Essay about Analysis of German Film Run Lola Run

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

A major key element in the film comprises of settings. It is where the actions takes place and helps viewers to understand where and when the film is set. Settings not only create mood, it has social, psychological, emotional and cultural significance in which the film are able to portray. Settings used in the film are very rarely just backgrounds to the characters dialogue. Viewers are often seen shots of places, without any action taking place. They can be used to influence viewers by building certain expectations and then the actions takes a different turn. Gibbs (2002) mention that, ‘Mise en scene therefore encompasses both what the audience can see and the way in which we are invited to see it’. For example, the scene where Mrs. Chan goes to get noodles where she is seen to be walking along a dark alley down the stairs, gives viewers a certain expectation to emphasize the character’s emotional state. Viewers are also made to see Mr. Chow going down the same stairs as Mrs. Chan walks back up without any conversation taking place. This tells viewers what they see suggesting the lost in their daily routine of doing the same thing over and over again, going to work, getting noodles and accepting the unfaithfulness of their spouses. It also gives viewers a sense of developing bond between the two characters over

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.

Colour is a symbolic material in various sections of the film, as it functions as connecting visual and thematic threads which allude to connotations of danger, love, passion shaping her as a dynamic, charismatic character. Lola's fiery red hair highlights her speed, as she nearly runs through the entire movie. There are scenes where Lola and Manni are together and are seemingly illuminating red light, which exhibits their love and passion. The colour red is symbolically used in the film to emphasize certain aspects of Lola's life that are maintained in the use of props. In the beginning, the call to Lola is answered on a red phone, which highlights the urgency of Manni’s call and sets the precedence for the symbolic use of red throughout the movie. The recurring motif of the red ambulance at the end of each run represents urgency and tension. The red accents the rushed plotline, the love between Lola and Manni, and the blood of them both.

In hat way does the distinctively visual influence your understanding of people and the events within texts?

The bright blue of Mary’s robes ensnare our gaze. This vibrant color contrasts with the neutral tones of browns, whites, greens, and reds. Combined these soft colors emanate a calm ambiance about the painting. The robes of the figures, the Madonna’s in particular are light, airy in a sense. Tri-tone gives a sense of real fabric, and of movement underneath that fabric. Tri-tone and shadowing go beyond the characters however. The architecture in the background expresses a realistic filtered light. We detect an opening in the building by the presence of the tops of trees in the background, and by the light that faintly falls on the face of Madonna. This gentle illumination, once again brings our attention to the faces of Madonna and Child. In comparison, the saints in company are not placed in such a light, figuratively and

Unlike other clothes worn in the film such as the red dress, this gown has no distinguishable features since it is so dark. Instead of focusing on the judge and his awful verdict, the viewer focuses only Margot’s black gown. By focusing on her gown, Hitchcock is able to force the audience to feel Margot’s own pain and suffering associated with being falsely accused of the murder. The same experience happens to the audience when Margot becomes aware that Tony was responsible for the foiled murder. In this important scene, Margot is wearing a dark brown jacket. The jacket is dark enough that the audience can see her emotional distress, but light enough that we become aware that Margot found closure in these series of unfortunate events. As noted by a movie reviewer, Margot’s “shapeless brown jacket [is as] different from the red lace dress as you can get” (The Blonde at the Film). Hitchcock and Carrere use slim-fitting jacket in the last scene to show that Margot has moved on past Tony and is no longer stuck in between both relationships. By playing with the different shadings of Margot’s clothing and contrasting her dresses with other previous costumes, Alfred Hitchcock is able to add another dimension to Margot’s pain and suffering surrounding and help the audience understand the context behind Tony’s spoiled

• The quote by composer of the film, Tom Tykwer displays the array of opportunities throughout the film. As well as, making the film distinctive to attract audience attention by including boundless likelihoods in the movie. The film ‘Run, Lola Run’ by Tom Tykwer and picture ‘Persistence of Memory’ by Salvador Dali whom both effectively utilise two significant key aspects: Chance and Time. • CHANCE: Chance is continuously displayed throughout the film ‘Run Lola, Run’ however, everything is not completely precise or absolute. It is perceived there are constant complications effecting every moment, which may either allow Lola to succeed or fail.

Contrasts: The bright color clothing and how the figures are a sharp contrasts to the dark background.

A motif that is used in the movie is the sequence of three. Lola and Manni have three different scenarios in the movie that they come across. The first scenario, Lola runs to her father’s Bank to ask him for money and he tells her he is not her father and to leave and go home without any money. This is the first of the three scenarios that are portrayed in the movie. The second scenario shows Lola again, running to her father’s bank and ends up robbing the bank.

The primary color red on the subject emphasizes the most important subject matter, which is the brand. This person is photographed wearing a hoodie, another technique used to draw attention away from her and more toward the garment. You can see the simulated thick cotton texture in the sweater. She is poised and still, and the black shadowing around the neck brings more light to the face and blue eyes. There is little sense of her character and psychology shown in this

Run Lola Run: A Reaction Analysis 1. The film Run Lola Run is something similar to an 80 minute adrenaline rush. It’s fast paced movement and quick and witty dialogue entirely add to the tone and feeling of the film. The film's theme is time and how it is never on Lola’s (Franka Potente) side.

The first sequence with a significant mise-en-scène is the party scene, where Cathy hosts a fabulous party for her fellow members of society. Their home is packed with tuxedo clad men and their equally well dressed wives, where Cathy floats around the room in a provocative scarlet red gown, very similar to the one Cary Scott wears to a party in

It was very heart-warming to see this shift in his demeanor towards her, and the lighting amplifies the feeling.

In A Doll House, Ibsen presents us with Torvald and Nora Helmer, a husband and wife who have lived together for eight years and still don't know each other. This rift in their relationship, caused in part by Torvald's and Nora's societally-induced gender roles and also by the naivete of both parties to the fact that they don't truly love one another, expands to a chasm by the end of the play, ultimately causing Nora to leave Helmer. Throughout most of the play, Ibsen continually has his characters prepare for a masquerade ball that takes place at their friends' house.