Run Lola Run

A composer can create images dependant on the form of the language of texts to shape a responders understanding of the ideas and themes prompted by people and their experiences. The German film, ‘Run Lola Run’ written and directed by Tom Tykwer, focuses on the experiences of the protagonist Lola to explore the themes of the inevitable force of time, and the issue of freewill verses determinism. Similarly, Dorothea Mackellar, in her poem ‘My Country’, relies on her experiences of the Australian landscape to convey her love and passion for the country using the language of the distinctive visual.

Through distinctive images composers develop interest, drawing the responder in and thus providing insight into the experiences of others. This is demonstrated in Amanda Lohrey’s novella ‘Vertigo’ as Luke and Anna find themselves in a new and disorientating environment as they attempt to build a new life and in the ‘The Red Tree’ composed by Shaun Tan, through the nameless girl’s journey as she attempts to find herself and her place in the world. Meaning created by distinctive images creates interest thus permitting the responder to gain a greater understanding on how the experiences help shape one’s self.

Introduction 100 words In this investigating a film called The Dressmaker directed by Jocelyn Moorhouse and a book called Jasper Jones written by Craig Silvey and with these two text will be comparing and contrasting the use of themes in the film and the book. Revenge in The Dressmaker happens when Tilly burned the town; in Jasper Jones Eliza burned her home. Then in Family Tilly and Molly has a rough start when tilly came back but turned out to be happy with each other, while in Jasper Jones Charlies mum and Charlie are happy at the start but went down here very quickly when Laura disappeared. The themes are revenge, death, and family.

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

Many composers use various techniques in which they communicate the distinctly visual. John Misto’s ‘The Shoe-Horn Sonata’ and Alexander Kimel’s ‘The Action in the Ghetto of Rohatyn, March 1942’ represent significant issues in our world by using various literary and dramatic techniques. Through using these techniques it is evident that the composers of these texts allow the audience to ‘see’ with our eyes as well as with our minds. The many literary and dramatic techniques have the ability to create a visual that

In the biography, Mama Lola: A Vodou Priestess in Brooklyn, written by Karen McCarthy Brown introduces Mama Lola, or Alourdes, a Voudou priestess whom she met while working on an ethnographic survey (1). The book discusses the dynamics of Haitian Vodou and its importance in the lives of its practitioners. Voudouists serve the spirits and one particular group of spirits; the Ezili is a family of many spirits but three specific spirits that are examined. These three spirits: Lasyrenn, Ezili Dantó, and Ezili Freda act as parallels for Haitian women, like Mama Lola.

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

Looking into the distance, an athlete runner can see the finishing line. However what stands before them are many hurdles one will have to jump over to reach the end. Comparing this analogy to an individual’s life, these hurdles are like the various challenges that one will have to overcome to cross their finishing line, and in order to come first, one will have to run. Melina Marchetta has written a novel, Looking for Alibrandi (LFA), which portrays the events that can waver a character from their finishing goal, their goal to achieve true freedom. It is situations such

“Hey, what are you doing.” Chloe said as she walked over to Kara on the track behind the school after school was over.

Tuttle uses various film techniques to emphasise character emotion and their view about the society they are in. In the

The films “Boyhood” and “Run Lola Run” explore the manipulation of time in varying ways. Richard Linklater’s “Boyhood” follows Mason from the age six to 18 as he grows and learns to navigate through life. The movie is organized in chronological order and told in real time, allowing for the audience to gain heightened empathy towards Mason and his experiences. Tom Tykwer’s “Run Lola Run” follows Lola as she attempts to gather 100,000 for her boyfriend within twenty minutes in order to save her boyfriend’s life. The narrative repeats three times, until Lola wins the money and receives the ending she is happy with. “Boyhood” and “Run Lola Run” manipulate time in order to create an illusion of reality that connects the audience to the main character.

Each storyteller utilizes his or her artistic license to manipulate reality with the ultimate goal of expressing a specific truth. Aleksandar Hemon’s novel, The Lazarus Project, explores the process and purpose of storytelling from multiple modalities. Throughout The Lazarus Project, Hemon defines storytelling as the blending of the real and unreal in the search for truth. He accomplishes this through the inclusion of photography, as a subject and a medium, and the functions of multiple modalities in the narration of Brick and Rora’s experiences. Photography is a necessary element to Hemon’s novel as it opens up the process and intention of storytelling. By incorporating photography as a medium and a subject, Hemon is able to evaluate the blending

Can a pictorial narrative be formed purely through the use of images? It is a question many have sought to answer, and one that is becoming increasingly relevant as our literary concepts evolve to keep pace with developments in modern technologies. I have chosen to use the ciné-roman designed by Bruce Mau from Chris Marker’s 1962 science-fiction film La Jetée as a reference point for my discussion. The film is constructed almost entirely of still-images, shot through a Pentax camera. Involving the “future destruction of Paris,” the film follows a prisoner haunted by the image of a woman from his childhood, sent through time by his controllers (Lupton 2005, 87). The ciné-roman presents the film’s still-images in a graphic novel format, with English and French subtitles positioning the film’s voice-over into text on the page. Ultimately, I will attempt to argue that images can be used to create a purely pictorial narrative, in reference to the theories of visual culture expressed by Barthes, Burgin, Berger and Baetens, among others. It is important to note that the ciné-roman exists independently from its predecessor: “the French ciné-roman is a novel or film scenario designed to read not necessarily in conjunction with the film upon which it is based” (Santoro 1996, 37). As such, while I will direct some attention to the discussion of the tension between the ciné-roman’s and its cinematic predecessor, I have chosen to focus my deeper discussion on the implications of image

Certain choices are made by the individuals and in most of the cases; choices are based on the surroundings of the individuals. One of the main aims of the paper is to compare and contrast two characters from selected short stories. The first character is Sylvia from "The Lesson" written by Toni Cade Bambara and the Narrator from the poem written by Robert Frost "The Road Not Taken". The reason to compare Sylvia and The Narrator is to compare the choices made by an individual.

Imagery plays a big part in describing the character’s appearance and actions in order to show what a character is like and how they respond to differing situations. It can also shape the story and reveal to the reader the background of a person, place, or thing. In Krapp’s Last Tape, the only character is given much detail and description in order to start the play at a point where the reader already knows some information about this elderly man. The literary convention of imagery provides insight into the character that will lead the play.