Distinctively is no Island’, entails the vulnerability of

Distinctively visual images aim to manipulate the way we explore and interpret the images we see, critically affecting the way we make interpretations of the experiences we encounter in the world. This lies within the significance placed upon differing perspectives of oneself and the world around them. Tom Tykwer’s postmodern film ‘Run Lola Run’ (RLR), Tykwer deliberately affects interpretation and shapes meaning in order to vividly connect the viewer with the character’s thoughts, actions and experiences. Through the use of tripartite structure and evocative imagery explores the notion of ‘the nature of time’, ‘love conquers all’ and ‘fate vs choice’. Similarly, Jason Van Genderen ‘Mankind is no Island’, entails the vulnerability of belongingness of existence within a big city, through signs which effectively shapes distinctively visual images. Ultimately, both texts, with the use of cinematic techniques, distinctively visual images are created which illustrates the idea of human experience.

Additionally, the ‘nature of time’ highlights the idea that time is uncontrollable, from challenges of human experience initially transforms an individuals attitude and emotions of others and the world. Time is made distinctively visual at the beginning of the film of the swinging pendulum, in this scene we see that tyranny of time has a dominant control over lives seen through the use of a low angle shot. This conveys that time is always ticking as it continues to pass in our lives with the continuous reference of the motif of 20 which encompasses Lola’s run and symbolic use of clocks. Also shown in the scene of a close up/zooming shot into the gargoyle’s mouth and the screen fading to black, which suggests time is ‘eater of worlds’ a consuming entity devouring all, thus unable to prevent its function. Tykwer incorporates a variety of symbolic representations of time through the constant use of clocks. Throughout the film visually via close-ups outside the store where Manni is, inside Lola’s father’s office and in the casino, showing a visual image into Lola’s experiences as she is placed into an uncontrollable nature of time. This is further highlighted through the cinematic devices of the triple split screen of Lola, Manni and the clock, layered with fast-paced non-diegetic sound adding sensory impact. Giving a sense of urgency and desperation allowing the audience to feel the rushing atmosphere of both Manni and Lola’s struggles and triumphs as she races against time. Time is the one constant factor continuing to tick away, by inevitably taking us from one point in our lives to another, bringing change to an individuals perception of others and the world. Thus, the distinctively visual is able to shape meaning through the symbolic use of clocks and motif of the number 20.
Circles are another motif used to symbolise the circle of life, the transience of humanity and the force within Lola’s self-determination. Through her primal scream, Lola transforms and transcends time as she breaks the circular clock, stops the roulette table which lands on 20 and allows her to symbolically end the cycle and ‘win the game’. This is visually represented via a slow-motion cinematic technique which ultimately represents the ball, the circle, riding the clock in an exchange of power. No longer chased by the ticking of time, she becomes the transformative agent-of-change.

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The concept of ‘love conquers all’ reveals that love is an overpowering force of emotion that controls one’s perspective of oneself and the world. Through the use of a tripartite structure, the characters growth of Lola displays a significant amount of progress throughout RLR. Through the self-determined persona of Lola, she is willing to do anything out of love whether it is resisted or forced upon despite her limitations. This is evident in the red-tinted bedroom scenes which are a distinctively visual feature that communicates the relationship of Lola and Manni. The symbolism of the motif colour red conveys as an emblem of passion and danger. This is personified within Lola, as it represents a connection of the strong love she has for Manni, as well as the danger that follows this love. This is seen within close-ups and medium shot, captures the intimate moment of their devotion. Moreover, Tykwer conveys the differing perspectives that love is not like a fairytale. With the use of spirals throughout the film, indicates their lives are ‘sprialling out of control’. Shown within the spirals on Manni’s pillow during the intimate scene suggests the turmoil of their relationship as they question their love for one another. It is a representation that she lacks the ability to control her life and with others. The use of distinctively visual images Tykwer conveys an absence of love as an influential power in individuals lives which acts as a catalyst, illustrating individuals perceptions of human behaviour.
(As well as shown in the scene of Lola answering a bright red phone in the middle of the room, represents itself as a bearer of bad news, news of certain danger and possible death. This impels her to attempt the near-impossible believing ‘Love can do everything, love can conquer all’ affirms her view and the strength of her emotions. It is through this scene a sense of self-determination of her capacity for love is revealed as she maintains her position as the ‘rescuer’.)