The chosen sequence from "Run Lola Run" manages to incorporate various stylistic and editorial techniques into the short time span studied. (00.9.50-00.13.00)In an attempt to portray the emotions of both 'Lola' (Franka Potente) and 'Manni' (Moritz Bleibtreu) combined with the introduction and reinforcement of one of the main themes of the film itself; the standard editing techniques available to any director have been put to great use throughout Run Lola Run. It is within this short sequence, however, that we can identify them as being extremely effective.The sequence centres on a phone conversation between the two lovers, Manni and Lola, during which rhythmical editing is used in order to ...view middle of the document...
'Our eyes and brains are better suited for noticing differences than for concentrating on uniform, prolonged stimuli.'For example; Manni's black telephone receiver as opposed to Lola's red one, the close cut black hair of the male as opposed to the untamed red mane of the female, the hardened frustrated face of Manni as opposed to the clearly defined, yet somewhat childlike, i.e.: innocent; features of Lola - all of which seem to me to be portraying each characters present outlook on life and the notable differences between them. The idea of robbing a store seems absurd to Lola whereas to Manni it seems like a viable option. The break from graphic matching to the birds-eye-view angle shot of Manni is significant in that it manages to portray Manni's world as somehow very small. The phone box is effectively his temporary prison as, in this sequence; he seems to have no other choice. The use of a high angle shot from above succeeds in demonstrating this notion of being trapped by encompassing Manni's world into the frame itself i.e.: the box he's in with the gun in one hand and the telephone (representing Lola) in the other - what he sees as his only two options.This brings me to the question of why Manni would think that way, and all of the above surely must urge the audience to form their own questions and therefore theories relating to the differences between the couple. Manni clearly 'hails' himself as a criminal, which Althusser would argue is largely due to the structural systems within society that influence and ultimately control our senses of self and in turn, 'interpellate' who we are as individuals. In his essay 'Ideology and Ideological State Apparatuses' (Notes toward an Investigation) Louis Althusser uses the Structuralist Marxist theory that it is the ISA's within society that determine who we are and how we live our lives.With the education system hailing us as 'unfulfilled potential' and subconsciously having everyone conform to what is known as the hidden curriculum in order to be a more compliant and therefore apparently effective member of the Capitalist workforce, we are prepared for our pre-determined station in life. Other ISA's, such as organised religion, seek to reinforce this false consciousness by encouraging us to accept and comply, whilst the media is constantly bombarding you with images of 'things' that will make you better, faster, stronger, more attractive etc. and yet making sure that they are completely beyond your reach, surely this would be evidence to support the notion of Althusser's ideological position being reinforced throughout the sequence, and indeed, the film. Althusser states that:'Ideology represents the imaginary relationship of individuals to their real conditions of existence'Perhaps, on the surface at least, the above is why Lola descends into crime, or moreover becomes more willing to commit crime. She appears to have a life with privileges and opportunity - shown through the amount of choices...
