Run Lola Run Film Techniques

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

Rob Marshall, the director of film "Chicago" mainly used the lyrical and choreographic theme to show the emotional viewpoint of the characters.

Because there are no conventional story ideas or dialogue, the film takes its message from the tone

The most significant visual conveyed throughout 'Run Lola Run' is that of time. There are several references to the limited amount of time Lola has to save Manni from Ronnie and his gang. The film is played out in ‘real time’ as each run takes 20 minutes to complete, adding an atmosphere of realism and tension toward the viewer. Tykwer incorporates a variety of symbolic representations of time through the constant use of clocks. In the opening sequence, the viewer observes a large and dominating pendulum of the gargoyal clock swinging loudly from side to side. As Lola runs out of the apartment, we observe a clock in Lola's bedroom. Aslo, while Manni is waiting for Lola outside the phone booth, we constantly view him looking up at the clock outside reminding him of how much time he has left. This constant recurring image of clocks

(INTRO): The most crucial and pivotal part of a storyline is the ending. Oftentimes, a movie and a book based on the same storyline will differ in a multitude of ways. Consequently, the entire interpretation of a story is based on the ending. This concept is expressed in the intricate and intriguing plots of the short story “Where Are You Going, Where Have You Been” by Joyce Carol Oates and the movie Smooth Talk. (THESIS): The ending of the short story is more effective than the ending of the movie because it leaves more to the imagination with its graphic scenes that emphasize Connie’s complex relationship with her mother and show a transformation in Connie’s personality.

In the beginning credits of the movie, the last person we see is a plump Bank Guard with a soccer ball who states, "The ball is round. The game lasts ninety minutes. The rest is theory...” and then kicks the ball into the air into a crowd of strangers. Dispersing to move away from the ball this crowd of strangers forms the title of the film when viewed from above. This foreshadows the main themes following in the rest of the movie; the themes of time, strangers, chance, and how the human will can impose order on chaos.

The film takes a more elliptical, almost a poetical approach to the characters’ lives it shows on screen than the audience might have anticipated from a film of this sort. The whole aim for the editing of this film was to make the audience see the protagonists’ life from his point of view – they wanted the audience to be inside his head, seeing what he’s seeing, hearing what he’s hearing, etc.

Each run that Lola goes on is assembled by modified cinematic devices. Its deposition in advancement shows in each scene with Lola becoming smarter during each run. The fast pace and upbeat music pulls together the pressure, anxiety, and suspense within the scenes. In all three clips from Run Lola Run, fast editing and SOUND DESIGN add action to demonstrate Lola's feelings and thoughts without DIALOGUE.

The Help is an inspiring movie, centralized on themes of showing courage in the midst of adversity and racial desegregation. The selection of actors with specific attributes, lighting/camera angles, and music, allows the movie to entertain in detail, and highlight the prime issues of the 1960s. With the movie being directed with these specifities in mind, the author, Kathryn Stockett, is able to successfully relay her message in the screenplay.

The structure of this film is conventional because the story is told in a chronological order, which makes the film realistic. A series of incidents that happen during their river crossings show Ray and Lila’s terrors and desires, and the more they notice these emotions, the more they gain self-revelation through the jobs.

Firstly, as a member of the audience, I was never sure on where to look. There were too many things going on at once which led me to lose focus. and miss out on things that could have helped me follow the plot. The fact it was set in Hollywood was confusing to me, it seemed like a paradox because the text was about prostitution and rape. I was unsure about both the plot and theme from a directing perspective.

Despite the influence of German expressionism in the film’s style and subject matter, the Classical Hollywood narrative remains. Important to Classical cinema is clear unity and resolution at the films conclusion. The narrative is motivated through goal-oriented characters, often driven by deadlines or appointments. Henry is forced to conduct the experiment because the Monster has taken Elizabeth hostage. The narrative progresses through cause and

Recently, I was given the opportunity to view one of the best movies made in 1940… Rebecca. Rebecca is a gothic horror film directed by Alfred Hitchcock features Joan Fontaine (Mrs. de Winter), Laurence Olivier (Maxim de Winter), Judith Anderson (Mrs. Danvers), and Florence Bates (Mrs. Van Hopper). The actors in this film make the movie worth watching. The narrator, a young woman vacationing in Monte Carlo with her employer crosses paths with an older man (Mr. de WInter) who just so happened to just have lost his wife in a boat accident at sea… or at least everyone thinks.

Day in the life film “Thunder Road” (Jim Cummings, 2016) won the Short Film Grand Jury Prize at the 2016 Sundance Film Festival with one shot – a single long take. James gives a eulogy at his mother’s funeral, a painful situation portrayed as dramatic and comedic. In this short film stylistic choices indicate realism in a character driven story of James mourning. A single long take technique is used to present a reality unfolding in real time. James emotional performance is emphasized in the camerawork with a realistic style, representing the mourning of his mother that drives the

Language, history and belief are easily changed. It is through the manipulation and representation of language, history and belief that gives elite, governing bodies power over the masses. In Nineteen Eighty Four a novel by George Orwell, Orwell takes this readers to Airstrip One, which is what remains of London in the year 2060 after many years of war. Airstrip one is under constant surveillance through telescreens under the watchful eye of the Party and Big Brother. Similarly in Metropolis a silent film by Fritz Lang, Lang takes his viewers to Metropolis a futuristic mega city, which is operated by machines below the surface by many workers slaving away in the subterranean workers city. In both Nineteen Eighty Four and Metropolis language,