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
Rain (1929 film) they sought expression through a film's rhythm and movement—the characteristics which, according to these artists, made film a unique medium. They believed a film could create its own world, whether through thought–provoking Absurdism in a piece like Buñuel and Dali's "Un Chien Andalou" or purely through form, as in Dziga Vertov's "Man with a Movie Camera". "Rain" closely adheres to this prioritization of a film's formalistic qualities. The short film focuses primarily on composition and rhythm, visually following the patterns of raindrops and people as they try to negotiate with each other in their movements through the city. Ivens's efforts