Titash Ekti Nadir Naam
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| - | '''Hyperlink cinema''' is a style of filmmaking characterised by complex or multilinear narrative structures, which are used in ways that are informed by the [[World Wide Web]]. The term was coined by author [[Alissa Quart]], who used the term in her review of the film ''[[Happy Endings (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 [[hyperlink]]s, but are multilinear in a more metaphorical sense. | ||
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| - | In describing ''Happy Endings'', Quart considers captions acting as [[footnote]]s and [[Split screen (film)|split screen]] as elements of hyperlink cinema and notes the influence of the World Wide Web and [[Human multitasking|multitasking]]. Playing with time and characters' personal history, [[plot twist]]s, interwoven storylines between multiple characters, jumping between the beginning and end ([[Flashback (narrative)|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|Alejandro González Iñárritu's]] films ''[[Amores perros]]'' (2000), ''[[21 Grams]]'' (2003), and ''[[Babel (film)|Babel]]'' (2006). | ||
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| - | Quart suggests that director [[Robert Altman]] created the structure for the genre and demonstrated its usefulness for combining interlocking stories in his films ''[[Nashville (film)|Nashville]]'' (1975) and ''[[Short Cuts]]'' (1993). However, his work was predated by several films, including [[Jean Renoir]]'s ''[[The Rules of the Game]]'' (1939), [[Satyajit Ray]]'s ''[[Kanchenjungha (film)|Kanchenjunga]]'' (1962), [[Federico Fellini]]'s ''[[Amarcord]]'' (1973), and [[Ritwik Ghatak]]'s ''[[Titash Ekti Nadir Naam]]'' (1973), all of which use a narrative structure based on multiple characters. | ||
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| - | Quart also mentions the television series ''[[24 (TV series)|24]]'' and discusses [[Alan Rudolph]]'s film ''[[Welcome to L.A.]]'' (1976) as an early prototype. ''[[Crash (2004 film)|Crash]]'' (2004) is an example of the genre, as are [[Steven Soderbergh]]'s ''[[Traffic (2000 film)|Traffic]]'' (2000), ''[[City of God (2002 film)|City of God]]'' (2002), ''[[Syriana]]'' (2005) and ''[[Nine Lives (2005 film)|Nine Lives]]'' (2005). | ||
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| - | ==Analysis== | ||
| - | The hyperlink cinema narrative and story structure can be compared to social science's [[spatial analysis]]. As described by Edward Soja and Costis Hadjimichalis spatial analysis examines the "'horizontal experience' of human life, the spatial dimension of individual behavior and social relations, as opposed to the 'vertical experience' of history, tradition, and biography." English critic [[John Berger]] notes for the novel that "it is scarcely any longer possible to tell a straight story sequentially unfolding in time" for "we are too aware of what is continually traversing the story line laterally." | ||
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| - | An academic analysis of hyperlink cinema appeared in the journal ''Critical Studies in Media Communication,'' and referred to the films as Global Network Films. Narine's study examines the films ''Traffic'' (2000), ''Amores perros'' (2000), ''21 Grams'' (2003), ''Beyond Borders'' (2003), ''Crash'' (2004; released 2005), ''Syriana'' (2005), ''Babel'' (2006) and others, citing network theorist [[Manuel Castells]] and philosophers [[Michel Foucault]] and [[Slavoj Žižek]]. The study suggests that the films are network narratives that map the [[network society]] and the new connections citizens experience in the age of [[globalization]]. | ||
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| - | == See also == | ||
| - | :''[[frame tale]]'' | ||
| - | * [[Anthology film]] | ||
| - | * [[Composite film]] | ||
| - | * [[Nonlinear (arts)]] | ||
| + | '''''Titas Ekti Nadir Naam''''' ({{lang-bn|তিতাস একটি নদীর নাম}}), or '''''A River Called Titas''''', is a 1973 film that was a joint production between India and [[Cinema of Bangladesh|Bangladesh]] directed by [[Ritwik Ghatak]]. | ||
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Titas Ekti Nadir Naam (Template:Lang-bn), or A River Called Titas, is a 1973 film that was a joint production between India and Bangladesh directed by Ritwik Ghatak.
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