Run Lola Run Analysis

Interestingly, visual techniques are also effective in portraying the theme of free will versus determinism to question the responder who and what controls our lives. The tripartite storytelling structure incorporating three wholly, self-contained alternate versions of events is an unconventional filming technique reinforcing the postmodernist perception of having minimal control over life. As Lola rushes past minor characters in the film, flash forwards offer alternate glimpses of the possible outcome of their future, suggesting that fee-will alone is not a sole determination of the outcome of life. In each run, Lola’s encounter with these minor characters varies, showing that even the slightest change can become a significant impact to life. An extreme close-up

In every story, there are many things to analyze. In “Game” by Donald Barthelme, he shows us the way our minds start to work in stressful situations like how the narrator and Shotwell started to respond while controlling the console for the war. In “Game” the narrator’s name is never told, Shotwell and the narrator do not trust each other, but are left alone together and trusted to kill the other if they start to “behave strangely,” although it is never clarified what counts as strange and what counts as normal. Various literary devices are used throughout the story to show us Barthelme’s intended theme, some used are: repetition, symbolism, irony, and figurative language.

The 1998 German film Run Lola Run interestingly told three separate narratives of the same story and characters. Each of the narratives began the same way, however each one saw a slight temporal or behavioral difference in the lives of Lola and Manni, which caused drastically different outcomes for each of the separate realities. The film followed Lola and Manni’s journey to acquire one-hundred thousand dollars to make up for Manni’s loss of the money to his drug dealer. The same story was told three separate times, and each story illustrated slight changes in the characters’ timelines that drastically shifted the outcome of their situations. Through the use of editing, the film was able to jump through time and space and clearly portray the transition from one run to the next. The film also had a fast rhythm that captured the frantic nature and peril of Lola and Manni’s situation, with innovative editing techniques such as showing the two shots of Manni and Lola side by side. Altogether, the transitions were effective in telling the story with a unique, and clear sequencing pattern that made sense and contributed to the thrilling atmosphere of the film.

Literary devices will be a primary source used to compare and contrast the narrative and stylistic choices made in the short story, “Harrison Bergeron” by Kurt Vonnegut, and the film 2081 directed by Chandler Tuttle. In the film the director is able to express visuals, sounds, and physical characters, to establish a firm idea of how the characters within the story act and feel based on their surroundings and what is happening around them. However, an Author in a short story is reliant on his words alone to paint the picture for the reader to understand the movement of the plot and its impact on the atmosphere. The literary devices used in creating and shaping pieces of literature will heavily impact the point of view of the

The contrast of the large truck with the visually smaller Lola is used to show how close she came to being destroyed by this machine. This works to emphasise how luck gave her another chance to live and it was really because of chance that she is able to continue with her journey. This is similar to many occurrences in life such as death occurrences which people have no explanation for besides luck and chance. Another technique used is a long-distance shot of Lola in front of the big truck with the casino presents her a great opportunity to fulfil her journey to get the money she needs. This is used to show how chance is not always bad but may also lead to opportunities that will be beneficial in the future. Continuing on with the notion of chance and luck, Lola ends up at the casino and is completely oblivious on how to gamble. By chance again, she walks to a roulette table and bets on the number 20. The close-up shot of the roulette table, spinning and coming to a stop shows suspense when Lola was about to win. This works to place importance on the actual object of chance which in the real world is all casino games. The film is showing how just like Lola’s life afterwards depends on the small play of chance, many of our live depend on other games of chance. Life is essentially a ‘game’ of chance which affects an individual’s personal fate through our own actions as well as others.

In “The Most Dangerous Game,” Richard Connell correlates three common literary devices especially well: setting, suspense, and plot. Connell makes use of an appropriate setting, the literary element of suspense, and an interesting plot in order to strengthen the story’s recurring theme of reason versus instinct within humans, and to blur that line between reason and instinct.

Moreover ‘Run Lola Run’ clearly illustrates how texts can explore the human experience by using distinctively visual elements,highlighting every choice can unintentionally alter one’s fate..Through the antwerp structure of the film,Lola took charge of her actions however it failed .However in the third run she relied in fate and succeeded.The significance of choice to one’s fate is epitomized through Twkyer’s use of medium shot as the blind lady holds Mani hand leading him to the homeless man and regaining 100,000 marks which is ironic as the blind person can see.The relevance of the moment between Mani and the blind lady is evoked through the dolly shot of the revolving around Mani’s face as he sees the homeless man accompanied with the

Distinctively visual is one which the composer of the text uses visual, spoken and written language to position the reader to elicit their ideas. This is a powerful means to enhance the appeal of texts for viewers. Tom Tykwer’s film Run Lola Run" includes Distinctively Visual scenes throughout the whole film using Symbolism. The exhilarating film takes the viewer through an intensely fast paced journey to find an answer to Lola's boyfriend's problem. Lola finds herself making life-altering decisions on the spot as she sprints through the plot. The actual timeline of the story is only twenty minutes, but the story takes

This essay will evaluate the question distinctively visual images convey distinctive experiences, Evaluating the idea that visual images give us distinct experiences and how certain experiences can change our destiny.

In one of the extracts we were shown we see Tykwer uses distinctively visual techniques to show us Lola’s determination to save Manny. He utilises the use of a split screen with a close up shot of Manny and a close up tracking shot of Lola running to show how Lola is running towards him to try and save him. Then we hear the ticking of a clock and the top half of a clock comes onto the bottom of the screen to show how Lola is running out of time to save Manny. This is another example of how clocks are a reoccurring motif to symbolise time being overwhelming. This scene also demonstrates the love that Lola has for Manny and her determination to never give up trying to save him. This distinctively visual technique is utilised to hep show the audience that even with Lola’s everlasting love she is unable to change time and Manny slowly slips away from her, making himself unsaveable.

The film ‘Run Lola Run’ By Tom Tykwer skillfully demonstrates how texts use the distinctively visual to explore the human experience by elucidating time as a microcosm of which presents individuals with unexpected obstacles. This is evident through the opening scene where the audience is introduced to the protagonist Lola. Her journey is characterized as a manifestation of the microcosm in her race against time as she battles to save her boyfriend within twenty minutes. Tykwer establishes the connotation of time as microcosm through the opening shot where he uses intertextuality and epigraph by T.s Eliot ‘At the end of exploring we will arrive where we started”. The low angle as the camera pans to the gargoyle clock emphasizes the superiority

Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the

The film “Run Lola Run” directed by Tom Tykwer, is an intense, fast paced motion picture which captures the usage of a variety of visual techniques. Tykwer utilizes several elements within the film in order to convey numerous themes but the most significant theme implemented throughout “Run Lola Run” is that life is based on chance. The directors decision to implement a video game like structure within the film allows the audience to interpret each individual scene differently. For example, within Lola’s initial life she is shot in the chest and later dies from her injury. The screen slowly fades to a dark crimson red, leaving the viewer to ponder on what events will later come.

In the beginning of Ramones Run by Toni Cade Bambara. Squeaky didn’t like Gretchen, they didn’t have respect for each other. Squeaky and Raymond where walking down the street and they saw that Gretchen and her sidekicks where with her, but squeaky didn’t move for them so they all said mean things to each other. After the race was over the man on the speaker took a while to say who won, Squeaky and Gretchen both smiled at each other for the good race. After the race they started to respect each other, the way we know that is because they both smiled at each other. They started to like each other because they had things in common with each other like running, also squeaky said “maybe she’d like to help me couch Raymond.” Characters started to

This essay is based on films of the same story, told in different ways, with emphasis, themes, meaning and interpretation shaped or shaded by the situation of the storyteller; the cinematic mise-en-scene. Based on the same story, the films reveal and reflect the film-maker’s social norms and views, emerging from their different national contexts. While exploring the two films, this essay will examine elements of film language or semiotics: color saturation (or black and white), sound, setting, type of camera angles used; repetition of visual motifs (Metz, 1985). The two films explored were made in the 1960s. Neither film is American, yet both reveal influences and reflections on American cinema and American power; the Western film, adherence or detracting from Hollywood Classical cinema tropes, i.e. close-ups, shot-reverse-shot, POV, depth of field (Bazin, 1985: 128-9). The two films are Kurasawa’s Yojimbo (1961) and Leone’s Fistful of Dollars (1964), from Japan and Italy, respectively. How are they different; how similar? Why do they use the same plot,