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Novelists have always had just a complete freedom to pretty much tell their story any way they saw fit. Now the thing is, for both novels and film, 75% of the stories you're going to tell will work better on a dramatically engaging basis to be told from a linear way.

But there is that 25% out there that can be more resonant by telling it this [non-linear] way.

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The essays in this volume demonstrate that the trend is beginning to draw attention from scholarly critics.

A second intriguing aspect of this trend is that these experimental narratives are not restricted to art house cinema and may be found among all kinds of films.

Just a month earlier, in November 2005, New York Times movie critic Stephen Farber had also spotted "a complex cinematic mosaic with multiple story lines" in many current films.

"This type of fractured narrative," he wrote, "has turned out to be a hallmark of this year's thoughtful, independent-spirited films" (n. Recent narrative experimentation in fiction films is an interesting phenomenon on several levels.

For one thing, my survey indicates that the number of alternative film narratives is increasing, showing modest but steady growth over the past few years.

Of course experimenting with cinema narration is not new, dating back to the medium's beginnings.