Run_Lola_Run_Essay

The term ‘distinctively visual’ refers to the unique images that leave a long-lasting impression on our mind, creating meaning and expressing certain themes and issues. This is explored through the German film Run Lola Run (1998) directed by Tom Tykwer and through Frank Miller’s film noir, Sin City (2005) which provides thought provoking experiences for the audience through themes such as time, the role of women, love and violence. Each theme is symbolised through a variety of visual, aural and language techniques such as camera angles, colour symbolism, lighting, animation and diegetic and non-diegetic sounds which are carefully and uniquely injected to capture and engage the audience. Throughout Run Lola Run, Tykwer explores the controlling nature of time which is evident through the persuasive integration of ominous symbols such as the grandfather clock in the opening scene. The clock is shown at a low angled camera shot which is deliberately used to emphasise the power and significance of the clock and puts the audience in a submissive position, witnessing the importance, power and dominance that time plays throughout the film. The scene changes to images of anonymous people who are out of focus and rushing around. The beat of the music quickens to highlight the fast paced movement that the audience will experience. “The ball is round. The game lasts 90 minutes. That’s a fact. Everything else is pure theory.” This opening quotation acts as a metaphor with the concept of fast flowing and non-stop action- that time is always in control. Tykwer is also able to critically explore the role of women in relation to time through colour symbolism and camera techniques. As we are introduced to Lola, the camera arrives on a close up shot of the bright red telephone ringing loudly to symbolise the energy that is about to unfold. The loud ringing is a reminder of time playing a crucial role in this film as time determines what is to happen to Manni. A long shot is used to reveal Lola’s bedroom which emphasises the role of woman as Lola is located in the middle of the room with her bright red hair. Tykwer deliberately does this to show that Lola is a dominant and strong character whilst Manni isn’t. Manni is introduced with the camera panning quickly to the bright yellow telephone booth where he is located with yellow hair whilst talking at a fast pace which symbolises being impatient, impulsive and cowardly. At the conversation comes to a close, Manni’s telephone card is quickly running out which indicates how time, or the lack of it, is often the thing in this film that makes the characters take action, hence creating a perception of others and the world. Equivalent to Run Lola Run, colour plays as an imperative tool to communicate love and violence in Miller’s Sin City. The symbolic use of the colour red attracts the audience to have a more informed response to the violence and love in the world of Sin City. On the contrary, the dominance of distinct colours throughout Sin City provides emotional ‘punches’ that highlight the noir narrative. Marv is a clear example of emotional ‘punches’ as the colour red encounters his life when he finds Goldie lying on a red bed, dead. Thus the film attaches the colour red to Marv’s life in the form of blood. His encounters with red are in accordance with his desire for information and for love and represents a threat to the lives of the men Marv assaults. It is Marv’s love and memories, however, that strikes the reader, “I won’t let you down, Goldie”. Distinctively visual images are communicated through Miller’s film which is comparable to Run Lola Run through the role of women and the power they purses through low camera angles and the input of distinct colours such as red. This forms the effect of women having power and control. The colour red is inextricably linked to death and Miller makes it clear to associate death with women. This is exemplified through the girls opening fire on Manute and his men in the ally way with the red sky in the background to show power and dominance. The camera shot is taken at a low angel, looking up towards the girls, which again reinforces the power and control that the women purses. When Jackieboy enters Old Town whilst the police cruiser turns around to leave the area, the audience is informed through the visuals and narration that Old Town is a place not to be messed with. Jackieboy’s blue car symbolises confidence and hints to the audience that he is over confident and is in no control or power. The girls of Old Town are depicted as being powerful characters through their superior gun control and the fact that they outnumber the men by a vast amount. This allows for the audience to question the typical role of women as portrayed in contemporary society and reinforces the concept of the role of women.