By Warren Buckland

From Inception to The Lake apartment, moviegoers are more and more flocking to narratologically complicated puzzle motion pictures. those puzzle videos borrow techniques—like fragmented spatio-temporal truth, time loops, risky characters with cut up identities or unreliable narrators—more generally attributed to artwork cinema and self sustaining motion pictures. The essays in Hollywood Puzzle movies study the appropriation of poser movie strategies by means of modern Hollywood dramas and blockbusters via questions of narrative, time, and changed realities. interpreting videos like resource Code, The Butterfly impact, Donnie Darko, Déjà Vu, and variations of Philip okay. Dick, participants discover the consequences of Hollywood’s new motion picture brain video games.

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Examples are the voiceover narrator in Europa (Lars von Trier, 1991) who hypnotizes and directs Frank Kessel through postwar Germany, or Bess who, in Breaking the Waves (Lars von Trier, 1996), asks for and follows God’s advice, or wanna-be writer Tom from Dogville (Lars von Trier, 2003), who directs Grace, who (maybe) is a figment of his own imagination (see Simons 2007a). 8. See also Hayles (1999, 131 ff). 9. This essay was first published in 2008 in the New Review of Film and Television Studies, 6(2): 111–126.

Landow, George P. ). 1994. Hyper/Text/Theory. Baltimore: Johns Hopkins University Press. 33 jjan simons Luhmann, Niklas. 1999. Zweckbegriff und systemrationalität: Über die function von zwecken in sozialen systemen. Frankfurt am Main: Suhrkamp. Manovich, Lev. 2001. The Language of New Media. Cambridge, MA: MIT Press. Martin, Wallace. 1986. Recent Theories of Narrative. Ithaca, NY: Cornell University Press. Mateas, Michael. 2004. ” In First Person: New Media as Story, Performance, and Game, ed. Noah Wardrip-Fruin and Pat Harrigan, 19–33.

The argument against determinism is epistemological rather than ontological: one does not have to be committed to the existence of parallel realities, possible worlds, and the existence of virtual histories to critically investigate the notion of causality. Causality is, after all, not an independently existing relationship between objects and events but, in the real world as well as in narratives, an inference made by an observer. 8 For ‘systems’ that want to act ‘causally’ upon their environment, it is relevant and significant to perceive and understand features of that environment causally.

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