of narrative intelligence to create interactive and nonlinear stories and films. Non linearity has been in use right from the year 1929 when the first non linea linearr film film hit hit the the thea theatr tres es (Dan (Dancyg cyger er &Rus &Rush, h, 2006 2006,, p.15 p.154) 4).. Non Non line linear  ar  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 linear narrative structures. 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 techniques offer the viewer endless possibilities to comprehend the story in 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 films films now come come with with comple completely tely disorg disorgani anised sed linear linear narra narrative tive struct structure ure.. Sometime spectators are confused and surprised by the order of the events presented (Lindroos, 1999, p.10). 2.13. Linear Vs. Non Linear Narratives in Fictional Films: There There are certai certain n advant advantage ages s about about non-lin non-linear earity ity.. Traditio raditional nal or classi classical cal narrative is sometimes felt as being very stifling while non linear narratives are

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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 importance of traditional narrative can’t be overlooked. The classical narrative offers a storyteller the method to order ideas and appeal to the artistic part of  the audien audience. ce. If not execut executed ed proper properly ly non linear linear narrat narrative ive might might offer offer a feeling of disorganization. Non linear narrative is unconventional style of filmmaking which doesn’t 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. In 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 quick succession. In the non linear narrative the spectator spectator can’t identify with any character 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 writer’s intensions (Dancyger &Rush, 2006, p.160).

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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 forwa forward rd.. Howe Howeve verr, the the goal goal may may or may may not not be pres presen entt in a non non line linear  ar  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 audience keeps on expecting some kind of dialogues in relation to the matter. 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 which propels the movie forward (Dancyger &Rush, 2006, pp.160-161). 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 (Dancyger &Rush, 2006, p.161). 2.14. Issues in Non Linear Narratives: 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 unifying force in a non linear narrative moulding together different stories in 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  plot and insignificant focus on characters (Dancyger &Rush, 2006, p.162). The Issue of Involvement: In volvement: 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 spectators. Such a lack of involvement of the spectator subsequently leads to bore boredo dom. m. To prev preven entt this this in the the movi movie e Pulp Pulp Fict Fictio ion n dial dialog ogue ues, s, plot plot and and exaggeration techniques were followed. Since these were fresh techniques 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 voice or incorporating techniques not tried by others (Dancyger &Rush, 2006, 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 stor y 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. 2.15. Non-Linear Editing: With the advent of computers editing in films have become an easy task with the comput computers ers gener generati ating ng narra narrative tives s easily easily and perfor performin ming g the decisi decision on 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 video is easily accessible (Browne, 1998, p.3). In the Michae Michaell Brandt Brandt projec projectt about about ‘Trad ‘Traditi itiona onall Film Film Editin Editing g vs Electr Electroni onic c Nonlinear Nonlinear Film Editing: Editing: A Comparison Comparison of Feature Feature films’ films’ he compares compares the two different forms of editing in six different different films. In this study Brandt argues that ‘the ‘the editi editing ng of the the thre three e film films s cut cut elec electro troni nica cally lly.. Ther There e are are stat statis istic tical ally ly 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 Hollywood films)…’ (Brandt, 1994). In the present age there has been a shift from traditional editing to a nonlinear, electronic editing system such as Montage or EditDroid. Films which were were edite edited d non non linear linearly ly were were has has shorte shorterr shot shot length lengths, s, used used doubl double e the number of opticals and had a unique dialog sequences which relied more on alternate images rather than on the speaker of listener in the scene. On an average it was found that 5.15 seconds as the shot time in traditional cut films

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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 aver averag age e view viewer er take takes s any anywher where e betw betwee een n 0.5 0.5 to 3 seco second nds s to real really ly 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 compre comprehen hend d the shot. shot. This This would would lead lead to the viewer viewer under understa standi nding ng 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 in the proceedings of the film. It becomes very easy to use optical transitions in electronic non linear editing techniques and subsequently transition effects such as wipes and fades are used frequently in the editing technique. Studies have proven that such transitions appear in around 3.10% of shots compared to their occurrence of 1.56% in traditionally cut films. The increased 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 system systems. s. Not only these transi transitio tions ns but more more comp compute uterr effec effects ts would would be utilized during electrical editing due to the ease of its use. 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 tradi traditio tiona nally lly edit edited ed film films s had had more more comp comple lex x dial dialog ogue ue stru struct ctur ures es than than

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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 synchronized by the electronic systems. Also electronically edited films show 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 to the traditional ones (Brandt, 1994). 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: 

The narrative should be coherent and should be held together or made 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 device or tool which makes the narrative coherent.



The The ener energy gy of the the film film is impo importa rtant. nt. Thou Though gh gang gangst ster er films films have have tremendous energy due to its plot structure in Pulp Fiction there is no significant plot. There are three stories and they are not presented chrono chronolog logica ically lly.. The plot plot is concen concentra trated ted in the second second story story.. The energy to propel the film Pulp Fiction comes from its dialogue and camera movement (Dancyger, 2007, p.417-418).

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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 were unde unders rsto tood od.. Base Based d on the the lite litera ratu ture re and and for for the the purp purpos oses es of this this rese resear arch ch I plan plan to stud study y the the proc proces ess s of rese resear arch ch and and deve develo lopm pmen ent, t, the 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 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 considered to be an influential film. It can be safely said that Pulp Fiction 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. Based on the analysis I would comprehend how the characteristics of non linear linear narrat narrative ives s are used in these these films. films. I would would also also analys analyse e how nonlinea linearit rity y emer emerge ged d in fict fictio iona nall film films s and and what what were were the the main main caus causes es and and influences of its appearance. I will also focus on the development of the elements of nonlinearity and the expansion of this type of narration based on these films. I will examine the style and learn the main characteristics that make nonlinear  narrat narrative ive so distin distincti ctive ve throug through h a profou profound nd resear research ch of the autho authors rs and directors who used the nonlinear technique in the films. I also intend to verify

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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 thei theirr pers perspe pect ctiv ive es abo about the the film films s I will will stud study y the the tech techn niqu iques and method methodolo ologie gies s used. used. I would would also also conce concentr ntrate ate my effort efforts s on the editin editing g techniques, camera angles and shots used in this film. I cannot study or make a paper on nonlinear narrative, without focussing my study on other relevant 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 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. As Michael 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, 1988:83). As a result, all these elements articulate with each other and with the film narrative. Work Workin ing g on this this proj projec ect, t, woul would d prov provid ide e me with with grea greatt know knowle ledg dge e and 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. Don’t Look Now- Nicholas Roeg (1973) 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 loss loss they they move move to Venic enice e wher where e Suth Suther erla land nd an arch archite itect ct by prof profes essi sion on supervises a church restoration where his wife meets two psychic sisters. During During the winter winter months months in Venice enice the coupl couple e encoun encounter ters s supern supernatu atural ral connections. A psychic sister identifies the dead daughter’s spirit. Since a killer is on loose killing young women John asks Laura to return back to Britain Britain.. Howev However er,, Laura Laura refuse refuses. s. John John also also sees sees a small small figure figure in the red raincoat that the daughter of the couple was wearing on the day of her death repeatedly. repeatedly. In a chilling climax in the closing scene John sees Laura and the two sisters, oblivious to him, pass by on a funeral barge (Dayoub, 2008). 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 elements that make it a masterpiece in its own right. 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. tragedy. The film is set in Venice

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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  unea unease se thro throug ugho hout ut the the film film as Suth Suther erla land nd sees sees vario various us imag images es whic which h convince him that his daughter is still alive. The closing scenes of the film with graphic displays of blood and violence leave a lasting impression in people’s 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, (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 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 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 watch with with the colour colour being being depict depicted ed in multi multiple ple places places such 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 experiencing a feeling of death and slowly a sense of something morbid 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  uses uses contra contrasti sting ng images images of the genera generally lly serene serene and beauti beautiful ful locale locales s of  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 sense of foreboding in the spectator. This is one highlighting feature of this non linear film (Dayoub, 2008). The film is based on the theme of fate and the non linear editing of the film height heightens ens this. this. The editin editing g style style of the movie movie is totally totally disorien disorientin ting g and distor distorted ted.. The The direct director or uses uses a lot of mirror mirror images images,, consta constant nt distra distracti ction on

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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. The film resembles a fragmented nightmare though delivered on the screen elegantly.

4.2. Pulp Fiction - Quentin Tarantino Tarantino (1994) 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 follo wed 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 stor y 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 car are are clea cleane ned. d. Jule Jules, s, his his tran transf sfor orma mati tion on and and his his talk talk abou aboutt divi divine ne 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).

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Analysis: Pulp Fiction can be stated as a film innovative in thought, concept and the style of execution was considered unique. 

The The plot plot and and the the story story are are non non line linear ar in stru struct ctur ure e and and comp comple lete tely ly disjointed with multiple narrative themes. t hemes.



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 by stopping the Honey Bunny and Pumpkin narrative in the course of  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.



Though each of these narratives deals with exclusive problems they 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 of view preventing a sense of boredom in the viewers and sustaining their interest throughout the film (English Teaching Online, 2003, pp.12).



The movie uses dialogues to the minimum and does not use this to move the plot of the film forward.



The films inculcates various post modernistic techniques in it including inter textual nature, fragmented plot and story, no clear ethical values reflected in the film, merging of low and high cultural values, no clear 

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sense of time, location and space in addition to irony (English Teaching 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 the briefcase till the end of the movie. 

Also unlike a classical narrative the film does not clearly demarcate the good and bad characters. All the characters in the films have various levels of criminality in them leading to a sense of hatred in the viewer’s 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 very indi indiff ffer eren entt trea treatm tmen entt whic which h is evid eviden entt from from the the fact fact that that sometimes violence is mixed with humour. humour.



The film’s music and costumes should be given special appreciation as they span differ different ent time period periods. s. The dialogue dialogues s in the film can be termed as the most interesting and humorous of its times.



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



The The film film defie defies s conv conven enti tion on as most most of the the scen scenes es in the the film film are are mono monolo logu gues es and and the the came camera ra is focu focuss ssed ed on the the back backsi side de of the 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 majority of them use only shot reverse shot technique. The film abounds in shots characteristic of the director Tarantino. One scene worth mentioning is the scene which focuses on Vince and Jules when

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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). 

The traditional dramatic structure is completely destroyed in the film. As an audience it was natural for them to expect the criminals to commit a crim crime e rise rise and and then then fall fall.. Howe Howeve verr, the the crim crime e scen scene e incl includ uded ed 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. In the film events are shown from the perspective of each of  the character while each character is depicted independently. independently. However, it so happens that characters overlap into other characters sometimes. In othe otherr word words s pulp pulp Fict Fictio ion n has has mult multip iple le line linear ar stor storie ies s with with thes these e overlapping with each other sometime and having a common end in a single event (Pig, 2008, pp.1-3).



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 apartment.. The costume costume change change is explained later that is due to the blood of spilling on their suits when he is accidentally killed killed in the car car. Also Also the non linear linear style style is evide evident nt from the same opening and closing scene where Jules and Vinnie declare that they

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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 technique (Wiloux, 2008, pp.1-2). 

The movie does not include a cause and effect structure and is famous for for its its styl style e of pres presen enta tati tion on,, dial dialog ogue ue and and nonnon-li line near ar appr approa oach ch (Dancyger, (Dancyger, 2007, p.415).

4.3. 21Grams- Alejandro González Iñárritu (2003) Story: The film was directed by a Mexican Director Alejandro González Iñárritu in the year year 2003 2003 foll follow owin ing g the the deat death h of his his youn young g son. son. The The film film is writt written en 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 convict and is depicted as a person with a rough character while Christina Peck acted out by Naomi Watts is a mother and ex drug user while the profes professor sor Paul Paul Rivers Rivers (Sean (Sean Penn) Penn) is suffer suffering ing from from a congen congenita itall heart heart 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  Christina’s husband and two children. Jack 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 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.

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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 when he or she she dies dies.. The The film film deal deals s with with a them theme e of the the dead dead peop people le 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 accide accident. nt. Howeve Howeverr, he is consum consumed ed by guilt guilt becaus because e of the action action.. The characters of the film have contradicting features in them. 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. However, However, it has an element of hope in it (Curry, 2003). The film doesn’t 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 film’s audience doesn’t feel the time space continuity. The film has been edited to present a fragmented narrat narrative ive presen presentat tation ion.. Specia Speciall mentio mention n should should be made made about about the films films

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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  which are deceptive and confuses the viewers (Soares, 2008).

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. The film is a mosaic of images placed non chronologically which develops in 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 from one character to another with wi th a dizzying frequency. frequency. The film imbibes modernist techniques such as non linear structure to depict fate fate,, unce uncerta rtain in iden identi tity ty of the the char charac acte ters rs and and time time.. Non Non line linear ar narr narrat ativ ive e techniques, flash forwards, repetitive loops and theme are merged together to produce an expressive film (Hahn, 2005, p.53).

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CHAPTER 5: CONCLUSION

Cinem Cinema a has a history history of techno technolog logica icall innova innovatio tions ns and creati creative ve divers diversity ity.. Cinema is a mix of various elements such as hyper realities, space and time that weaves magic over the audience in darkened cinema halls. Throug Through h the analys analysis is of releva relevant nt litera literatur ture, e, relate related d archive archives s and and articl articles es I understood the basic concepts of narratology, narration, story, elements of  narration and cinematic narration in fictional films. A narrative is a series of  events related through causuality, causuality, temporally t emporally and spatially. A film narrative not only only inc includ ludes form formal al eleme lement nts s of a sto story but but

also lso the the audie dience’ nce’s s

comprehension of the information that is presented. Narrative includes the story story and and the the way way it is pres presen ente ted. d. The The meth method od of pres presen enta tatio tion n incl includ udes es camera camera shots, shots, angle, angle, techn technolo ology gy and techni technique ques s used. used. Narrat Narrative ive film 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. A 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 (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 used in thes these e film films s by the the dire direct ctor ors. s. Afte Afterr the the analy analysi sis s certa certain in comm common on features of non linear films were comprehended.

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They are as follows: 



No conventional plot structure A 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



Actio Action n is an impo importa rtant nt elem elemen entt in the the plot plot of non non line linear ar film films s but but howeve howeverr, is not concer concerned ned about about a single single goal goal that that the chara characte cters rs pursue. Theme is also significant for the plot structure.



Dramatic unity in a non linear film is achieved by a theme and a framing action



The controlling theme defines the film’s experience while the framing action is needed to establish continuity in the story and a context of the story (Cowgill, 2003).

Afte Afterr

anal analy ysing ing

the the

film films s

the the

com common

non line linear ar

tec techniq hniqu ues and and

characteristics in these three films in particular can be listed out as follows: 

The The film films s offe offerr no sign signifi ifica canc nce e to the the trad traditi ition onal al plot plot or dram dramat atic ic structure



The films include scenes that are very aggressive in nature



The films don’t follow tradition when it comes to defining the virtues of  the characters. There is no demarcation of the good and bad in the 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



The films use a lot of imagery, imagery, images and colours



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 forwards, repetitive loops and intercuts.



Totally disoriented editing style is followed in all the t he films.



In the films a bleak and sad nature of the society is presented



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



In 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-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 understo understood od that that non linear linear narrat narrative ive has changed changed cinema cinema into an immersive narrative space where the viewer becomes the camera person and editor editor.. Non linear linear narrat narrative ives s have have create created d a sensa sensatio tion n and and revolu revolutio tioniz nized ed fictional film making with their unique plot, dialogue delivery, delivery, tone and story. story. In its pursuit of excellence non linear narratives have been immensely helped by the the non non linea linearr editi editing ng tech techni niqu ques es.. Non Non line linear ar edit editin ing g brea breaks ks away away the 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 itself might be placed anywhere in the movie to create an interest in the 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 an easy to perform operation for editor (Browne, 1998, p.2). The linear or traditional story is now considered outdated. However, 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.

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LIST OF REFERENCES: Antulov, D. (2004) 21 Grams Review [Internet], Available from: [Accessed 26 January 2008]. Curry, W. (2003) BASIC: An interview with   21 Grams screenwriter [Internet], Available from: /Interviews/gaint.html> [Accessed 26 January 2008]. Dancyger, Dancyger, K. and Rush, J. (2006) Alternative Scriptwriting. 4th ed. Oxford, Focal Press. Dancyger, K. (2007) The Technique Technique of Film and Video Editing. Editing . 4th ed. Oxford, Focal Press.

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Movie Revi eview Daya ayaoub, T. (20 (2008) Mov [Int Internet], Available fro from: > [Accessed 26 January 2008]. Derm Derman ansk sky y, M. (200 (2008) 8) 21 Grams [Internet], Available from: http://worldfilm.about.com/cs/sp anishfilms/fr/21grams.htm> [Accessed 26 January 2008]. Elsaessar, T. (1990) Early Cinema. London, British Film Institute. Compari paring ng a conv conve entio ntiona nall and Engl Englis ish h Teach eachin ing g Onli Online ne (200 (2003) 3) Com unconv unconvent ention ional al film narrat narrative ive:: Pulp Pulp Fictio Fiction n and Seven Seven [Internet], Available from: [Accessed 26 January 2008]. Favero, D.D. (2001) Expanded Cinematic Forms of Narration [Internet], Avai Availa labl ble e from from:: [Accessed 26 January 2008]. Fuery, P. (2000) New Developments in Film Theory. London, Macmillan Press Film Reference (2008) Defining Film Narrative [Internet], Available from: < http://www.filmreference.com/encyc http://www.filmreference.com/encyclopedia/Independent-Film-Roa lopedia/Independent-Film-RoaddMovies/Narrative-DEFINING-FILM-NARRA Movies/Narrative-DEFINING-FILM-NARR ATIVE.html> [Accessed 26 January 2008]. Hahn, R. (2005) 21 Grams. Film Quarterly. Quarterly. 58 (3). Spring. Henderson, T. (2008) Classic Film Narrative and Flying with Pigs: What Have we been Missing? [Internet], Available from: [Accessed 26 January 2008]. Knudsen, E. (1996) Types of Emotion and Classical Narrative Mechanisms. In: Society for Cinema Studies Conference, March 8, 1996, Texas. Kelly, T.R. (2008) Nicolas Roeg: A Magician in Exile [Internet], [Internet], Available Available from: > [Accessed 26 January 2008 Lindroos, K. (1999) Non-Linear Narrative As a Form of Political Action: Viewi Viewing ng Chris Chris Marker’ Marker’s s Film Film Sans Sans Soleil Soleil [Intern [Internet] et],, Avail Availabl able e from: from: [Accessed 26 January 2008] Manovich, L. (2001) The Language of New Media. Cambridge, MIT Press.

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Don’t Look Now Moria (2008) [Internet], Available from: [Accessed 26 January 2008]. Soares, A (2008) 21 Grams (2003) [Internet], Available from: [Accessed 26 January 2008]. Tarek, O.A. (2002) Notes on Narrative Disclosure in Film [Internet], Available from: