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Narrative technique
Nonlinear narrative, disjointed narrative, or disrupted narrative is a narrative technique where events are portrayed, for example, out of chronological order or in other ways where the narrative does not follow the direct causality pattern of the events featured, such as parallel distinctive plot lines, dream immersions or narrating another story inside the main plot line. The technique is common in electronic literature, and particularly in hypertext fiction, and is also well established in print and other sequential media.

Defining nonlinear structure in film is, at times, difficult. Films may use extensive flashbacks or flashforwards within a linear storyline, while nonlinear films often contain linear sequences. Orson Welles' Citizen Kane (1941)—influenced structurally by The Power and the Glory (1933)—and Akira Kurosawa's Rashomon (1950) use a non chronological flashback narrative that is often labeled nonlinear.

Experimentation with nonlinear structure in film dates back to the silent film era, including D. W. Griffith's Intolerance (1916) and Abel Gance's Napoléon (1927). Nonlinear film emerged from the French avant garde[5] in 1924 with René Clair’s Entr'acte, Dadaïst film and then in 1929 with Luis Buñuel and Salvador Dalí's Un Chien Andalou (English: An Andalusian Dog). The surrealist film jumps into fantasy and juxtaposes images, granting the filmmakers an ability to create statements about the Church, art, and society that are left open to interpretation. Buñuel and Dalí's L'Âge d'Or (1930) (English: The Golden Age) also uses nonlinear concepts. The revolutionary Russian filmmakers Sergei Eisenstein, Vsevolod Pudovkin, and Alexander Dovzhenko also experimented with the possibilities of nonlinearity. Eisenstein's Strike (1925) and Dovzhenko's Earth (1930) hint at a nonlinear experience. English director Humphrey Jennings used a nonlinear approach in his World War II documentary Listen to Britain (1942). Godard's Week End (French: Le weekend) (1968), as well as Andy Warhol's Chelsea Girls (1966), defy linear structure in exchange for a chronology of events that is seemingly random. Alain Resnais experimented with narrative and time in his films Hiroshima mon amour (1959), L'Année dernière à Marienbad (1961), and Muriel (1963). Federico Fellini defined his own nonlinear cinema with the films La Strada (1954), La Dolce Vita (1960), 8½ (1963), Fellini Satyricon (1969), and Roma (1972), as did Soviet filmmaker Andrei Tarkovsky with his modernist films Solaris (1972), The Mirror (1975) and Nostalghia (1983). Nicolas Roeg's films, including Performance (1970), Walkabout (1971), Don't Look Now (1973), The Man Who Fell to Earth (1976), and Bad Timing (1980) are characterized by a nonlinear approach. Other mainstream nonlinear filmmakers include Michelangelo Antonioni, Peter Greenaway, Chris Marker, Theo Angelopoulos, Agnès Varda, Raúl Ruiz, Carlos Saura, Alain Robbe Grillet. In the United States, Robert Altman carried the nonlinear motif in his films, including McCabe & Mrs. Miller (1971), Nashville (1975), The Player (1992), Short Cuts (1993), and Gosford Park (2001). Woody Allen embraced the experimental nature of nonlinear narrative in Annie Hall (1977), Interiors (1978), and Stardust Memories (1980).

In the 1990s, Quentin Tarantino influenced a tremendous increase in the popularity of nonlinear films most notably Pulp Fiction (1994). He also used nonlinear narrative in Reservoir Dogs (1992), Kill Bill (2003 and 2004) and The Hateful Eight (2015). Critics have referred shifting of timeline as Tarantino effect. Richard Linklater used nonlinear narrative in Waking Life (2001), A Scanner Darkly (2006); Gus Van Sant in Elephant (2003), Last Days (2005), and Paranoid Park (2007). Alejandro González Iñárritu's film Babel is an example of fragmented narrative structure. Hong Kong auteur Wong Kar wai explored nonlinear storylines in the films Days of Being Wild (1991), Ashes of Time (1994), Chungking Express (1994), In the Mood for Love (2000), and 2046 (2004). Fernando Meirelles in City of God and The Constant Gardener. Some of Alejandro González Iñárritu's films feature nonlinear narratives, including the ones written by Guillermo Arriaga who also uses nonlinear narratives in his other screenplays. Charlie Kaufman is also known for his fondness of nonlinear storytelling as applied in Adaptation and Eternal Sunshine of the Spotless Mind. Takashi Shimizu's Japanese horror series, Ju on, brought to America as The Grudge, is also nonlinear in its storytelling (the only exception being The Grudge 3). Director Martin Koolhoven has made more movies with a nonlinear narrative, but the most notorious one is probably his controversial western Brimstone, which premiered in the 2016 Venice Film Festival. Director Vetrimaaran made the Tamil language thriller film Vada Chennai (2018) which has a nonlinear narrative structure. Another Tamil language film, Iravin Nizhal (2022), has a single shot non linear structure. Friend of the World (2020) is broken up into chapters, which has a nonlinear plot.

In American television, there are several examples of series that make use of nonlinear narrative in different forms and for different purposes. Some notable examples are Lost, Undone, Breaking Bad, The Walking Dead, Once Upon a Time, The Witcher, Arrow, Orange Is the New Black, and True Detective. Even though it is often found in drama, some comedy shows use nonlinear narrative too, such as Arrested Development and How I Met Your Mother. This kind of narrative is used in several ways. Some series only have certain nonlinear episodes, such as Penny Dreadful and The Leftovers. Others use nonlinear storylines throughout the whole series, such as Lost and Arrow. Other series use nonlinear narrative in the beginning of a season and then explore the past until they meet, such as Damages and Bloodline.

Some television series use nonlinear narrative in certain episodes to fully explore an important part of the main characters' past. An example is Showtime's horror drama Penny Dreadful, which features one episode per season that is entirely devoted to exploring key moments in Vanessa Ives' (Eva Green) past. Another example is HBO's drama The Leftovers, whose ninth episode is set in the past and explores the lives of the main characters before the critical event that drives the story took place. Fox's sci fi series Fringe, the Amazon original comedy drama Transparent and the Netflix original comedy Grace and Frankie use this technique only in certain episodes too.

There are certain television series that use nonlinear narrative to explore the past or future of one or various characters throughout its whole run. The ABC television series Lost made extensive use of nonlinear story telling, with each episode typically featuring a primary storyline on the island as well as a secondary storyline from another point in a character's life, either past or future. So does The CW's series Arrow which, in every episode, features a storyline following the life of Oliver Queen (Stephen Amell) stranded in an island and a main storyline five years later in which he goes back home and decides to become a vigilante. Using a similar storytelling technique, Netflix's original series Orange Is the New Black explores the lives of the main characters in prison and also some important part of their past before they became inmates. Another example is FX's horror drama series The Strain.