There are many different choices writers make when deciding how to tell their stories. The most common is a linear narrative which is a sequence unfolding in chronological order. Then there is nonlinear narrative where the unfolding of information jumps around in time. Vignettes usually have no plot on their own, but when combined can tell a single narrative. One of my favorite examples of this style of writing in is Sandra Cisneros’s autobiographical short stories in books such as The House on Mango Street.
The Japanese horror film Ju-on: The Grudge is a nonlinear narrative that makes use of vignettes to tell its story. At the beginning of the film we get a definition of Ju-on: The curse of one who dies in the grip of powerful rage. It gathers and takes effect in the places that person was alive. Those who encounter it die, and a new curse is born.
What follows are six vignettes about each of the people affected by the Grudge. They are presented out of chronological order. The effect adds confusion to the story being presented. As each section unfolds, the viewer must figure out what the links are between the victims. The common narrative thread is both the house and a creepy little boy named Toshio.
Peek-A-Boo! This film was the third in a franchise series but the first to gain international acclaim as the previous films went straight to DVD. There was also an American remake of this installment entitled simply The Grudge.
It offered little in the way of a new take on the original film. There was also a Japanese Grudge 2.
It offered little in the way of a new take on the original film. There was also a Japanese Grudge 2.
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