Nashville (film)
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| - | [[Jean-Luc Godard|Jean-Luc Godard's]] work since 1959 was also important in the evolution of nonlinear film. Godard famously stated, "I agree that a film should have a beginning, a middle and an end but not necessarily in that order". Godard's ''[[Week End (1967 film)|Week End]]'' (French: ''Le weekend'') (1968), as well as [[Andy Warhol|Andy Warhol's]] ''[[Chelsea Girls]]'' (1966), defy linear structure in exchange for a chronology of events that is seemingly random. [[Alain Resnais]] experimented with narrative and time in his films ''[[Hiroshima Mon Amour]]'' (1959), ''[[Last Year at Marienbad]]'' (1961), and ''[[Muriel (film)|Muriel]]'' (1963). [[Federico Fellini]] defined his own nonlinear cinema with the films ''[[La strada (film)|La strada]]'' (1954), ''[[La dolce vita (1960 film)|La dolce vita]]'' (1960), ''[[8½]]'' (1963), ''[[Satyricon (film)|Satyricon]]'' (1969), and ''[[Roma (1972 film)|Roma]]'' (1972). [[Nicolas Roeg|Nicolas Roeg's]] films, including ''[[Performance (film)|Performance]]'' (1968), ''[[Walkabout (film)|Walkabout]]'' (1971), ''[[Don't Look Now]]'' (1973), ''[[The Man Who Fell to Earth (film)|The Man Who Fell to Earth]]'' (1976), and ''[[Bad Timing]]'' (1980) are characterized by a nonlinear approach. Other experimental nonlinear filmmakers include [[Michelangelo Antonioni]], [[Peter Greenaway]], [[Chris Marker]], [[Agnès Varda]], and [[Raúl Ruiz]]. | + | '''''Nashville''''' is a 1975 [[Cinema of the United States|American]] [[musical film]] directed by [[Robert Altman]]. A winner of many awards, selected for preservation in the United States National Film Registry, ''Nashville'' is generally considered to be one of Altman's best films. |
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| - | In the United States, [[Robert Altman]] carried the nonlinear motif in his films, including ''[[McCabe & Mrs. Miller]]'' (1971), ''[[Nashville (film)|Nashville]]'' (1975), ''[[The Player]]'' (1992), ''[[Short Cuts]]'' (1993), and ''[[Gosford Park]]'' (2001). [[Woody Allen]] embraced the experimental nature of nonlinear narrative in ''[[Annie Hall]]'' (1977), ''[[Interiors]]'' (1978), and ''[[Stardust Memories]]'' (1980). | + | |
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| - | ===1990s and 2000s=== | + | |
| - | In the 1990s, [[Quentin Tarantino]] influenced a tremendous growth in nonlinear films with ''[[Pulp Fiction (film)|Pulp Fiction]]'' (1994). Other important nonlinear films include [[Atom Egoyan|Atom Egoyan's]] ''[[Exotica (film)|Exotica]]'' (1994), [[Terrence Malick|Terrence Malick's]] ''[[The Thin Red Line (1998 film)|The Thin Red Line]]'' (1998), [[Paul Thomas Anderson|Paul Thomas Anderson's]] ''[[Magnolia (film)|Magnolia]]'' (1999), and Karen and [[Jill Sprecher|Jill Sprecher's]] ''[[Thirteen Conversations About One Thing]]'' (2001). [[David Lynch]] experimented with nonlinear narrative and [[surrealism]] in ''[[Lost Highway]]'' (1997), ''[[Mulholland Drive (film)|Mulholland Dr.]]'' (2001), and ''[[Inland Empire (film)|Inland Empire]]'' (2006). | + | |
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| - | Into the 2000s, some filmmakers have returned to the use of nonlinear narrative repeatedly. [[Steven Soderbergh]] in ''[[Schizopolis]]'' (1996), ''[[Out of Sight]]'' (1998), ''[[The Limey]]'' (1999), ''[[Full Frontal (film)|Full Frontal]]'' (2002), ''[[Solaris (2002 film)|Solaris]]'' (2002), and ''[[Che (film)|Che]]'' (2008). [[Christopher Nolan]] in ''[[Following (film)|Following]]'' (1998), ''[[Memento (film)|Memento]]'' (2001), and ''[[The Prestige (film)|The Prestige]]'' (2006). ''Memento'', with its fragmentation and [[reverse chronology]], has been described as characteristic of moving towards [[postmodernism]] in contemporary cinema. [[Richard Linklater]] used nonlinear narrative in ''[[Slacker (film)|Slacker]]'' (1991), ''[[Waking Life]]'' (2001), and ''[[A Scanner Darkly (film)|A Scanner Darkly]]'' (2006); [[Gus Van Sant]] in ''[[Elephant (film)|Elephant]]'' (2003), ''[[Last Days (film)|Last Days]]'' (2005), and ''[[Paranoid Park (film)|Paranoid Park]]'' (2007). Hong Kong auteur [[Wong Kar-wai]] explored nonlinear storylines in the films ''[[Days of Being Wild]]'' (1991), ''[[Ashes of Time]]'' (1994), ''[[Chungking Express]]'' (1994), ''[[In the Mood for Love]]'' (2000), and ''[[2046 (film)|2046]]'' (2004). [[Fernando Meirelles]] in ''[[City of God (film)|City of God]]'' and ''[[The Constant Gardener (film)|The Constant Gardener]]''. All of [[Alejandro González Iñárritu]]'s films to date feature nonlinear narratives. [[Takashi Shimizu|Takashi Shimizu's]] Japanese horror series, ''[[Ju-on]]'', brought to America as ''[[The Grudge]]'', is also nonlinear in its storytelling. | + | |
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| - | ==Television== | + | |
| - | Japanese [[anime]] series sometimes present their plot in nonlinear order, for example, ''[[The Melancholy of Haruhi Suzumiya (anime)|The Melancholy of Haruhi Suzumiya]]'', ''[[Yami to Bōshi to Hon no Tabibito]]'', ''[[Touka Gettan]]'', and (partly) ''[[Boogiepop Phantom]]'', ''[[Ergo Proxy]]'' and ''[[Fullmetal Alchemist]]''. | + | |
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| - | The [[American Broadcasting Company|ABC]] television series ''[[Lost (TV series)|Lost]]'' makes extensive use of nonlinear story telling, with each episode typically featuring a primary storyline on the island as well as a secondary storyline from another point in a character's life, either past or future. | + | |
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| - | [[FX (TV channel)|FX]]'s [[Emmy Award]] winning legal drama [[Damages]] starring [[Glenn Close]], begins each season with an intensely melodramatic event taking place and then traveling back six months earlier. Throughout the season, each episode shows events both in the past, present, and future that lead up to and follow said event. | + | |
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| - | The English sitcom [[Coupling]] would often utilize non-linear narratives in which groups of men and women would independently discuss an event, after which (or during) the event would be portrayed. | + | |
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| - | ==Video games== | + | |
| - | In [[video games]], the term nonlinear refers to a game that has more than one possible story line and/or ending. This allows the audience to choose from multiple different paths, that may be compatible with their style of play. This increases replay value, as players must often beat the game several times to get the entire story. [[Computer role-playing game]]s, e.g. ''[[Fallout (video game)|Fallout]]'', often contain multiple paths which the player may choose from the beginning of the game. An example of this is Sega's spin-off game, "Shadow the Hedgehog". | + | |
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| - | Some video games mimic film non-linearity by presenting a single plot in chronologically distorted way instead of letting the player determine the story flow themselves. The [[first-person shooter]] ''[[Tribes: Vengeance]]'' is an example of this; another is Sega's "Sonic Adventure". | + | |
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| - | Often times game developers use the idea of character amnesia in games. Character amnesia helps give a game a beginning because the audience only has the understanding that there is a preceding history before the events of the game take place. The characters amnesia allows the developers more leniency with what possibilities or paths the audience can potentially take. This option of choosing paths ultimately results in the development of a non-linear story. Furthermore by creating a nonlinear story line the complexity of game play is greatly expanded. As stated earlier, non-linear game play allows for greater replay value which grants the player to put together the different pieces of a potentially puzzling storyline. This idea of having a complex and deep storyline while the user has little or no prior knowledge of past events is clearly evident in games like Facade. In Facade the player is put into a situation that lasts approximately 10 to 15 minutes in real time yet the events recalled seem to have a basis in years of dramatic history. | + | |
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| - | ==HTML Narratives== | + | |
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| - | In contemporary society webpages or to be more correct, hypertexts, have become affluent forms of narratives. Hypertexts have great potential to create non-linear forms of narratives. They allow for individuals to actually interact with the story through links, images, audio and video. An established hypertext narrative is Public Secret. Public Secret illustrates the reality of being incarcerated in California's Criminal Justice System. It brings to light the way inmates are treated. This functions as a non-linear narrative because it allows for its audience to witness through text and audio the reality of being a female inmate. However, there is no exact beginning or end as there are in comic books or video games. This website consists of multiple subtopics that do not force the audience to make their next selection based on what their previous experiences. | + | |
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| - | ==See also== | + | |
| - | * [[Stream of consciousness writing|Stream of consciousness]] | + | |
| - | * [[Metafiction]] | + | |
| - | * [[Experimental fiction]] | + | |
| - | * [[Metacognition]] | + | |
| - | * [[Time]] | + | |
| - | * [[Sequence]] | + | |
| - | * [[Chronology]] | + | |
| - | * [[Wheel of time]] | + | |
| - | * [[Time in physics]] | + | |
| - | * [[Anachronistic]] | + | |
| - | * [[Change]] | + | |
| - | * [[List of cycles]] | + | |
| - | * [[Duration]] | + | |
| - | * [[Exponential time]] | + | |
| - | * [[Multilinear]] | + | |
| - | * [[Sense of time]] | + | |
| - | * [[Spacetime]] | + | |
| - | * [[Hyperlink cinema]] | + | |
| - | * [[Hypertext fiction]] | + | |
| + | The film takes a snapshot of people involved in the [[country music]] and [[gospel music]] businesses in [[Nashville, Tennessee]]. It has 24 main characters, an hour of musical numbers, and multiple storylines. The characters' efforts to succeed or hold on to their success are interwoven with the efforts of a political operative and a local businessman to stage a concert rally before the state's presidential primary for a [[populist]] outsider running for [[president of the United States]] on the Replacement Party ticket. In the film's final half-hour, most of the characters come together at the outdoor concert at the [[Parthenon (Nashville)|Parthenon in Nashville]]. | ||
| + | The large [[ensemble cast]] includes [[David Arkin]], [[Barbara Baxley]], [[Ned Beatty]], [[Karen Black]], [[Ronee Blakley]], [[Keith Carradine]], [[Geraldine Chaplin]], [[Robert DoQui]], [[Shelley Duvall]], [[Allen Garfield]], [[Henry Gibson]], [[Scott Glenn]], [[Jeff Goldblum]], [[Barbara Harris (actress)|Barbara Harris]], [[David Hayward (actor)|David Hayward]], [[Michael Murphy (actor)|Michael Murphy]], [[Allan F. Nicholls]], [[Cristina Raines]], [[Bert Remsen]], [[Lily Tomlin]], [[Gwen Welles]], and [[Keenan Wynn]]. | ||
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Nashville is a 1975 American musical film directed by Robert Altman. A winner of many awards, selected for preservation in the United States National Film Registry, Nashville is generally considered to be one of Altman's best films.
The film takes a snapshot of people involved in the country music and gospel music businesses in Nashville, Tennessee. It has 24 main characters, an hour of musical numbers, and multiple storylines. The characters' efforts to succeed or hold on to their success are interwoven with the efforts of a political operative and a local businessman to stage a concert rally before the state's presidential primary for a populist outsider running for president of the United States on the Replacement Party ticket. In the film's final half-hour, most of the characters come together at the outdoor concert at the Parthenon in Nashville.
The large ensemble cast includes David Arkin, Barbara Baxley, Ned Beatty, Karen Black, Ronee Blakley, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, David Hayward, Michael Murphy, Allan F. Nicholls, Cristina Raines, Bert Remsen, Lily Tomlin, Gwen Welles, and Keenan Wynn.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Nashville (film)" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
