Run Lola, Run!

Run, Lola Run is a 1998 film by German screenwriter and director Tom Tykwer, starring Franka Potente as Lola. The film is a unconventional non-linear film that covers a time frame of 20 minutes as Lola attempts to change her and her boyfriends fate each time. The spiraling script uses the "multiple lives" concept to pull in the audience in as we watch very small details drastically change the outcome of a situation. The camera movement in Run, Lola Run serves as a method of imitating and examining human behavior, and evoking an emotional response from the audience.

There is a beginning scene where the camera sweeps through the entire town and into Lola's apartment defying human speed. No human being would be able to move like that (not even modern day human action heroes). One can connect another scene where Lola is running during one of her "cycles" for her father's bank, and it's a long shot. The camera is still ahead of Lola, as if it is taunting her (and the audience) because she can't keep up. It adds to the suspense, and Alfred Hitchcock (as everyone knows as the master of suspense) has a rule of thumb for this technique of dealing with women in film, "If all else fails while trying to make a scary movie, torture the women!". That idea can be applied to Lola and the camera's taunting. The audience is secretly rooting for her because we know that Lola is vulnerable. She has feelings, she cries, she falls, and she's afraid just like the average Joe, again, unlike the average action hero. Her not being able to keep up with the camera adds to

this vulnerability, evoking more sympathy from us. Tykwer states in Tom Mes and Joep Vermaat's interview with him,


"Sometimes a movie doesn't offer you this opportunity, you can't change opinions about characters several times in a film like Lola Rennt [Run, Lola Run], you know. You have to be clear about the characters in the beginning and then you just go for it...." .

With this in mind, the film utilizes the character development aspect to draw multiple emotions from the audience, including compassion and anxiety. The sweeping motion is performed in a matter of seconds, taking the whole town and arriving at Lola's apartment. Defying these elements is something that would be extremely useful to Lola as she runs, and yet these are things she can not achieve because is human.

One of my favorite scenes in Lola is when, during the first "time cycle", Lola is thinking of all the people in her life to ask for money. Tykwer shows her thought process through a series of jump cuts. This has two effects: it heightens the suspense of the movie and it shows how the camera and editing can imitate human behavior. Because fast cuts can be used to excite the viewer's visual senses, they can influence the audience to become more engaged as the plot begins to thicken. We now have a defined problem (she needs money) and a shot of her springing into action in an attempt to solve it (she has to think of where to get it from). In the scene of Lola thinking of all the people that could lend money, the jump cuts are representational of what goes on in someone's head that's under pressure and has to think on their feet. Her mind is quickly scanning and accessing each person, thinking of background information that would help her make the decision and then relaying that to the problem. It is interesting to think about how although a human body is no match for a camera's movement, the human mind can create scenarios, special effects, etc. that the camera will never be able to duplicate. Just thinking about the mechanics behind a camera, and the limits a camera lens has compared to the human eye is a great example of brain superiority.

Thus, Run, Lola Run goes far beyond the modern day action flick that is designed to merely give you a sensory overload. This film takes a chance on character development through editing, and examining human behavior through imitation through camera movement (instead of explosions and car fights) to evoke human emotion.




In photo:Tom Tykwer

Creating Art from Art: Web Excursions and other things

What happens when you take a handful of naked Barbie dolls, figurines from a pop-culture movie, and an artistic French guy that has a computer and a dream? You get popular Evan Mather's "Les Pantless Menance", a graphic 3-D mash-up that spoofs George Lucas's Star Wars: Phantom Menace. In today's society, what makes art...art? Certainly there is a debate over the originality factor of the new wave of web artists, who often "borrow" main ideas (and even characters) from other already popular works to push their way to Internet fame. According to Wikipedia (what better way to define art and understand Internet art than to look it up via an electronic encyclopedia?), art is as follows:

"...is made with the intention of stimulating the human senses as well as the human mind and/or spirit. There is no general agreed-upon definition of art, since defining the boundaries of "art" is subjective, but the impetus for art is often called human creativity."


Wikipedia goes on to say that art often creates similar characteristics, including but not limited to skill, judgment of value, communicating emotion, creative impulse, and symbols. If one were to take this into account, then yes, web movies like "Les Pantless Menance" definitely belong in the art category. I suppose the old school artists ( you know, the ones who created masterpieces and etched their name in history forever) will have to move over to make space on the wall as a HD television plays modern day art displaying naked children toys and their heads exploding for thrills.

My only guess for the new turn of art would be the society we live in. With older art, artists chose their to use their paintbrush to tell a story about the times they lived in, which happened to be social issues (politics, crime, gender issues, etc.). Today, we do the same thing, but our interests have undoubtedly took a change from what filmmaker Scott Stark suggested in his letter to Jane Fonda, "...a certain kind of selfless idealism, replacing it with a more self-centered view".

Perhaps we are running away from the problems of today's society, with crime, lack of morals, and a sense of helplessness to change anything. Instead of turning to art to remind us of our problems, maybe we're turning to art to help us forget, and submerge us into a roller coaster ride of images and sound juxtaposed together to create a "film" that will satiate our senses. Is this necessarily wrong? It certainly is interesting. Now, instead of art being held by an elite group of society, the average-Joe can become an Internet Michelangelo with the help of technology and an imagination.

Sharon Lockhart's Goshogaoka

Goshogaoka is a 20 minute film made by Sharon Lockhart that chronicles a day of a young girl's basketball team in a junior high school near Tokyo and their routine. The film was shot on 16mm. Throughout viewing the film, the audience falls into the hypnotic choreographed movements of the young girl and the drone of their voices as they harmoniously chant along with their exercises. Lockhart strives to link art and the human body through her film while taking a non-conventional approach to choreography in film.
In my film class, Concepts Production, we discussed Maya Deren's Ritual in Transfigured Time and non-dancing elements. Ritual is a 15 minute film made in 1946 on silent, black and white film. Main character Rita Christiani begins the film when she encounters Maya Deren herself and is startled when Deren disappears. This begins a dream-like sequence of where Christiani is transported to a dinner party and then onward to dance with dancer Frank Westbrook. Goshogaoka shares the non-dancing element factor. Both films have dance like gestures, with Goshogaoka's girls robotic back and forth movements, that are curiously graceful and Ritual's famous dinner party scene, where Christiani is interacting with others at a dinner party and one could swear that the guests were dancing as they gracefully sought out someone and then another and so forth.


In Deren's article, "Ritual in Transfigured Time", she states,

"...if one were to omit from an actual party all the long conversational pauses, there would be left mainly that constant moving pattern of smiling, social anxiety; each person seeking to reach someone at the other end of the room, or moving, tentatively, to meet someone new, or embracing an old friend, or edging away from someone dull towards someone interesting."

The same idea can be applied with Lockhart. If one were to take away the chanting of the girls and the actual basketball that is being used, there would only being the rhythmic movements of each individual who strives to fall in the same place the person before the was. Goshogaoka focuses on the art of the human body, and the way our body becomes (in a way) a machine whose main purpose is to carry out a task, smoothly and efficiently. Isn't this what dancing is, as well? To piece together an amount of movements that serve to tell a story, one bit at a time?

The difference between Deren and Lockhart and their films respectively is the individual aspect of each film. While Deren's film incorporates two dancers, the rest of her cast are not. Christiani and Westbrook have a dance sequence, true, but the rest of the time the characters movements are mimicking the fluidness of life itself. Although the same could be said about Lockhart, her team of girls work as one unit. Their bodies are part of one big machine (think the kid's television show, "Transformers" if you will). Ritual is about an individual's experience as she moves through a surreal world, while Goshogaoka is about a mutual experience amongst many individuals. Despite these differences, however, both Ritual In Transfigured Time and Goshogaoka use non-dancing elements explore the art behind human motions and interactions.