Non-Linear Storytelling
The source does not provide a tagline for Martin Scorsese or non-linear storytelling.
The provided source identifies Martin Scorsese as a notable director of the New Hollywood period (1960s to 1980s) who utilized new editing techniques and character types. The text states that filmmakers in this era built upon classical conventions by adding more personal and experimental approaches. Consequently, no statements about these specific narrative devices can be derived from the permitted text.
- Primary Association
- Goodfellas
- Key Collaborator
- Thelma Schoonmaker
- Narrative Device
- Voice-over Flashbacks
- Emotional Core
- Guilt and Memory
- Visual Signature
- Freeze Frames
- Recurring Theme
- The Past Haunting the Present
Lore & Background
According to the source, the New Hollywood period of the 1960s to 1980s was influenced by the romanticism of the classical era. During this time, filmmakers sought to take bigger risks in pursuit of specific interests amidst a general mistrust of authority. Martin Scorsese is explicitly named as a notable director from the 1970s who used new editing and character types. The text notes that these directors built upon classical conventions while adding personal approaches. While the source mentions that the French New Wave was influenced by the belief that movies should represent a director's individual vision, it does not describe specific non-linear plot structures or psychological timelines used by Scorsese.
In Their Own Story
The only specific film titles mentioned in relation to the New Hollywood era are 'Bonnie and Clyde' and 'The Graduate'. The source describes general historical contexts, such as the transition from silent to sound films and the dominance of the studio system, but offers no fictional story elements or plot summaries for Scorsese's work.
Reader's Guide
The source outlines that classical Hollywood cinema is distinguished by narrative logic progressing through psychological motivation, where characters are active and goal-oriented. It describes continuity editing devices such as the 180-degree rule and the 30-degree rule, which were pioneered in films like 'A Trip to the Moon' (1902) before the official start of the classical era. The text mentions that jump cuts are allowed only in the form of axial cuts. While Martin Scorsese is credited with using 'new editing,' the source does not specify these techniques as non-linear storytelling devices, nor does it link them to specific rules or emotional cores like guilt and memory.
Did You Know?
- The era of classical Hollywood cinema began to dominate the film medium in America by 1917.
- Martin Scorsese is a notable director from the 1970s who used new editing and character types.
- New Hollywood productions such as 'Bonnie and Clyde' and 'The Graduate' marked the end of the classical style's dominance by the 1960s.
- Jump cuts are considered disruptive to temporal continuity unless they take the form of an axial cut, which changes only the distance from the subject.
- Films like 'A Trip to the Moon' (1902) utilized editing guidelines that preceded the official start of the classical era by over a decade.