Matches in DBpedia 2016-04 for { ?s ?p "Hyperlink cinema is a term coined by author Alissa Quart, who used the term in her review of the film Happy Endings (2005) for the film journal Film Comment in 2005. Film critic Roger Ebert popularized the term when reviewing the film Syriana in 2005. These films are not hypermedia and do not have actual hyperlinks, but are multilinear in a more metaphorical sense.In describing Happy Endings, Quart considers captions acting as footnotes and split screen as elements of hyperlink cinema and notes the influence of the World Wide Web and multitasking. Playing with time and characters' personal history, plot twists, interwoven storylines between multiple characters, jumping between the beginning and end (flashback and flashforward) are also elements. Ebert further described hyperlink cinema as films where the characters or action reside in separate stories, but a connection or influence between those disparate stories is slowly revealed to the audience; illustrated in Mexican director Alejandro González Iñárritu's films Amores perros (2000), 21 Grams (2003), and Babel (2006).Quart suggests that director Robert Altman created the structure for the genre and demonstrated its usefulness for combining interlocking stories in his films Nashville (1975) and Short Cuts (1993). However, Satyajit Ray's 1962 classic Kanchenjunga has a narrative structure similar to hyperlink cinema and predates Altman's Nashville by 13 years. Ray's contemporaries Mrinal Sen and Ritwik Ghatak employed the structure in their films Calcutta 71 and Titash Ekti Nadir Naam respectively, both predating Altman's Nashville.Quart also mentions the television series 24 and discusses Alan Rudolph’s film Welcome to L.A. (1976) as an early prototype. Crash (2004) is an example of the genre, as are Steven Soderbergh's Traffic (2000), City of God (2002), Syriana (2005), and Nine Lives (2005)."@en }
Showing triples 1 to 2 of
2
with 100 triples per page.
- Hyperlink_cinema abstract "Hyperlink cinema is a term coined by author Alissa Quart, who used the term in her review of the film Happy Endings (2005) for the film journal Film Comment in 2005. Film critic Roger Ebert popularized the term when reviewing the film Syriana in 2005. These films are not hypermedia and do not have actual hyperlinks, but are multilinear in a more metaphorical sense.In describing Happy Endings, Quart considers captions acting as footnotes and split screen as elements of hyperlink cinema and notes the influence of the World Wide Web and multitasking. Playing with time and characters' personal history, plot twists, interwoven storylines between multiple characters, jumping between the beginning and end (flashback and flashforward) are also elements. Ebert further described hyperlink cinema as films where the characters or action reside in separate stories, but a connection or influence between those disparate stories is slowly revealed to the audience; illustrated in Mexican director Alejandro González Iñárritu's films Amores perros (2000), 21 Grams (2003), and Babel (2006).Quart suggests that director Robert Altman created the structure for the genre and demonstrated its usefulness for combining interlocking stories in his films Nashville (1975) and Short Cuts (1993). However, Satyajit Ray's 1962 classic Kanchenjunga has a narrative structure similar to hyperlink cinema and predates Altman's Nashville by 13 years. Ray's contemporaries Mrinal Sen and Ritwik Ghatak employed the structure in their films Calcutta 71 and Titash Ekti Nadir Naam respectively, both predating Altman's Nashville.Quart also mentions the television series 24 and discusses Alan Rudolph’s film Welcome to L.A. (1976) as an early prototype. Crash (2004) is an example of the genre, as are Steven Soderbergh's Traffic (2000), City of God (2002), Syriana (2005), and Nine Lives (2005).".
- Q3072031 abstract "Hyperlink cinema is a term coined by author Alissa Quart, who used the term in her review of the film Happy Endings (2005) for the film journal Film Comment in 2005. Film critic Roger Ebert popularized the term when reviewing the film Syriana in 2005. These films are not hypermedia and do not have actual hyperlinks, but are multilinear in a more metaphorical sense.In describing Happy Endings, Quart considers captions acting as footnotes and split screen as elements of hyperlink cinema and notes the influence of the World Wide Web and multitasking. Playing with time and characters' personal history, plot twists, interwoven storylines between multiple characters, jumping between the beginning and end (flashback and flashforward) are also elements. Ebert further described hyperlink cinema as films where the characters or action reside in separate stories, but a connection or influence between those disparate stories is slowly revealed to the audience; illustrated in Mexican director Alejandro González Iñárritu's films Amores perros (2000), 21 Grams (2003), and Babel (2006).Quart suggests that director Robert Altman created the structure for the genre and demonstrated its usefulness for combining interlocking stories in his films Nashville (1975) and Short Cuts (1993). However, Satyajit Ray's 1962 classic Kanchenjunga has a narrative structure similar to hyperlink cinema and predates Altman's Nashville by 13 years. Ray's contemporaries Mrinal Sen and Ritwik Ghatak employed the structure in their films Calcutta 71 and Titash Ekti Nadir Naam respectively, both predating Altman's Nashville.Quart also mentions the television series 24 and discusses Alan Rudolph’s film Welcome to L.A. (1976) as an early prototype. Crash (2004) is an example of the genre, as are Steven Soderbergh's Traffic (2000), City of God (2002), Syriana (2005), and Nine Lives (2005).".