Topography of a dream, or some features of nonlinear narrative by Saulius Keturakis

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Reading the Apocalypse with Christopher Nolan: Story and Narrative, Time and Space by Jamie Davies

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Juri Lotman, Gilles Deleuze and their approaches to cinema: Points of intersection by Mihael Konstantinov

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Postmodernist Play within Different Text Levels in There But For The by Ali Smith by G. I. Lushnikova, T. Iu. Osadchaia

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21W.765J / 21L.489J / CMS.845J Interactive and Non-Linear Narrative: Theory and Practice, Spring 2006 by Coleman, Beth

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‘A man of violent and ungovernable temper’: can fiction fill silences in the archives? by Collins, K

“…In this essay I deploy a mixture of nonlinear narrative and theoretical writing to explore the argument that creative ways of responding to archival silences illuminate, and also complicate, our attempts to recover women’s lives from obscurity. …”

Experiencing Life as Cinematic Fiction by Gemma Fantacci

“…Széman uses the hero’s journey trope and the principles of the gaiden, a nonlinear narrative used in manga and anime, to investigate the discrepancies occurring at the spectator-screen nexus «when journeying through an elusive multiplanar reality» (Széman 2018). …”
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CROSSING BRIDGES, DEVELOPING HYPERREALITY: BILINGUAL EPIGRAPHS IN THE NOVEL "THE GILDED AGE, A TALE OF TODAY" (1873) BY S. CLEMENS AND CH. D. WARNER by KAZAKOVA LYUDMYLA NIKOLAYEVNA

“…Klemens) and Ch.D.Worren as one of the first works in which multiple bilingual epigrafs developed Hypertextual relations, in the modern sense of hypertext as a nonlinear narrative.</font>…”
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Hypertextual innovation in Evgenios Trivizas' The 88 Dolmadakia by Papailia Artemis G.

“…This modern Greek literary work distinguishes itself through a nuanced blend of text and illustration, offering a nonlinear narrative structure that hinges on reader participation and metafictional techniques. …”
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A Comparative Study of the Plot in the Stories of "Malone Dies" and "The Blind Owl" Relying on the Components of Surrealism by Zahra Koushki, Mohammad Khosravishakib, Safiyeh Moradkhani, Mohammad reza Roozbeh

“…The narrator may present the events in the same order in which they occurred; That is, the order of the calendar, in which case the narration of the story is direct and linear or he can quote them without order; "That is, the non-calendar order, which in Genet's term is called apocalyptic, creates a nonlinear narrative" (Shakeri, 2016: 206-223). Creating a wonderful atmosphere is another type of surrealist component that has a direct effect on the plot in the stories in question: "The last night I went for a walk like every night was windy and rainy and thick fog covered around Was. …”
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Siren City: Sound and Source Music in Classic American Noir, by Robert Miklitsch by James A. Wren

“…Unsettlingly ambiguous, oft-times nonlinear narratives; dialogue-driven actions announcing acts of violence among a barrage of stark, angular shadows; isolating metropolises, beautiful and scheming women, and their ensuing battles against all odds—if not to rise above, then to survive until sunrise: whether in unison or discord, these elements both inscribe and orchestrate the very measures through which a unique body of films (and their literary antecedents) are interpreted. …”
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Time Maps: Theory and Method by Sean A. Yeager

“…I consider how time maps can advance narrative theory by visualizing nonlinear narration and by highlighting the affordances of different media. …”
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Beyond “toolness”: Korsakow documentary as a methodology for plurivocal interventions in complexity by https://doi.org/10.33178/alpha.15.03

“…Central research questions include the role that polyvocality and algorithmic editing play in Korsakow, its specific embracement of contingency and its probing of nonlinear narratives. The answers provided through the analysis of the case study lead to the conclusion that Korsakow is more than just a tool to promote a special purpose and/or a platform to distribute material. …”
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Chinese Speed by Xu, Daphne Y.

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Mutaciones digitales del cine documental. Espacio narrativo e interacción en el webdocumental contemporáneo: Prison Valley (Upian/arte, 2010) by Roberto Arnau Roselló

“…Abstract: The current development of multimedia nonlinear narratives has led to an exponential increase in content production interactive documentaries that try to explore the expressive potential of digital tools. …”
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