The chosen sequence from Run Lola Run manages to incorporate respective(a) stylistic and editorial techniques into the short time span studied. (00.9.50-00.13.00)
In an undertake to portray the emotions of both Lola (Franka Potente) and Manni (Moritz Bleibtreu) have with the introduction and reinforcement of iodin of the main themes of the film itself; the standard editing techniques available to whatsoever director have been put to great use end-to-end Run Lola Run. It is within this short sequence, however, that we fire identify them as being extremely effective.
The sequence centres on a call in conversation between the two lovers, Manni and Lola, during which rhythmical editing is utilise in govern to heighten the sense of emotion passim their conversation. As the argument becomes increasingly heated, the calamuss subsequently become shorter in length. Tykwer utilises this fast cutting from character to character in order to boost the intensity of the scene and by managing to build a steadily increasing pace he therefore succeeds in making the viewer struggle to keep up and and then identify with the characters situation.
In general, by controlling editing rhythm, the filmmaker controls the summation of time we have to grasp and reflect on what we construe
Specifically, this can be seen after Manni states:
The words themselves are a clear indicator of the characters desperation but when combined with the general mise-en-scene (i.e.: the costume/makeup/props etc within Lolas directly and Mannis phone box) plus the applied editing techniques, we the viewesr begin to need a sense of the characters personalities - a vital point passim the film.
After Mannis suggestion comes Lolas understandable reaction which begins the aforementioned shot to shot between characters in time with the conversation. Here we can see evidence of graphic matching between the two extreme...
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