Comparative Analysis: A brief to linear nested storytelling and loop structure storytelling logic in Timecrimes & Triangle

In the intricate tapestry of storytelling, time often emerges as both a tool and a challenge, weaving narratives that defy linear conventions. The two films, "Timecrimes" and "Triangle", stand as exemplars in this domain, each employing unique narrative techniques that resonate with the concepts of looping structures and linear nested logic.

"Timecrimes" offers a dance on a logical chain, where characters seemingly replace one another in a predetermined sequence, suggesting a world where events are bound by an immutable logic. Conversely, "Triangle" presents a narrative that loops upon itself, challenging audiences to rethink linear perceptions of time. This comparative analysis aims to dissect the narrative intricacies of both films, drawing parallels with computational logic and examining the broader implications of such storytelling techniques in contemporary cinema.

On one hand, "Timecrimes" stands as a testament to the power of storytelling, particularly the technique of linear nested storytelling. This method, rather than unfurling events in a straightforward sequence, intricately layers stories within stories. Each narrative, while autonomous, is also a backdrop or context for another, creating a multi-dimensional tapestry that challenges the viewer to unravel its layers. It's a dance on the logical chain of human understanding of time itself, where the film not only delves into the intricacies of time but also our layered perceptions of it.

This nested narrative finds a compelling parallel in the realm of computational logic, particularly in object-oriented programming. Just as a class in programming serves as a blueprint from which objects, or instances, are derived, each event in "Timecrimes" is nested within a larger framework, echoing the behavior of classes and objects.

When an object in programming is instantiated, it can inherit attributes from its parent class, yet also possess unique characteristics. Similarly, as "Hectors" navigate through the layered temporal frames, they replace their previous incarnations, suggesting a narrative structure that mirrors the act of creating a new object that inherits elements from its predecessor but stands as a distinct entity. Yet, throughout these layers, the foundational attributes, or the underlying logic of the narrative, remain consistent.

Time travel often evokes thoughts of the renowned Grandfather Paradox. This paradox poses a question: What would happen if a person were to travel back in time and prevent their grandfather from meeting their grandmother, thus preventing their own birth? In "Timecrimes", Hector's journey serves as a tangible exploration of this paradox. As he inadvertently travels back in time, Hector encounters multiple versions of himself, leading to a series of events that become increasingly intricate and intertwined. His actions, driven by the knowledge of his future self, inadvertently set in motion the very events he seeks to prevent.

Within the framework of linear nested storytelling, Hector's encounters can be seen as layers of events, each influenced by and influencing the other. The film's treatment of Hector's journey serves as a reflection of its stance on the immutability of time. Just as certain functions in programming are bound by their foundational code, events in "Timecrimes," no matter how nested or layered, are bound by an unchangeable logic. This suggests that even if individual moments within these layers, like Hector's decisions, appear mutable or alterable, the overarching narrative, much like the outcome of the Grandfather Paradox, remains steadfast and predetermined.

Yet, while numerous time-travel tales ensnare their protagonists in ceaseless loops, "Timecrimes" presents a deviation. Even though the foundational logic remains immutable, there exists a potential "exit" from this logical sequence. When in the final scene the camera flies all over the house, it seems to be a conclusion rather than an eternal cycle.

On the other hand, "Triangle" stands apart in the realm of cinematic narratives, embracing a looping structure that continually revisits its own events. In computational terms, loops are fundamental structures in programming that allow for a set of instructions to be executed repeatedly based on a condition. There are different types of loops, such as 'for', 'while', and 'if'.

A 'for' loop, for instance, runs a specific number of times, a 'while' loop continues as long as its condition remains true, and an 'if' loop executes based on a particular condition being met. These loops can be nested within one another, creating complex chains of repeated actions until certain conditions are satisfied. Drawing a parallel to "Triangle", the film's narrative can be likened to a 'while' loop, where events keep recurring, akin to a set of instructions being executed repeatedly, as long as a certain condition remains true. For instance, Jess can either be pushed down to the sea, forced by a knife or a gunpoint based on different decisions made before. However, the intriguing aspect of "Triangle" is that the condition to break this loop, analogous to the exit condition in a 'while' loop, remains elusive. This traps the protagonist, Jess, in a seemingly endless cycle of events, much like an infinite loop in programming where the exit condition is never met.

Filmmaking, in many ways, mirrors the complexities of time and narrative loops. The process involves a myriad of shots and fragmented shooting schedules. Often, the day-to-day filming isn't dictated by the script's sequence but by factors like location availability, budget constraints, and other logistical considerations. In this context, an actor's performance can be seen as a subsidiary logic to the film's main narrative. Until the final edit stitches these performances together, following the director's vision, the film's timeline remains open-ended.

At this juncture, one can envision a synchronization between the protagonist's mindset and the director's intentions. Choices are continuously made in the editing room: which shot to prioritize, which to discard, whether to reshoot certain scenes, and so on. It's a meticulous process, culminating in the final cut that gets screened repeatedly in theaters. For instance, in the article "Narrative Complexity and Dissonant Cognition" on page 97, figure 3.4, the author uses an unfolded cylindrical representation, employing a film-editing-like technique, to separate Jess 3 from Jess 1 and 2. This illustrates the operational mode of the timeline when all three versions of Jess are present on the upper and lower decks.

However, the narrative doesn't end with the director's cut. We witness reinterpretations through short clips on social media, analytical videos on platforms like YouTube, and other derivative works. These materials are recycled and revisited, yet they always spawn fresh interpretations and content. The protagonist's loop in "Triangle" isn't about altering the outcome or the journey but about the persistent force of negation. It's a continuous challenge to the established loop logic and its underlying mechanisms. As audiences, we step outside the confines of the film, revisiting and analyzing it, deriving different meanings in different eras.

In essence, "Triangle" serves as a metaphor for the filmmaking process itself. Just as the film's narrative is a series of loops and revisitations, the act of creating and interpreting a film is a continuous cycle of creation, interpretation, and re-interpretation. It's a testament to the enduring power of cinema, where stories, once birthed, evolve and adapt, finding new resonances with each iteration.

Works Cited

Kiss, Miklós, and Steven Willemsen, Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema. Edinburgh University Press, 2017, pp97.