reserach

The suggestion of a hyper-real culture where simulations precede reality - or in this case, where reality is so malleable that it can actually be replayed if things go badly, just like a video game.

The emphasis on style over substance, with its impressively consistent use of chromatic coding of characters and themes, a technical coding (by mixing colour and black and white film with video) of the context of these events, and a techno soundtrack that perfectly fits the action.

The use of pastiche and cultural recycling, notably a recycling of the techniques and structure of computer role-playing games and rock music videos in the context of an action film. Symbolism Despite having such a small budget, the film made over $14 million and won 26 of the 41 awards that it was nominated for. International Success sound mise en scene editing camera film Threat's Chris Gore said of the film, " I delivers everything great foreign films should - action, sex, compelling characters, clever filmmaking, it's unpretentious (a requirement for me) and it has a story you can follow without having to read those annoying subtitles. I can't rave about this film enough

This is passionate filmmaking at its best. One of the best foreign films, heck, one of the best films I have seen" It was ranked #86 in Empire magazines "The 100 Best Films Of World Cinema" in 2010

I Hate Luv Storys - Bollywood

I hate luv storys by RiddhiSoni

why is run lola run postmodern

Run Lola Run (German: Lola rennt, literally Lola Runs) is a 1998 German crime thriller film written and directed by Tom Tykwer and starring Franka Potente as Lola and Moritz Bleibtreu as Manni. The story follows a woman who needs to obtain 100,000 German marks (50,984 Euro) in 20 minutes to save her boyfriend's life. The film's three scenarios are reminiscent of the 1981 Krzysztof Kieślowski film Blind Chance.

Textual analysis

Sound - The soundtrack consists of techno, electronic music. This helps move the narrative along and reinforces the idea that Lola has little time to complete her task. The music is part of popular culture and is aimed to attract a mass audience.

Mise en scene - The colour red is one of the most prominent colours in the film for instance, the red phone, red ambulance and cars, red bag of stolen money and Lola's red hair. They all carry connotations of the danger Manni that will be in if the money cannot be found which creates a constant sense of urgency.

The red filter used during the bedroom scene represents the ‘flood’ of danger they are in as Lola lays dying on the street.

Editing - Many different transitions are used during the film, making the film quite jumpy and fast. This makes the film more stimulating and exciting to watch. The excitement markets the film toward a mass audience as the film is not too artsy and almost everyone can enjoy it. The quick cuts demonstrate the fact that Lola has to constantly think on her feet in order to find the money and the wipe transitions are a reference to time and how it is slipping away from Lola.

 The MTV style editing breaks down the distinctions between high and low art and culture, and instead embraces pop culture.

Camera - Various camera techniques are used to represent the characters in particular ways. The high angle shot of Lola outside the bank shows how powerless she is as she does not have the money in order to save Manni.

 The cinema verite style of camerawork used during the scenes in the office creates a voyeuristic feel as if there is someone watching them. The fact that they are having an affair, combined with the shaky camera builds a sense of secrecy that is about to be broken.

The film uses intersexual references to good effect. The music video style is used to appeal to a wider audience and to give a different perspective. The hyper reality that is created is one of the postmodern features of the film.

The video game effect represents how life is like a game and has no deep meaning, and is used to reflect the lives of the audience.

Camerawork and editing -The camerawork is synced with the pace of the narration. The directors have used multiple of cinematic techniques like animation, video, black and white, jump cuts, slow motion, rapid and sometimes collisive montage, Lola running in one direction dissolving into Lola running in another direction which breaks the 180 degree rule.

Hyper Real - The mouth of the evil creature on the clock opens up, and the camera zooms in on to it, this allows the audience to get stuck in the world where people can play with time. It also tells the audience that this might be caused by people’s greed in succeeding and however as the audience was not really told where her powers came from the audience can assume that has a contact with the devil from the introduction of the film. Suddenly people start to enter the frame and stop-action is used to speed up their movements, their colours are muted. Each person shows seems to be anonymous as the camera pans to add the fast-paced action. Suddenly the fast moving anonymous character slow down and the audience’s attention is led to the centre of the frame where a women is not moving and is staring at the camera.

Symbolism- In the cartoon section the web symbolises that Lola is like prey which has been stick in a web and cannot escape the conflicts that she has been faced and the only way to escape the wed is to fight it. The distorted clocks in the mouth of the evil creature emphasize her need to rush and get the money. The colour green is used because it connotations of money and evil which justifies the clock’s features in the beginning.

http://www.voki.com/create.php

http://www.voki.com/create.php

Blade runner essay - why is it post-modern

Why is the Blade Runner Postmodern?

I will be discussing how Blade runner is postmodern. Firstly postmodern is difficult to identify the starting point of postmodern ideas in cinema and film. Blade runner is postmodern in many ways for example the hyperidenties are shown throughout the film as the city with many high sky scrapers with adverts. In the beginning scene of Deckard eats noodles the audience is shown a high angled shot looking down at the city which is full of lights and is glowing from a digital advert on one of the sky scrapers. At this early stage of the film the audience see the distinction between humans and machines. Postmodernist would ask if emotional feelings be programmed, can humanity be manufactured.

Los Angeles is seen to be pastiche if ideas of the east, west and the future this was shown through many aspects of the film, for example, in the opening sequence the camera is shown to be making a panning movement across a large building which is somewhat shaped as n Egyptian pyramids which references the Egyptian culture and can be seen as symbolising the togetherness of different cultures.

As many cultures are coming together and mixing together is another element of pastiche, when Deckard ears noodles a heavily stereotyped Chinese man shown when Deckard is ordering his food, Deckard orders in English and the Chinese man replies in Chinese this signifies that English isn’t the native language anymore and English isn’t as dominating . In the scene Deckard is surrounded by many other people who are of a different culture and nationally also signifying that the he is a foreigners in his own country.

Another postmodern aspect which runs throughout the genre of the film is it is set 40years backs and forth. In the opening sequence tells the audience the film is set in 2017 however this is seems unreal when the audience is shown what people are wearing, for example in the shopping market when introduced to Deckard, the people are seen to be wearing clothes in the style of 0940’s which however the hair styles and the makes seem very exclusive making the film seem 40years back and forth. The low angled shots of city shows the glamorous city with large skyscrapers filled with lights and flying cars which the audience can only imagine can this to happen. However the high angled shots looking up at the black sky the audience can see the mucky town as the smoke form the market alone with the everlasting rain making the city seem dirty. This signifies the different classes, those who are higher classed are literally high up, and they live at the top of the high building and own flying cars where as the immortal people who are the last humans left on the world are shown to be near the grown as they are a lower class.

The genre is also shown through the mise en scene as the technology shown is also 40years back and forth. The scene where Deckard is scene to investigating the picture he found he inserts the picture into a computer. The computer looks very old and also makes very old ‘click sounds’ significant  its 40 years back, however Deckard is able to speak to the computer and the computer does what he says, this makes the technology seem 40year forward. Which is an element of postmodern as it shown time banding.

Through technology is shown to be very fascinating and interesting however technology is seen through a negative view. This is because bad things happen that is shown for example the class division and the replicas. As the skyscraper tower over the city the and dominated the screen time therefore is seen negative view and film is shown to be technophic which is a fear of technology. This is shown though the storyline as people running away from technology.

In my opinion I think that the film is seen as postmodern because of the technology and how the film shows two different time period coming together for example the technology looks interesting and fashionable are interesting such as flying cars and glowing digital adverts and the computer being voice controlled.  

blade runner presentation

link to our film:

http://www.youtube.com/watch?v=565MxPxtLuw

How to identify postmodernism

1. Look out for experimentation with the form of the novel. This could be less character development, non-traditional narratives, playing with perspectives and point of view or strange layout or typographical choices.
2. Identify any inference to metafiction, when literature self-consciously exposes itself as a work of fiction. There are several literary devices for achieving this, including narrative footnotes that comment on the story, such as those in "House of Leaves" by Mark Z. Danielewski, or a book which contains another fictional work inside it, such as Thomas Pynchon's "The Crying of Lot 49."
3. Check for a sense of discontinuity, which may be shown via an unconventional conveyance of time throughout the story. A prime example of this is in Kurt Vonnegut's "Slaughterhouse-Five," where the narrative -- and the main character -- shift back and forth through time.
4.  Observe any instances of intertextuality, that is when an author interweaves or makes reference to another text entirely. For example "The Name of the Rose" by Umberto Eco references the works of Aristotle and Borges.

5.    Watch for black humour and irony in a novel, as it is often found in postmodern literature. The term "catch-22" comes from Joseph Heller's novel of the same name, the central theme of which is the irony of being in such a situation.

Lady Gaga Telephone

Lady Gaga- Telephone