The Art of Non-Linear Storytelling in Film
Karen Han (ISB 11)
Karen Han — a certified film aficionado — develops a detailed, insightful analysis in her latest article that explores a topic dear to her heart.
With hand-crafted graphical representations of the techniques used by the most talented of directors, Karen blows us away with her expert understanding of film and its features.
God, I love a good story. Don't you? Whether we hear them from a friend or watch it on the big screen, we're all suckers for stories that will grab our attention, and hold on tightly. Now, there are many methods of storytelling, the standard way being in chronological order–the way we normally process events. However, centuries of linear narratives have fatigued both storytellers and audiences alike. That's when the norm was challenged! In the words of French-Swiss film director Jean-Luc Godard, "A story should have a beginning, a middle and an end…but not necessarily in that order," many broke the cycle of standard storytelling and began to create with a new technique in mind: non-linear narratives.
There are many types of non-linear narrative structures, but the most common three include:
Out of Chronological Order (not in chronological order)
Parallel Narratives (two or more separate narratives linked by a common character, event, or theme)
Flash-forward/Flash-back (showing future or past events)
Some of you might be asking, why might someone go through the trouble of rearranging the structure? A non-linear structure is like a puzzle — when all the pieces fit together, it can do wonders for your story and hit the audiences in all the right spots. Some benefits include:
1. Story Questions
With a non-linear structure, story questions raise questions in the mind of the audience and keeps them intrigued and engaged with the story. Other times, the audience might be given more information than the characters, which then creates opportunities for dramatic irony.
2. Characterization
The structure can be used to display the depth of a character, which helps the audience understand the choices they make. Instead of telling the audience that the character was an artist, flashbacks and other techniques can help show them instead. Non-linear structures have also been used to highlight character growth by drawing a contrast between other multiple characters or time frames.
3. Theme
Through non-linear techniques, the theme of the story can also be strengthened. Whether it's through character comparison or contrast of different time periods, using a non-linear structure can help the audience better understand the film's overall theme and message.
We’ve officially covered the basics of non-linear storytelling! One media that is especially masterful with non-linear storytelling techniques is movies. So grab some buttery popcorn and let's dive into my personal top three favorites.
PULP FICTION (1994)
Spoiler alert!
https://cdn1.img.sputniknews.com/images/102701/54/1027015432.png
Pulp Fiction, created by one of the most prolific and creative directors of our time, Quentin Tarantino, is a film that "intertwines the lives of two mob hitmen, a boxer, a gangster and his wife, and a pair of diner bandits in four tales of violence and redemption" (refer to graphic!). True to Tarantino's style, the film is told in a non-linear structure that is simply out of chronological order (structure type 1: not in chronological order) to highlight main characters, bring up story questions, and strengthen the overall theme.
There are three main stories that are intertwined throughout the film:
#1: Jules Winnfield and Vincent Vega (Two mob hitmen retrieve a suitcase for their gangster boss)
#2: Vincent Vega and Mia Wallace (One mob hitmen take his boss’s wife out on boss’s orders)
#3: Butch Coolidge (A boxer double-crosses the gangster boss and attempts to escape his boxer life)
There is a fourth story of Pumpkin and Honey Bunny (A pair of bandits attempt to rob a diner), but their story is added to Jules and Vincent’s story. Below is the sequence in which the film follows:
Made with Canva!
As you can see from the graphic, the three stories marked in purple, blue, and red are entangled. In a good old' fashioned linear structure, the film's sequence would rearrange into Jules & Vincent + Pumpkin & Honey Bunny (purple), Vincent & Mia (blue), and then Butch (red).
The film's non-linear plot highlights the morality of the main characters Jules, Butch, and Vincent. To begin, let's take a look at Vincent's character arc. Vincent is first introduced at the beginning of the movie (purple box 2) and is further elaborated on in Act Two through his story with Mia (blue box 4). During his story with Mia, he saves her from an overdose which causes the audience to become attached to him and perceive him as a kind hero. However, his abrupt death during Butch's story (red box 5) surprises the audience and leaves them with a story question: why was Vincent killed so unceremoniously? This question can be answered by Jules and Butch's character arcs.
Both Jules and Butch undergo events that free them from their gangster boss, Marsellus Wallace, but we'll primarily focus on Jules. After Jules and Vincent survive a shooting that should've killed them (purple box 6), Jules believes it was "divine intervention" and takes it as a message to get out of his life of crime (which is seen when he spares Pumpkin and Honey Bunny). Vincent, on the other hand, thought it was just a freak accident and disregards it. Then the next day, he gets killed by Butch (red box 5). From here, it is clear that Jules could've been in Vincent's place if he didn't get out when he did.
As the film's non-linear plot-line shows the audience Vincent's fate before Jules' change in character (red box 5 before purple box 6), they can immediately contextualize Vincent's decision to disregard the "miracle" (surviving the shooting that should've killed them). Jules can be seen as self-reflective as he takes the event as an opportunity to grow as a person while Vincent remains a static character and gets murdered as a consequence. Jules's ability to change from committing crimes to getting out of the crime life reflects the film's theme of redemption.
The film not only implements an original non-linear structure to engage the audience but uses it as a way to both portray and compare static and dynamic characers – for example, Jules and Vincent–to showcase profound themes and ideas. For this reason, Pulp Fiction tops as a fan-favorite and inspires storytellers (me included) from near and far!
BLUE VALENTINE (2010)
Spoiler alert!
http://www.overdose.am/wp-content/uploads/2011/03/Blue-Valentine1.jpg
Blue Valentine, directed by multi-talented director, Derek Cianfrance, is an intimate drama that authentically portrays the relationship of a contemporary couple over a span of several years. The film has a documentarian approach to naturalism (attempt to replicate a believable everyday reality) and cross-cuts between two time periods to showcase the start and end of the relationship. By utilizing a parallel narrative (structure type 2: two or more separate narratives linked by a common character, event, or theme), the film is able to show the growth of both characters and develop its theme of duality. Below is the sequence in which the film follows:
Made with Canva!
The film centers around Dean and Cindy's relationship and intertwines the past (falling in love) with the present (falling out of love). The past scenes of the couple were shot on a 50mm lens (standard lens that is similar to the view through your eyes) to give a nostalgic feeling. The characters were often positioned together in the frame to show intimacy, while a limited amount of takes kept the interactions fresh and exciting (just like the start of a relationship). In a parallel fashion, the present scenes were shot far away on a zoom lens on digital to give off a detached, artificial feeling. The characters were often tightly framed around the head or shoulders to symbolize them overthinking, being stuck in their heads, and they barely shared the same frame to reflect their detachment.
The usage of a parallel narrative illustrates the theme of duality: past vs present, man vs women, marriage vs divorce, etc. It presents two worlds — one where they fall in love and one where they fall out— which is something films about love and marriage don’t usually achieve. Cianfrances's style of switching between past and present allows the audience to see a play by play of the full relationship — both the sweet and gritty parts simultaneously. It shows the audience how Dean, once sweet and adoring, is now overcome with anger, while Cindy grows tired, uninterested, and eventually calls for a divorce. Not only does this structure authentically showcase a dying relationship, but also portrays the theme of duality that challenges the audience to think about what love means to them.
ARRIVAL (2016)
Spoiler alert!
https://www.intofilm.org/news-and-views/articles/arrival-feature
Arrival, directed by French-Canadian film director, Denis Villeneuve, is an adaption from the short story 'Story of Your Life' by Ted Chiang that centralizes on a linguist working with the military to communicate with Aliens that recently landed on Earth in twelve mysterious spacecrafts. The film uses Flash-forwards (structure type 3: showing future or past events) that are intended to be interpreted as flash-backs to create story questions, build tension, and ultimately reveal a surprising twist. Below is a character guide and the sequence in which the film follows:
Made with Canva!
The film begins with a montage of linguist Louise Banks and her daughter Hannah from when Hannah was born to when she ultimately dies of an incurable disease. The following scene shows Louise on her way to teach a class, looking disinterested and detached. By putting these two scenes side by side, the director utilizes the Kuleshov effect: the mental phenomenon in which audience members derive meaning from two back-to-back shots than from one shot in isolation. By watching a montage of a mother losing her child which is followed by her walking to class in an isolated fashion, the audience is tricked into thinking that Louise is grieving the loss of her child. This is the beginning of the film's unique non-linear structure. The film carries on, slowly cross-cutting more and more between the present and what is perceived as the "past". However, Louise's blank expressions after each "flash-back" raises story questions for the audience: why are we flashing backward, and why does Louise look confused?
The audience watches in anticipation for an answer, which is finally given at the climax of the film when Louise repeats a phrase her research partner Ian Donnelly says in the present ("non-zero sum game") in a "flash-back" scene. At this point, the audience realizes that the "flash-backs" implied by the Kuleshov effect are actually flash-forwards. This plot twist reveals that the weapon the heptapods (aliens) came to offer is actually the ability to perceive time non-linearly. True to the Sapir-Whorf hypothesis (how languages change the way you think), when Louise learned the heptapod's language, she began to perceive her life differently. The non-linear structure of the film was simply showing us the way Louise was perceiving her life non-linearly. In the end, Louise finally realizes her new power and embraces her new perception of the world, having Hannah even though she knew that her daughter was eventually going to die. Ultimately, the structure gave the film a smooth flow and was brilliantly implemented to reveal the final plot twist. After watching this film, I felt that I understood more about the importance of communication and language and received a new perception of life itself–just like Louise.
And here you have it, three film analyses to help you better understand the art of non-linear structures in films (seriously though, you have to watch these three films). If you're looking to give non-linear structures a try, whether on paper or on screen, make sure that it contributes to your story. You can always start small with flash-backs or flash-forwards and eventually put a spin on it to make it your own style. Non-linear or not, all stories are valid —so don't be afraid to tell your own.