Narrative Constructions in Tom Tykwer's Run, Lola, Run

Nonfiction, Entertainment, Performing Arts, Film
Cover of the book Narrative Constructions in Tom Tykwer's Run, Lola, Run by Simone Donecker, GRIN Publishing
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Author: Simone Donecker ISBN: 9783638548076
Publisher: GRIN Publishing Publication: September 24, 2006
Imprint: GRIN Publishing Language: English
Author: Simone Donecker
ISBN: 9783638548076
Publisher: GRIN Publishing
Publication: September 24, 2006
Imprint: GRIN Publishing
Language: English

Seminar paper from the year 2005 in the subject Film Science, grade: A*, Indiana University (Communication and Culture), 6 entries in the bibliography, language: English, abstract: Run, Lola, Run by Tom Tykwer (1998) is a cinematically innovative film that departs in many ways from usual standards of narrative construction by using a wide range of filmmaking techniques. Although its unique graphic and audio representation as well as its plot technique confronts stereotypes that are produced by Hollywood, it can also be associated with principles of classical narrative form. In this paper I will discuss the complex structure and narrative of the movie as well as its extensive self-reflexivity by focusing on its different ramifications in art cinema, counter-cinema and classical Hollywood cinema. In an interview on a Belgian film website David Bordwell argues that a lot of films which seem to be unusual and innovative are actually rooted in the spirit of classical cinema: A movie like Lola Rennt for instance, which is very experimental in some ways, is in many ways also very traditional. Beginning-middle-end, she gets three chances, the last one is the right one, she looks at the audience in the end and acknowledges it's all been a game... I mean, this is very much in the spirit of classical cinema. Although this might be true, there certainly are devices in the film that can be aligned with art cinema. The categorization and analysis of Run, Lola, Run is a matter of how you define classical Hollywood cinema and of how much emphasis you put on the different characteristics that define the structure and the narrative of the film. [...]

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Seminar paper from the year 2005 in the subject Film Science, grade: A*, Indiana University (Communication and Culture), 6 entries in the bibliography, language: English, abstract: Run, Lola, Run by Tom Tykwer (1998) is a cinematically innovative film that departs in many ways from usual standards of narrative construction by using a wide range of filmmaking techniques. Although its unique graphic and audio representation as well as its plot technique confronts stereotypes that are produced by Hollywood, it can also be associated with principles of classical narrative form. In this paper I will discuss the complex structure and narrative of the movie as well as its extensive self-reflexivity by focusing on its different ramifications in art cinema, counter-cinema and classical Hollywood cinema. In an interview on a Belgian film website David Bordwell argues that a lot of films which seem to be unusual and innovative are actually rooted in the spirit of classical cinema: A movie like Lola Rennt for instance, which is very experimental in some ways, is in many ways also very traditional. Beginning-middle-end, she gets three chances, the last one is the right one, she looks at the audience in the end and acknowledges it's all been a game... I mean, this is very much in the spirit of classical cinema. Although this might be true, there certainly are devices in the film that can be aligned with art cinema. The categorization and analysis of Run, Lola, Run is a matter of how you define classical Hollywood cinema and of how much emphasis you put on the different characteristics that define the structure and the narrative of the film. [...]

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