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Yet another theme in Metz's consideration of cinematic narration where narration is produced after the fact. That is, connection generates narration, rather than the other way round. I'd suggest that some of the more 'difficult' sequences (and they are sequences) in Moulthrop's Victory Garden could be thought of as demonstrating this. The fact of connection generates and forces the assumption of narrative relevance, even where it may be opaque. Naive readers, much like they do with all difficult work, tend to punish the work in such cases, whereas one of the processes sophisticated readers use, or learn, is that one can always find an enveloping hermeneutic to account for the connection (even where it is a null condition - it is not meant to make sense).
Adrian Miles: Hypertext syntagmas: cinematic narration with links
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