Title: Spirála coby inovativní schéma filmového vyprávění
Variant title:
- Spiral as an innovative schema of film storytelling
Source document: Bohemica litteraria. 2018, vol. 21, iss. 2, pp. 9-45
Extent
9-45
-
ISSN1213-2144 (print)2336-4394 (online)
Persistent identifier (DOI): https://doi.org/10.5817/BL2018-2-2
Stable URL (handle): https://hdl.handle.net/11222.digilib/138653
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
This article deals with a specific pattern of audiovisual storytelling, where a character is stuck in an iterative segment of space, time and causality, is aware of that and tries to find a way to deal with it. It introduces the term "spiral narrative" for this narrative pattern known from films such as the 1993 Groundhog Day. It identifies it as an innovative schema which helps American film and television creators to defamiliarize various amounts of already established models of narrative development. The first part of this article defines the spiral narrative schema on the one side and the so-called loop narrative schema on the other side, explaining several aesthetic norms in films that exploit the spiral narrative schema. It also inquires into the possible ways in which spiral narratives can affect the viewers as well as the aesthetic sources of the spiral narrative schema as such. The second part brings a much more specific explanation using reasonably detailed analyzes of three films (the short 12:01 PM shot in 1990, the television film 12:01 from 1993, and the already mentioned Groundhog Day). These three analyzes reveal a historical trajectory, which might functionally explain the process of the establishment of the spiral narrative as an innovative auxiliary pattern in popular American audiovision.
eng
cze
References
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[32] HEIDBRINK, Henriette. 2013. "1, 2, 3, 4 Futures – Ludic Forms in Narrative Films", SubStance 42, č. 1, s. 146–164
[33] KISS, Miklós – WILLEMSEN, Steven. 2017. Impossible Puzzle Films. A Cognitive Approach to Contemporary Complex Cinema (Edinburgh: Edinburgh University Press)
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[35] KLECKER, Cornelia. 2011. "Chronology, Causality… Confusion. When Avant-Garde Goes Classic", Journal of Film and Video 63, č. 2, s. 11–27 | DOI 10.5406/jfilmvideo.63.2.0011
[36] KOKEŠ, Radomír D. 2019. "Edge of Time Turn: Notes on 'Spiral Narrative' as a Creative Tactic in Cinema and Television", in Mirosław Przylipiak (ed.): Fast, complex, hybrid, slow… Narration in a fiction film revisited (Amsterdam:
[37] Amsterdam University Press) [forthcoming]
[38] KOKEŠ, Radomír D. 2016. Světy na pokračování. Rozbor možností seriálového vyprávění (Praha: Akropolis)
[39] KOKEŠ, Radomír D. 2015. Rozbor filmu (Brno: Masarykova univerzita)
[40] KOKEŠ, Radomír D. 2011. "Teoretizování o žánrové povaze a fikčních světech českých sci-fi komedií", Iluminace 23, č. 3, s. 71–92
[41] KOVÁCS, András Bálint. 2007. Screening Modernism. European Art Cinema, 1950–1980 (Chicago, London: The University of Chicago Press)
[42] LAGERLÖFOVÁ, Selma. 1920. Vozka smrti, přel. Emil Walter (Praha: Nakladatel Alois Hynek v Praze)
[43] LAGERROTH, Ulla-Britta. 1963. Körkarlen och Bannlyst. Motiv-och idéstudier i Selma Lagerlöfs 10-talsdiktning (Lund: Bonnier)
[44] MANOVICH, Lev. 2018. Jazyk nových médií, přel. Václav Janoščík (Praha: Karolinum)
[45] MUKAŘOVSKÝ, Jan. 1971. "Problémy estetické normy", in Týž: Cestami poetiky a estetiky (Praha: Československý spisovatel), s. 35–48
[46] MUKAŘOVSKÝ, Jan. 1966. "Estetická norma", in týž: Studie z estetiky (Praha: Odeon), s. 74–77
[47] MUNBY, Jonathan. 2000. "A Hollywood Carol's Wonderful Life", in Mark Connelly (ed.): Christmas at the Movies. Images of Christmas in American, British and European Cinema (London, New York: I. B. Tauris), s. 39–57
[48] PARSHALL, Peter F. 2012. Altman and After. Multiples Narratives in Film (London, Toronto, Plymouth: The Scarecrow Press)
[49] PRZYLIPIAK, Mirosław. 2016. Kino stylu zerowego. Dwadzieścia lat później (Sopot: Gdańskie Wydawnictwo Psychologiczne)
[50] RICHARDSON, Brian. 2002. "Beyond Story and Discourse: Narrative Time in Postmodern and Nonmimetic Fiction", in Brian Richardson (ed.): Narrative Dynamics: Essays on Time, Plot, Closure, and Frames (Columbus: Ohio State University Press), s. 47–63
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[52] RYAN, Marie-Laure. 2009. "Temporal Paradoxes in Narrative", Style 43, č. 2, s. 142–164
[53] RYAN, Marie-Laure. 2006. Avatars of Story (Minneapolis, London: University of Minnesota Press)
[54] SEGAL, Eyal. 2015. "Time Travel Stories as a Challenge to Narratology. The Case of The Time Traveler's Wife", Poetics Today 36, č. 4, s. 529–560 | DOI 10.1215/03335372-3455135
[55] SPELLMAN, Barbara A. – KINCANNON, Alexandra P. – STOSE, Stephen J. 2005. "The Relation Between Counterfactual and Causal Reasoning", in David R. Mandel – Denis J. Hilton – Patrizia Catellani (eds.): The Psychology of Counterfactual Thinking (London, New York: Routledge), s. 28–43
[56] THANOULI, Eleftheria. 2009. Post-Classical Cinema (London: Wallflower Press)
[57] THOMPSON, Kristin. 1999. Storytelling in the New Hollywood. Understanding Classical Narrative Technique (Cambridge, London: Harvard University Press)
[58] TYBJERG, Casper. 2016. "Seeing through Spirits: Superimposition, Cognition, and The Phantom Carriage", Film History 28, č. 2, s. 114–141
[59] TYKWER, Tom. 2000. Lola běží o život, přel. Kateřina Selnerová (Praha: Maťa)
[60] WILLEMSEN, Steven Petrus Martinus. 2018. The Cognitive and Hermeneutic Dynamics of Complex Film Narratives (Groningen: University of Groningen)
[61] YOUNG, Kay. 2002. "That Fabric of Times: A Response to David Bordwell's 'Film Futures'", SubStance 31, č. 1, s. 72–84
[62] 12 Dates of Christmas (James Hayman, USA, 2011)
[63] 12:01 (Jack Sholder, USA, 1993)
[64] 12:01 PM (Jonathan Heap, USA, 1990)
[65] 12 opic (Twelve Monkeys, Terry Gilliam, USA, 1995)
[66] 50x a stále poprvé (50 First Dates, Peter Segal, USA, 2004)
[67] ARQ (Tony Elliot, USA, 2016)
[68] Before I Fall (Ry Russo-Young, USA, 2017)
[69] Co se stalo o Vánocích (Mickey's Once Upon a Christmas, Alex Mann, Bradley Raymond et al, USA, 1999)
[70] Doctor Who (Velká Británie, 1963–1988)
[71] Dvojí život Veroniky (La double vie de Veronique, Krzysztof Kieślowski,
[72] Francie / Polsko / Norsko, 1991)
[73] Elysium (Neill Blomkamp, USA, 2013)
[74] Gamer (Mark Neveldine, Brian Taylor, USA, 2009)
[75] Groundhog Day: The Weight of Time (Michael Gillis, USA, 2002)
[76] Happy End (Oldřich Lipský, Československo, 1967)
[77] La Charrette fantôme (Julien Duvivier, Francie, 1939)
[78] Christmas Every Day (Larry Peerce, USA, 1996)
[79] Chyťte doktora (Martin Dolenský, Česko, 2007)
[80] Každý den jsou Vánoce (Catherine Cyran, USA, 2006)
[81] Kdo chce zabít Jessii? (Václav Vorlíček, Československo, 1966)
[82] Kdybych žila znovu (Repeat Performance, Alfred L. Werker, USA, 1947)
[83] Lola běží o život (Lola Rennt, Tom Tykwer, Německo, 1998)
[84] Matrix (The Matrix, Andy Wachowski, Larry Wachowski, USA / Austrálie, 1999)
[85] Na hraně zítřka (Edge of Tomorrow, Doug Liman, USA / Kanada, 2014)
[86] Na Hromnice o den více (Groundhog Day, Harold Ramis, USA, 1993)
[87] Náhoda (Przypadek, Krzysztof Kieślowski, Polsko, 1987)
[88] Nahý (Naken, Mårten Knutsson, Torkel Knutsson, Švédsko, 2000)
[89] Naked (Michael Tiddes, USA, 2017)
[90] Návrat do budoucnosti (Back to the Future, Robert Zemeckis, USA, 1985)
[91] Návrat do budoucnosti II (Back to the Future Part II, Robert Zemeckis, USA, 1989)
[92] Návrat do budoucnosti III (Back to the Future Part III, Robert Zemeckis, USA, 1990)
[93] Osudový dotek (The Butterfly Effect, Jonathan Mackye Gruber, Eric Bress, USA, 2004)
[94] Pan Osud (Mr. Destiny, James Orr, USA, 1990)
[95] Pán času (Doctor Who, Velká Británie, 2005–?)
[96] Peggy Sue se vdává (Peggy Sue Got Married, Francis Ford Coppola, USA, 1986)
[97] Počátek (Inception, Christopher Nolan, USA/Velká Británie, 2011)
[98] Poslední den prázdnin (The Last Day of Summer, Blair Treu, USA, 2007)
[99] Premature (Dan Beers, USA, 2014)
[100] Probudím se včera (Miloslav Šmídmajer, Česko, 2012)
[101] Příchozí (Arrival, Denis Villeneuve, USA, 2016)
[102] Rampa (La jetée, Chris Marker, Francie, 1962)
[103] Repeaters (Carl Bessai, Kanada, 2010)
[104] Robinson Crusoe na Marsu (Robinson Crusoe on Mars, Byron Haskin, USA, 1964)
[105] Srdcová sedma (Sliding Doors, Peter Howitt, Velká Británie / USA, 1998)
[106] Svatba o Vánocích (A Christmas Wedding Date, Fred Olen Ray, USA, 2012)
[107] Terminátor (Terminator, James Cameron, USA / Velká Británie, 1984)
[108] Terminator Genisys (Terminator: Genisys, Alan Taylor, USA, 2015)
[109] Turn Back the Clock (Edgar Selwyn, USA, 1933)
[110] Turn Back the Clock (Larry Elikann, USA, 1989)
[111] The Twilight Zone (USA, 1959–1964)
[112] Úhel pohledu (Vantage Point, Pete Travis, USA, 2008)
[113] Urusei Yatsura 2: Beautiful Dreamer (Urusei Yatsura 2 Byūtifuru Dorīmā, Mamoru Oshii, Japonsko, 1984)
[114] Vozka smrti (Körkarlen, Victor Sjöström, Švédsko, 1921)
[115] Vražedná minulost (Haunter, Vincenzo Natali, Kanada, 2013)
[116] Všechno nejhorší (Happy Death Day, Christopher Landon, USA, 2017)
[117] Vyvolený (Unbreakable, M. Night Shyamalan, USA, 2000)
[118] When We First Met (Ari Sandel, USA, 2018)
[119] Za rozbřesku (Day Break, tvůrce Paul Zbyszewski, USA, 2007)
[120] Zdrojový kód (Source Code, Duncan Jones, USA / Kanada, 2011)
[121] Zítra vstanu a opařím se čajem (Jindřich Polák, Československo, 1977)
[122] Zpráva o Evropě (Europa Report, Sebastián Cordero, USA, 2013)
[123] Zrození Planety opic (Rise of the Planet of the Apes, Rupert Wyatt, USA, 2011)
[124] Život je krásný (It's a Wonderful Life, Frank Capra, USA, 1946)
[2] BOČEK, Jaroslav. 1968. Kapitoly o filmu (Praha: Orbis)
[3] BORDWELL, David. 2018. "Seeing and Seeking: A Beholder's Guide to Gombrich", nepublikované podklady k přednášce, poskytnuto DB
[4] BORDWELL, David. 2017. Reinventing Hollywood. How 1940s Filmmakers Changed Movie Storytelling (Chicago – London: The University of Chicago Press)
[5] BORDWELL, David. 2008. Poetics of Cinema (New York – London: Routledge)
[6] BORDWELL, David. 2006. The Way Hollywood Tells It. Story and Style in Modern Movies (Berkeley – Los Angeles – London: University
[7] of California Press)
[8] BORDWELL, David. 2002. "Film Futures", SubStance 31, č. 1, s. 88–104 | DOI 10.1353/sub.2002.0004
[9] BORDWELL, David. 1997. On the History of Film Style (Cambridge – London: Harvard University Press)
[10] BORDWELL, David. 1985. Narration in the Fiction Film (Madison: The University of Wisconsin Press)
[11] BORGES, Jorge Luis. 1969. Artefakty, přel. Kamil Uhlíř (Praha: Odeon)
[12] BRANIGAN, Edward. 2002. "Nearly True: Forking Plots, Forking Interpretations. A Response to David Bordwell's 'Film Futures'", SubStance 31, č. 1, s. 105–113 | DOI 10.1353/sub.2002.0006
[13] BRANIGAN, Edward. 1992. Narrative Comprehension and Film (London – New York: Routledge)
[14] BUCKLAND, Warren. 2014a. "Source Code's Video Game Logic", in Warren Buckland (ed.): Hollywood Puzzle Films (New York – London: Routledge – American Film Institute), s. 185–197
[15] BUCKLAND, Warren (ed.). 2014b. Hollywood Puzzle Films (New York – London: Routledge – American Film Institute)
[16] BUCKLAND, Warren (ed.). 2009. Puzzle Films. Complex Storytelling in Contemporary Cinema (West Sussex: Wiley Blackwell)
[17] BURNETT, Colin. 2008. "A New Look at the Concept of Style in Film. The Origins and Development of the Problem–Solution Model", New Review of Film and Television Studies 6, č. 2, s. 127–149 | DOI 10.1080/17400300802098289
[18] CAMERON, James (et al). 2018. James Cameron's Story of Science Fiction (San Rafael: Insight Editions)
[19] CAMPBELL, Joseph. 2017. Tisíc tváří hrdiny, přel. Hana Antonínová (Praha: Argo)
[20] CARROLL, Noël. 1990. The Philosophy of Horror or Paradoxes of the Heart (London – New York: Routledge)
[21] DĚDINOVÁ, Tereza. 2015. Po divné krajině. Charakteristika a vnitřní členění fantastické literatury (Brno: Masarykova univerzita)
[22] DOLEŽEL, Lubomír. 2003. Heterocosmica. Fikce a možné světy (Praha: Karolinum)
[23] EBERT, Roger. 2011. Great Movies III (Chicago – London: University of Chicago Press)
[24] ECO, Umberto. 2012. "Zpráva o třetím zasedání: Literatura a umění", in Sture Allén (ed.): Možné světy v humanitních vědách, v umění a v přírodních vědách, přel. Lubomír Doležel (Praha: Academia), s. 403–416
[25] GENETTE, Gérard. 2005. Metalepsa. Od figúry k fikcii, přel. Andrej Záthurecký (Bratislava: Kalligram)
[26] GOMBRICH, Ernst. 1985. Umění a iluze. Studie o psychologii obrazového znázorňování, přel. Miroslava Tůmová (Praha: Odeon)
[27] GOMBRICH, Ernst. 1984. The Sense of Order. A Study in the Psychology of Decorative Art (London: Phaidon)
[28] GOMBRICH, Ernst. 1971. Norm & Form (London – New York: Phaidon)
[29] GRODAL, Torben. 1997. Moving Pictures. A New Theory of Film Genres, Feelings, and Cognition (Oxford: Oxford University Press/Clarendon)
[30] HALTOF, Marek. 2008. Krzysztof Kieślowski a jeho filmy, přel. Zdeněk Holý, Martina Knápková, Václav Žák (Praha: Casablanca)
[31] HEIDBRINK, Henriette. 2014. "Toe Die Right: The Impact of Ludic Forms on the Engagement With Characters", Projections 8, č. 1, s. 61–82
[32] HEIDBRINK, Henriette. 2013. "1, 2, 3, 4 Futures – Ludic Forms in Narrative Films", SubStance 42, č. 1, s. 146–164
[33] KISS, Miklós – WILLEMSEN, Steven. 2017. Impossible Puzzle Films. A Cognitive Approach to Contemporary Complex Cinema (Edinburgh: Edinburgh University Press)
[34] KLECKER, Cornelia. 2013. "Mind-Tricking Narratives. Between Classical and Art-Cinema Narration", Poetics Today 34, č. 1–2, s. 119–146 | DOI 10.1215/03335372-1894469
[35] KLECKER, Cornelia. 2011. "Chronology, Causality… Confusion. When Avant-Garde Goes Classic", Journal of Film and Video 63, č. 2, s. 11–27 | DOI 10.5406/jfilmvideo.63.2.0011
[36] KOKEŠ, Radomír D. 2019. "Edge of Time Turn: Notes on 'Spiral Narrative' as a Creative Tactic in Cinema and Television", in Mirosław Przylipiak (ed.): Fast, complex, hybrid, slow… Narration in a fiction film revisited (Amsterdam:
[37] Amsterdam University Press) [forthcoming]
[38] KOKEŠ, Radomír D. 2016. Světy na pokračování. Rozbor možností seriálového vyprávění (Praha: Akropolis)
[39] KOKEŠ, Radomír D. 2015. Rozbor filmu (Brno: Masarykova univerzita)
[40] KOKEŠ, Radomír D. 2011. "Teoretizování o žánrové povaze a fikčních světech českých sci-fi komedií", Iluminace 23, č. 3, s. 71–92
[41] KOVÁCS, András Bálint. 2007. Screening Modernism. European Art Cinema, 1950–1980 (Chicago, London: The University of Chicago Press)
[42] LAGERLÖFOVÁ, Selma. 1920. Vozka smrti, přel. Emil Walter (Praha: Nakladatel Alois Hynek v Praze)
[43] LAGERROTH, Ulla-Britta. 1963. Körkarlen och Bannlyst. Motiv-och idéstudier i Selma Lagerlöfs 10-talsdiktning (Lund: Bonnier)
[44] MANOVICH, Lev. 2018. Jazyk nových médií, přel. Václav Janoščík (Praha: Karolinum)
[45] MUKAŘOVSKÝ, Jan. 1971. "Problémy estetické normy", in Týž: Cestami poetiky a estetiky (Praha: Československý spisovatel), s. 35–48
[46] MUKAŘOVSKÝ, Jan. 1966. "Estetická norma", in týž: Studie z estetiky (Praha: Odeon), s. 74–77
[47] MUNBY, Jonathan. 2000. "A Hollywood Carol's Wonderful Life", in Mark Connelly (ed.): Christmas at the Movies. Images of Christmas in American, British and European Cinema (London, New York: I. B. Tauris), s. 39–57
[48] PARSHALL, Peter F. 2012. Altman and After. Multiples Narratives in Film (London, Toronto, Plymouth: The Scarecrow Press)
[49] PRZYLIPIAK, Mirosław. 2016. Kino stylu zerowego. Dwadzieścia lat później (Sopot: Gdańskie Wydawnictwo Psychologiczne)
[50] RICHARDSON, Brian. 2002. "Beyond Story and Discourse: Narrative Time in Postmodern and Nonmimetic Fiction", in Brian Richardson (ed.): Narrative Dynamics: Essays on Time, Plot, Closure, and Frames (Columbus: Ohio State University Press), s. 47–63
[51] ROESE, Neal J. - OLSON, James M. (eds.). 1995. What Might Have Been. The Social Psychology of Counterfactual Thinking (New York, London: Psychology Press)
[52] RYAN, Marie-Laure. 2009. "Temporal Paradoxes in Narrative", Style 43, č. 2, s. 142–164
[53] RYAN, Marie-Laure. 2006. Avatars of Story (Minneapolis, London: University of Minnesota Press)
[54] SEGAL, Eyal. 2015. "Time Travel Stories as a Challenge to Narratology. The Case of The Time Traveler's Wife", Poetics Today 36, č. 4, s. 529–560 | DOI 10.1215/03335372-3455135
[55] SPELLMAN, Barbara A. – KINCANNON, Alexandra P. – STOSE, Stephen J. 2005. "The Relation Between Counterfactual and Causal Reasoning", in David R. Mandel – Denis J. Hilton – Patrizia Catellani (eds.): The Psychology of Counterfactual Thinking (London, New York: Routledge), s. 28–43
[56] THANOULI, Eleftheria. 2009. Post-Classical Cinema (London: Wallflower Press)
[57] THOMPSON, Kristin. 1999. Storytelling in the New Hollywood. Understanding Classical Narrative Technique (Cambridge, London: Harvard University Press)
[58] TYBJERG, Casper. 2016. "Seeing through Spirits: Superimposition, Cognition, and The Phantom Carriage", Film History 28, č. 2, s. 114–141
[59] TYKWER, Tom. 2000. Lola běží o život, přel. Kateřina Selnerová (Praha: Maťa)
[60] WILLEMSEN, Steven Petrus Martinus. 2018. The Cognitive and Hermeneutic Dynamics of Complex Film Narratives (Groningen: University of Groningen)
[61] YOUNG, Kay. 2002. "That Fabric of Times: A Response to David Bordwell's 'Film Futures'", SubStance 31, č. 1, s. 72–84
[62] 12 Dates of Christmas (James Hayman, USA, 2011)
[63] 12:01 (Jack Sholder, USA, 1993)
[64] 12:01 PM (Jonathan Heap, USA, 1990)
[65] 12 opic (Twelve Monkeys, Terry Gilliam, USA, 1995)
[66] 50x a stále poprvé (50 First Dates, Peter Segal, USA, 2004)
[67] ARQ (Tony Elliot, USA, 2016)
[68] Before I Fall (Ry Russo-Young, USA, 2017)
[69] Co se stalo o Vánocích (Mickey's Once Upon a Christmas, Alex Mann, Bradley Raymond et al, USA, 1999)
[70] Doctor Who (Velká Británie, 1963–1988)
[71] Dvojí život Veroniky (La double vie de Veronique, Krzysztof Kieślowski,
[72] Francie / Polsko / Norsko, 1991)
[73] Elysium (Neill Blomkamp, USA, 2013)
[74] Gamer (Mark Neveldine, Brian Taylor, USA, 2009)
[75] Groundhog Day: The Weight of Time (Michael Gillis, USA, 2002)
[76] Happy End (Oldřich Lipský, Československo, 1967)
[77] La Charrette fantôme (Julien Duvivier, Francie, 1939)
[78] Christmas Every Day (Larry Peerce, USA, 1996)
[79] Chyťte doktora (Martin Dolenský, Česko, 2007)
[80] Každý den jsou Vánoce (Catherine Cyran, USA, 2006)
[81] Kdo chce zabít Jessii? (Václav Vorlíček, Československo, 1966)
[82] Kdybych žila znovu (Repeat Performance, Alfred L. Werker, USA, 1947)
[83] Lola běží o život (Lola Rennt, Tom Tykwer, Německo, 1998)
[84] Matrix (The Matrix, Andy Wachowski, Larry Wachowski, USA / Austrálie, 1999)
[85] Na hraně zítřka (Edge of Tomorrow, Doug Liman, USA / Kanada, 2014)
[86] Na Hromnice o den více (Groundhog Day, Harold Ramis, USA, 1993)
[87] Náhoda (Przypadek, Krzysztof Kieślowski, Polsko, 1987)
[88] Nahý (Naken, Mårten Knutsson, Torkel Knutsson, Švédsko, 2000)
[89] Naked (Michael Tiddes, USA, 2017)
[90] Návrat do budoucnosti (Back to the Future, Robert Zemeckis, USA, 1985)
[91] Návrat do budoucnosti II (Back to the Future Part II, Robert Zemeckis, USA, 1989)
[92] Návrat do budoucnosti III (Back to the Future Part III, Robert Zemeckis, USA, 1990)
[93] Osudový dotek (The Butterfly Effect, Jonathan Mackye Gruber, Eric Bress, USA, 2004)
[94] Pan Osud (Mr. Destiny, James Orr, USA, 1990)
[95] Pán času (Doctor Who, Velká Británie, 2005–?)
[96] Peggy Sue se vdává (Peggy Sue Got Married, Francis Ford Coppola, USA, 1986)
[97] Počátek (Inception, Christopher Nolan, USA/Velká Británie, 2011)
[98] Poslední den prázdnin (The Last Day of Summer, Blair Treu, USA, 2007)
[99] Premature (Dan Beers, USA, 2014)
[100] Probudím se včera (Miloslav Šmídmajer, Česko, 2012)
[101] Příchozí (Arrival, Denis Villeneuve, USA, 2016)
[102] Rampa (La jetée, Chris Marker, Francie, 1962)
[103] Repeaters (Carl Bessai, Kanada, 2010)
[104] Robinson Crusoe na Marsu (Robinson Crusoe on Mars, Byron Haskin, USA, 1964)
[105] Srdcová sedma (Sliding Doors, Peter Howitt, Velká Británie / USA, 1998)
[106] Svatba o Vánocích (A Christmas Wedding Date, Fred Olen Ray, USA, 2012)
[107] Terminátor (Terminator, James Cameron, USA / Velká Británie, 1984)
[108] Terminator Genisys (Terminator: Genisys, Alan Taylor, USA, 2015)
[109] Turn Back the Clock (Edgar Selwyn, USA, 1933)
[110] Turn Back the Clock (Larry Elikann, USA, 1989)
[111] The Twilight Zone (USA, 1959–1964)
[112] Úhel pohledu (Vantage Point, Pete Travis, USA, 2008)
[113] Urusei Yatsura 2: Beautiful Dreamer (Urusei Yatsura 2 Byūtifuru Dorīmā, Mamoru Oshii, Japonsko, 1984)
[114] Vozka smrti (Körkarlen, Victor Sjöström, Švédsko, 1921)
[115] Vražedná minulost (Haunter, Vincenzo Natali, Kanada, 2013)
[116] Všechno nejhorší (Happy Death Day, Christopher Landon, USA, 2017)
[117] Vyvolený (Unbreakable, M. Night Shyamalan, USA, 2000)
[118] When We First Met (Ari Sandel, USA, 2018)
[119] Za rozbřesku (Day Break, tvůrce Paul Zbyszewski, USA, 2007)
[120] Zdrojový kód (Source Code, Duncan Jones, USA / Kanada, 2011)
[121] Zítra vstanu a opařím se čajem (Jindřich Polák, Československo, 1977)
[122] Zpráva o Evropě (Europa Report, Sebastián Cordero, USA, 2013)
[123] Zrození Planety opic (Rise of the Planet of the Apes, Rupert Wyatt, USA, 2011)
[124] Život je krásný (It's a Wonderful Life, Frank Capra, USA, 1946)