Titash Ekti Nadir Naam
Ritwik Ghatak
['Johan Jacobsen', 'Allan Moyle', 'Wesley Ruggles', 'Michel Ocelot', 'Gangaraju Gunnam', 'Paul Andrew Williams', 'Jacques Feyder', 'Tim Burstall', 'Bruce Campbell', 'Peter Yates', 'John Zaritsky', 'Arliss Howard', 'Babubhai Mistry', 'Wang Xiaoshuai', 'Sally Potter', 'Jerry Paris', 'Steve Balderson', 'Paul Morrissey', 'Nick Broomfield', 'Mark Duplass', 'Rama Narayanan', 'Fred Niblo', 'Puneet Issar', 'Barry Shear', 'Francesco Nuti', 'Kurt Maetzig', 'Eddie Romero', 'Gregory La Cava', 'Ang Lee', 'Paul Czinner', 'Farah Khan', 'Mario Bava', 'Thorold Dickinson', 'Rowan Woods', 'Rainer Werner Fassbinder', 'Klaus Kinski', 'Gilles Carle', 'George Fitzmaurice', 'Visu', 'Jonathan Teplitzky', 'Bonnie Hunt', 'Nikolaj Arcel', 'Mamoru Hosoda', 'Annelise Hovmand', 'Michel Gondry', 'Karan Johar', 'Pierre Morel', 'Hugh Ford', 'Eliseo Subiela', 'Apoorva Lakhia', 'Tim Schafer', 'James Wong Howe', 'Matthew Nastuk', 'Gottfried Reinhardt', 'Joel Schumacher', 'Isao Takahata', 'Gordon Parry', 'Ranjith', 'Annelise Reenberg', 'Sarah Watt', 'Roger Donaldson', 'Edward Buzzell', 'Nanni Moretti', 'Denison Clift', 'Alfonso Arau', 'Til Schweiger', 'Vasanth', 'Penny Marshall', 'John Requa', 'Francesco Maselli', 'Walt Disney', 'Ulrike Ottinger', 'Raymond Wong', 'Florestano Vancini', 'Christopher McQuarrie', 'Martha Scott', 'Alejandro Agresti', 'Robert Lepage', 'David MacDonald', 'Masaru Konuma', 'Stefan Schwartz', 'Olivier Megaton', 'Michael Herz', 'Chuck Workman', 'Snoop Dogg', 'Jag Mundhra', 'Lillian Gish', 'Don Hahn', 'Kurt Neumann', 'Charley Chase', 'Patrick Lussier', 'Raj Kanwar', 'Paul Weiland', 'Jeff Daniels', 'Curtis Hanson', 'William Castle', 'Yuthlert Sippapak', 'Kevin Greutert', 'Samson Chiu']
Hyperlink cinema
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). However, Satyajit Ray's 1962 classic Kanchenjunga has a narrative structure similar to hyperlink cinema and predates Altman's Nashville by 13 years. 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. 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).