Nonlinear narrative 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
Art film make "art films", and film critics did not use the term "art film". However, there were films that had sophisticated aesthetic objectives, such as Carl Theodor Dreyer's "The Passion of Joan of Arc" (1928) and "Vampyr" (1932), surrealist films such as Luis Buñuel's "Un chien andalou" (1929) and "L'Âge d'Or" (1930), or even films dealing with political and current-event relevance such as Sergei Eisenstein's famed and influential masterpiece "Battleship Potemkin". The U.S. film "" (1927) by German Expressionist director F. W. Murnau uses distorted art design and groundbreaking cinematography to create an exaggerated, fairy-tale-like world rich with symbolism and imagery.