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Technical Aspects and the Drive of the Protagonist in Run Lola Run

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  1. Introduction
  2. The begining of the story
    1. A spiraling, chaotic, and stressful form
  3. The effect that Lola is falling
  4. The main storyline of the film
  5. The constant movement of the protagonist
  6. Conclusion

In Tom Twyker's film Run Lola Run, Lola is a character kinetically driven by her love for her boyfriend, Manni, and her desire to save him. This drive takes her on three separate but similar journeys, with fate and timing to decide the outcome. Lola's drive to find a hundred thousand marks for Manni in twenty minutes is a spastic journey of desperation played three times over. Because of this, the filming of motion throughout the film has been submitted to meticulous detail. Music, editing, sound and mise en scene also play major roles in the film's emphasis on movement. The film has a way of forcing the viewer to tension, imbuing in the audience a sense of fight or flight through the use of cinematic elements. In short, Lola's desperation, anguish, helplessness, determination and ultimate triumph are lived by the viewer as well. Run Lola Run is a film whose technical aspects work to simultaneously enhance the struggle of the protagonist, Lola, and fuse audience identification with her.

[...] However, even the cutting that takes place outside of the running scenes seems to accompany the speed and intensity that are the basis for the film. Specifically, cutting works in conjunction with the music and sound. When Lola first hangs up the phone with Manni, she looks at the clock and the camera cuts from her face to the clock, and then cuts three more times, each time bringing the clock in closer to the beat of the techno music that has started up. [...]

[...] The camera spins and cuts in a disorienting fashion as Lola tries to decide what to do. This is where subject matter and technicality collide and the viewer becomes anxious by both the time-sensitive aspects of the text and furiously short cuts. The average shot length in the film is 2.7 seconds[1]. If Twyker had simply chosen to film Lola's journey to the bank in one ongoing shot, it would take forever and the whole motif of motion would become literal and boring. [...]

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