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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).〔Ebert, Roger (2006). ''Roger Ebert's Movie Yearbook 2007''. Andrews McMeel Publishing. p. 100. ISBN 0-7407-6157-9〕 However, Satyajit Ray's 1962 classic ''Kanchenjunga'' has a narrative structure similar to hyperlink cinema and predates Altman's ''Nashville'' by 13 years.〔http://www.amc.com/movie/1962/Kanchenjungha〕 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''.〔http://www.hindustantimes.com/photos/entertainment/iwantedtoliveritwikghatak/article4-1181084.aspx〕 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).〔 ==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."〔 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. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「hyperlink cinema」の詳細全文を読む スポンサード リンク
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