CHAPTER 31
Nonlinear Editing and Digital Technology II
In the last chapter, I introduced the notion that there is a tradition of nonlinear storytelling and that the technological shift to nonlinear editing has accelerated the consideration that this alternative approach to story is a viable option. As an option, however, it proceeds differently regarding shot selection and pace principally because the audience no longer experiences the narrative through a single main character; nor is the audience following the experience of that character from crisis to resolution.1 Indeed, we may be following multiple main characters, and there may or may not be a resolution. The conventional story arc, with its implications for editing, may simply not ...
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