Mark Bernstein lists his Hypertext Film Festival Hall of Fame in a post about Satoshi Kon’s anime thriller, Perfect Blue. Mark’s picks:
- Perfect Blue
- Memento
- Sliding Doors
- Mulholland Drive
- Minority Report
- Run Lola Run
- Waking Life
- Nashville
I’m thinking about those movies, and what makes them hypertextual.
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Nonlinearity
Nearly all of these movies feature nonlinear narratives. I’d argue that Minority Report has a conventional, linear narrative, with portions in flashback.
It’s been awhile since I’ve watched Nashville so I can’t recall if, aside from switching between viewpoint characters, the narrative goes nonlinear.
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Multiple Viewpoints/Narratives
Minority Report and Memento have one viewpoint character.
Run Lola Run and Sliding Doors have one each, but the gimick in those films is we get to watch multiple versions of the protagonists cleave off a root timeline.
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What else?
I will add another Satoshi Kon movie to that list, Millenium Actress: a non-linear plot; and viewpoints bouncing between the actress, the characters she played in her films, and the documentarian filming an interview with her.
And while I’m at it, Charlie Kaufman does great hypertext: Adaptation and The Eternal Sunshine of the Spotless Mind also go on that list.
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