Cinematography of Run Lola Run (1998)

Abstract: Focusing on Tom Tykwer’s 1998 film Lola Rennt, I demonstrate in this paper how certain cinematic techniques can be employed to break with what Gilles Delueze calls “figuration”—the obvious story. I focus on two such techniques: use of ... - See more at: http://www.mpsanet.org/Conference/ConferencePaperArchive/tabid/681/Default.aspx?q=Lola+Runs%3a+How+Tom+Tyker+Breaks+With+Figuration#sthash.myILukAX.dpuf

Camera Obscura, 2006

... In The Princess and the Warrior, Bodo's brother Walter, a bank clerk played by Joachim Król, and the security worker at the bank (Sebastian Schipper) share a moment of recognition that is best explained through an intertextual reference to Run Lola Run. ...

The fourteen chapters in this edited volume feature original, in-depth analyses of contemporary German-language literary texts, films, political cartoons, cabaret, and other types of performance. The artworks display a wide spectrum of humor modes, such as irony, satire, the grotesque, Jewish humor, and slapstick, as responses to unification with the accompanying euphoria, but also alienation and dislocation. Kerstin Hensel’s Lärchenau, Christoph Hein’s Landnahme, and vignette collections by Jakob Hein (Antrag auf ständige Ausreise und andere Mythen der DDR) and Wladimir Kaminer (Es gab keinen Sex im Sozialismus) are interpreted as examples of the grotesque. The popular films Lola rennt, Sonnenallee, Herr Lehmann, NVA, Alles auf Zucker!, and Mein Führer – Die wirklich wahrste Wahrheit über Adolf Hitler are examined through the lens of traditional and more recent humor or comic book theories. The contributors focus on how each artwork enriches four prominent postwall German cultural trends: post-unification identity reconstruction, Vergangenheitsbewältigung (including Hitler humor), New German Popular Literature (Christian Kracht’s ironic subtexts), and immigrant perspectives (a “third voice” in the East-West binary reflected here pointedly in Eulenspiegel cartoons). To date, no other scholarly work provides as comprehensive an overview of the diverse strategies of humor used in the past two decades in German-speaking countries. Chapter authors are Robert Blankenship, Christine Cosentino-Daugherty, Gabriele Eichmanns, Anne Hector, Tes Howell, Garbine Iztueta, Susanne Lenné Jones, Lynn Marie Kutch, Annika Orich, Jennifer Marston William, Kerstin Mueller, Michele Ricci Bell, Arnim Henning Alexander Seelig, Oliver C. Speck, Florentine Strzelczyk, and Jill E. Twark.

Abstract English: Xena: Warrior Princess - out of the Closet? A Melodramatic Response to the Show by Latin American and Spanish Lesbian & Gay Fans The research makes an analysis of the melodramatic interpretation of Xena: Warrior Princess (1995-2001) by latino gay and lesbian fans and of the obstacles that it brings about. The conflicts raised by its protagonists in the American series serve us in exploring the impact of a subtextual interpretation, and of a creative production from the latino fan communities within those of Xenaverse on the Internet. At the same time, I include the internal and external discourse (from those “in the know”) over the Production of the program. All of these factors serve to illustrate that the gender performance of Xena is lesbian and the performative character of gender is hidden within the patriarchal domination, socially reinforced and accepted in a hetero-hegemonic/sexist, homophobic and discriminatory culture. It is because of this that Xena will never be out of the closet, since she has never actually been in it. The difficulty is that these fans xenites are not always conscious of the homophobia that they are permanently exposed to, and this situation has to do with the social context that they are immersed in. Their melodramatic reading, the cultural component that defines them, causes some of the references to be lost from sight and in such cases the emotional prevails. Nevertheless, some fan actions and interactions are part of an original queer protest response to societies that oppress and subjugate.

Digital Creativity, 2011

2011

In Jena Logic, Hegel describes the point as a determined negation of space by space with its element of ideal transparency, of absolute indifferentiation, of undetermined continuity of the differenceless original impurity of the Nature as absolute space. While the first spatial negation of space is the point, the second one derives to be the line. The point negates and retains itself, lifts itself (by Aufliebung) into a line that constitutes the truth of the point. This is the reason why the lined shape of the carpet, by capturing the truth of the points will be crossed out. Aha! Who will understand it? I am not trying to acknowledge/impose something that my audiences will not know – as naturally well-trained Hegelians, they already know it. The points that will be crossed are the photographs taken from the point of view of the very spot where they stand on. Their purpose is to predict the simulative world of both the photographs and the walking path. Through the non-miming security door -meaning that it equalizes (in transparency) the anterior space passed and the posterior space that is to-come, but not necessarily so either since there is the very act of passing - the passerby will pass into the corridor that entails two television sets that are placed diagonally.

With extravagantly red-dyed hair and a trashy, punkish look, the title character (Franka Potente) of Run Lola Run runs through the streets of post-wall Berlin to the persistent beat of a conspicuous techno-score. 2 The film not only serves as a textbook example of the 'forking-path' narrative, it has also frequently been used to rehearse the claim that contemporary 'complex narratives' adhere to an underlying classical linear logic. 3 This essay counters such a view on contemporary cinema and attributes instead the linearity discovered by these scholars to the narratological framework they apply. The second part of this essay explores the advantages of adding to our conceptual toolbox a film-philosophical and narratological tool, the 'embodied' fabula, designed to comprehend cinematic narration from the perspective of the actual experience, rather than from the causal-linear reconstruction of its narrative events. The title of this essay is an attempt to encapsulate the governing principle behind this proposed embodied reconceptualization of the fabula. In Cinema 2: The Time-Image, Gilles Deleuze argues that memory has found its proper expression in the time-image. 4 In line with contemporary 'embodied' memory research, 5 Deleuze claims that memories are not stored in our brain, but perform an active structuring of our perception. According to him, cinematic time -images allow us to glimpse the workings of our Bergsonian memory as blending with perceptions, emotions, affects, and cognitions. In this fashion, memories are not located inside our heads, but enact and shape our immediate environment and sense of time. 6 Deleuze expresses this when he poetically writes: "Memory is not in us, it is we who move in a Being-memory, a world-memory". 7 My thesis is that something similar is at stake in contemporary 'puzzle films', 'mind-game' movies, 'neuro-1 The research for this essay has been conducted as part of my doctoral dissertation, Embodying the Fabula: Cinema between the Lines, at Bauhaus-Universität Weimar in Germany and supported by a scholarship from the Graduiertenförderung des Freistaates Thüringen.