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Recommended: Film analysis
The opening scene of the film with the over voice of a man with and gritty, brisk and bold voice catches the audience’s attention and allows them to question themselves, their perspective and beliefs we encounter a security guard, who neatly parallels life, and the film, with a game of soccer and leaves the audience with their questions unanswered. It is believed that the distinctively visual elements of a text do present new perspectives on old ideas, but how? The German film “Run Lola Run” written by Tom Tywker, engages with the audience in order to open their minds to new ideas and perspectives. In the film the composer has used the forms and features in order to communicate the visual text. The text is created through visual organisation,
medium, technique and form. In my presentation I have chosen to make a poster of a video game as the film is set up to be seem like a video game and Lola the protagonist or player is the one in control. The film has three distinct segments just like a game has levels, Lola is able to restart after each segment in order to attempt to solve her problem or in gaming terms to restart and try again. On my poster I have included a drawing of a clock with four arrows on there as time is seen to be indefinite and continuous duration regarded as that in which events succeed one another but in the film Lola is able to restart time and start again this challenges the belief that visual elements change our thoughts on old ideas and introduce to gaining new perspectives. My poster includes a game cover on there with the title/game name “will you save Manni in time”, I have chosen this title as Lola the protagonist is in control of Manni and her destiny, as she goes through these segments every move she makes gains a reaction from Manni weather he makes bad or good choices begins with Lola’s choices. She gains knowledge through her attempts and pushes herself to find a way to fix the situation or in a game to successfully complete the level. Just like in a game Lola has powers, she has the ability to heal a man who was undergoing a heart attack and halt the heart attack and bring the heart to normal rhythm. She also has the power to get what she wants when she screams in multiple scenes for example when screams to control the roulette wheel and wins the amount of money Manni needs to save his life.
... success of a commercial film but having only created an art festival film. This fact leading him to having the advantage of throwing in every trick in the book and then the book, in other words it has allowed him to use a wide variety of visual techniques to help portray the roller-coaster ride that is ‘Run Lola Run’. An example is shown in the opening credits. where we are thrown a digital surprise, as a shot of a crowd turns into an aerial point of view leading to the crowed spelling out the name of the film. Another example is when Lola is running through the streets of Berlin and every time she stumbles into a bystander their futures are shown in an instant flash forward viewed in black and white. The message is that the smallest events can have enormous consequences, you know the saying a butterfly flaps its wings in Malaysia, causing a hurricane in Trinidad.
During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six minutes help set up a distinct stylistic premise. In contrast to a novel or play, the sequence in Don’t Look Now is only accessible through cinema because it allows the viewer to interact with the medium and follow along with the different camera angles. The cinematography and music also guide the viewer along, and help project the characters’ emotions onto the audience because they change frequently. The film techniques and choppy editing style used in Don’t Look Now convey a sense of control of the director over the audience and put us entirely at his mercy, because we have to experience time and space as he wants us to as opposed to in an entirely serial manner.
As Nichols explains, the relationship between form and content in a film expands the abstract ideas of a film into solid, concrete figures. Providing concrete representations of these otherwise intangible figments solidifies these ideas for the viewer. The director of Germany Year Zero tackles many abstract concepts and provides them with a physical representation. One strong concept throughout the film is uncertainty.
Phillips, W. (2002). Thinking about film . In Film an introduction (pp. 403-438). Boston : Bedford/St.Martin's .
Thomas Vinterberg’s The Celebration features a distinct style clearly defined by the rules of Dogme 95 and its accompanying manifesto. The Celebration, like other Dogme 95 films, makes extensive use of minimalist production values in its overall aesthetic. This bare-bones style lends a certain authenticity to the films; helping to focus a viewer’s attention onto the dialogue and action. Although it initially seems unusual, The Celebration’s particular style becomes a defining characteristic of the film.
Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, th...
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
Berlin is the place that Thomas Tykwer where he filmed he fasts paced movie run Lola run in which it was entirely shot on scene and not in a studio. Berlin is a metropolitan city as we see, but most of the time it's not as crowded as we think. As we see the director emphasis on Manny calling Lola from the red pay phone to let her know that he lost the money on the train. In the movie run Lola run one of the most important scene is on the third take which takes place in the streets of Berlin, there are many more streets more scenes from the street of Berlin some very important scenes like Lola’s fathers office supermarket that Manni tries to rob. Also in the subway where he lost all the money and arrested. In all the scenarios the biggest contrast to Lola is the room that she's a very messy them lying next to each other.
Gallagher, T. 2002. Senses of Cinema – Max Ophuls: A New Art – But Who Notices?. [online] Available at: http://sensesofcinema.com/2002/feature-articles/ophuls/ [Accessed: 8 Apr 2014].
When watching the film Waking Life it is important for the viewer to notice the different elements and tactics which Linklater uses to get his point across. For example, tak...
their dependence, whether it is on technology or a cultural manipulation, and proceed towards discovering self-determination and having control of their own fate.
The post-modern society is seen to be one in which we are prevented from connecting to others as we are subjected to the whims of time. Time identifies their ‘destiny’ which serves to illustrate that we are imprisoned inside of a ‘game’ and that the only way to escape is by taking risks and ‘gambling’. The uses of jump cuts, visual symbolism, repetition and camera angles such as overhead shots depicted through the graphical artistry of M.C Escher and his lithograph ‘Relativity’ and by the German film director Tom Tykwer through his cinematic film ‘Run Lola Run’ gives the audience the sense of shock and adrenalin.
For Vetrov, “the city was not a “text” to be “read” but a sight to be seen, A visual rather textual experience” (Strathausen 2003, 24). Vertov asserted that images should speak for themselves; he used the intellectual montage to encourage his audience to participate actively in the film, to “revolutionize” their “visual thinking”. He had never imposed a “pre existing meanings” of his filmic text, he wanted the viewers to be part of the decoding process of his film (Russel 2009,
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.