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 Bleibtreuas Manni. The story follows a woman who needs to obtain 100,000 German marks in 20 minutes to save her boyfriend's life.
The film begins with Lola (Franka Potente) receiving a phone call from her distraught boyfriend, Manni (Moritz Bleibtreu). He is a small-time criminal and has lost 100,000 marks belonging to his crime boss by accidentally leaving it on a train (Lola was supposed to pick him up, but her moped was stolen while she was buying cigarettes). After the doors of the train closed, he saw a homeless man pick up the bag of money but he was unable to get back onto the train before it left the station. Upon not seeing any trace of his money or the homeless man at the next station, Manni assumes the money is long gone.
Manni has to get the money within 20 minutes before his boss finds out, and plans to rob a nearby supermarket. Lola urges him to wait and tells him she will sort out the money. She decides to ask her father (Herbert Knaup), who is a bank manager.
The main part of the film is divided in three "runs". Each run starts from the same situation but develops differently and has a different outcome. Each run contains various flash-forward sequences, showing how the lives of the people that Lola bumps into develop after the encounter. In each run, those people are affected in different ways.
The film was nominated for 41 awards, including the BAFTA Award for Best Film not in the English Language. It won 26. These included the Audience Award at the Sundance Film Festival, Best Film at the Seattle International Film Festival, and seven separate wins at the German Film Awards.
As of September 2008, the review aggregator Rotten Tomatoes reported that 92% of critics gave the film positive reviews, based on 79 reviews. On Metacritic, another review aggregator, the film had an average score of 77 out of 100, based on 29 reviews, stating the film as having "generally favourable reviews". The Internet Movie Database, IMDb, shows Run Lola Run as having earned 8 out of 10.
I found this whilst looking for some ways of defining postmodernism, and I thought it was the shortest description yet. Thank you, Moe from The Simpsons.
Postmodernism is a way of grouping styles of thought – and texts that present these styles – by offering a method of both constructing and deconstructing ideas, obscuring the sense of reality and playing with modernist conventions. Due to the somewhat vague and often contradictory nature of the definition of the word ‘postmodern’, one could argue that almost any text can be described as postmodern if viewed in the right way. However, there are certain characteristics that are vital in making a text postmodern, and there are also many things that mean a text cannot be described in that way.
One argument for describing a text as postmodern is if it is self-referential or self-conscious. Postmodern texts often deliberately almost ‘make fun’ of themselves by exhibiting the fact that it is aware that it is a text, whilst modernist texts, or simply those that are not postmodern, tend to take themselves more seriously and not make references or self-parodies. For example, Lady Gaga’s music video for ‘Telephone’ can be described as postmodern as it is often self-referential: it makes references to her previous video for ‘Paparazzi’ by using similar costume choices, especially Beyonce’s glasses in the diner scene, and continuing the narrative; it makes blatant use of product placement, especially of Gaga’s own product HeartBeats; it addresses the haemaphrodite rumours about Gaga in the press. Another way that a text can be self-referential is by having the characters break the fourth wall and show that they are aware that they are in a text and that there is a world outside of it. For example, the characters Peter and Paul in the film Funny Games US often do this, such as when Paul turns to the camera and says, “You want a real ending, right, with plausible plot development, don’t you?”
Another argument for saying that a text is postmodern is through the use of pastiche and intertextual references, and the recycling of genres and styles. This means that unlike modernist ones, postmodern texts play with conventions and reverse the audience’s expectations. For example, Quentin Tarantino often uses pastiche in his films, e.g. in 1994’s Pulp Fiction, which makes constant homage to various different films and TV programmes and creates a heavy sense of nostalgia. As scholar Estella Tincknell says, the “diner setting seems to be a simulacrum of a 'fifties' restaurant...the twist contest is a musical sequence which evokes 'the sixties,' while Travolta's dance performance inevitably references 'the seventies' and his appearance in Saturday Night Fever.... The 'past' thus becomes a more general 'pastness' in which the stylistic signifiers of various decades are loaded in to a single moment." The postmodern theorist Fredric Jameson said that postmodern texts are “concerned with all surface, no substance,” which can certainly be applied to Pulp Fiction as it has been so heavily stylised and is very retro in its style.
Pulp Fiction in particular can also be described as a postmodernist text due to its incredulity towards metanarratives and the way in which the storyline of the film is made up of many smaller ones. Whilst conventional modernist texts tend to conform to the idea of metanarratives, meaning that the world is going somewhere and these stories do mean something, postmodernist texts oppose this, stating that there can be no great theories or ideas. Hence, rather than having one main simple storyline, Pulp Fiction makes use of different characters and creates many, seemingly unrelated, storylines until eventually they become intertwined. Whilst modernist films may traditionally follow an episodic narrative, postmodern ones such as Pulp Fiction often have a non-linear narrative, meaning plot events may not appear in chronological order, with the end at the beginning and the beginning at the end.
Arguably one of the simplest ways to say that a text is postmodern or not is through its humour. Postmodern texts are darkly funny, using black humour and irony extensively. An example of a black comedy film is Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, which satirised a nuclear scare. Rather than treating the subject of nuclear warfare with typical sensitivity, this film twists it into something funny. This links to a perverse sense of morality, something which is also commonly found in postmodern texts. Rather than conforming to the audience’s expectations and moral beliefs about nuclear warfare being wrong, the film toys with the idea of morality. Moreover, whilst modernist texts tend to show a very absolutist view of morality, meeting the audience’s expectations of what is right and wrong, postmodern texts often promote the idea of moral relativism, which suggests that morals can vary immensely, and that there is no objective truth as to what is right and wrong. Hence, postmodern texts show different viewpoints and perspectives rather than having a strong bias.
Due to this warped sense of morality, often the heroes of postmodern texts are very different to the conventional heroes of modernist texts. Rather than presenting qualities that the audience considers as typically heroic or noble, postmodern characters are often anti-heroes. This means that they are flawed or unconventional, and sometimes not even likeable at all. A perfect example of an anti-hero is Alex DeLarge from Kubrick’s 1971 film A Clockwork Orange, based on the book of the same name by Anthony Burgess. In both book and film, Alex is a perverted young man that performs horrific acts of rape, murder, and “ultraviolence”, showing no remorse. Despite this, he is still the main focus of the narrative and often the audience are at times even encouraged to sympathise with him. These kinds of protagonists are yet another example of the postmodernist sense of humour and irony.
In conclusion, there are several ways that one could argue that a text is postmodern or not, as there are many aspects of postmodernism that set it apart from the conventions of modernism. What underpins the entire postmodernist theory is the ability to recycle old ideas and make fun of not only others, but also itself. Without this sense of irony and satire, a text can hardly be described as postmodern.
There are several ways that the video for Lady Gaga's 2010 song 'Telephone' feat. Beyonce could be interpreted as postmodern...
Pastiche and intertextual references: References to Quentin Tarantino's 'Kill Bill' franchise by using the very same truck, the 'Pussy Wagon'; 'Pulp Fiction' through the use of the nickname 'Honey Bee', like 'Honey Bunny' is used in the film; the red and yellow font used is similar to that of 'Jackie Brown'; Gaga and Beyonce's 'Thelma and Louise' style relationship; Beyonce's Wonder Woman-esque outfit; the American flag outfits in the dance routine; imitation of Michael Jackson's shuffle as Gaga breaks out from jail; the Madonna-style look in the beginning of the video.
Consumerism: There is obvious product placement throughout, though it is not done in a humorous way. These include Virgin Mobile, HeartBeats, Chevrolet, Wonderbread, and Diet Coke.
Self-reference: Gaga shows self-awareness through not only the above product placement, but also by addressing the then-recent hermaphrodite rumours in the media, and by referring to her previous video for Paparazzi through the continuing narrative and similar costume choices, especially Beyonce's glasses in the diner scene.
Appropriation of identity-based struggle/Feminism: One the one hand, this video could be criticised as objectifying women, because of the revealing outfits worn by many of the females throughout, the use of close-ups solely on Beyonce's cleavage, the representation of women as needing to be beautiful and image-conscious due to Gaga's many costume changes and extravagant make-up, etc. However, by placing herself in an entirely female world, it could be argued that Gaga is empowering women and opposing the idea of the 'male gaze': "Lady Gaga is interesting for turning the male gaze back on men, and for portraying women as subjects rather than objects in her videos (albeit still scantily-clad subjects)."
Incredulity towards metanarratives: Although the video does consist of a sequence of events, it is difficult to find an overall message to it, mostly due to the many pop culture references and product placement interspersed with the storyline, which leaves little else.
OK Go’s music video for ‘Get Over It’ begins with a shot of the band sat on an old brown leather sofa. After a few seconds of silence, it cuts to a shot of a wall covered with photos, some of which are the band members, as the song begins. There are then a series of abstract, ambiguous shots which all cut in time to the pace of the intro guitar. Some scenes include a ping-pong table, a piano, a wall with deer heads hung on it, and various sofas. Just before the vocals begin, there is a close-up shot of a microphone, with the lead singer just coming into focus as he sings. Then the video uses visual representations of key lyrics, e.g. for the line “all your wounds are full of salt”, the camera pans upwards on a shot of a salt-shaker. The pace of the cuts remains fast, with some images only appearing on the screen for a split-second, and in time with the beat of the lead guitar. This conforms to Goodwin’s theory on music videos, where he states that there is a relationship between both the music and lyrics and the visuals. Additionally, Goodwin claims that the demand of the record label will include the need for lots of close-ups of the artist (as this video does), which links to the concept of Marxism as ultimately the purpose of the music video is to sell the song. As well as close-ups of the artist, this video also uses close-ups of the instruments, in particular the guitars, which is a typical feature of an indie music video, as it is a mainly guitar-based genre. As the music builds to a crescendo, the camera begins to shake, suggesting the reckless nature and high volume of the song. However, the song pauses at this point and the band are shown playing ping-pong, before the song starts again, as most of OK Go’s music videos are designed to be funny in some way. As the song gets slower, the cuts turn to fades, which switch back to cuts when the pace picks up again, along with heavy lighting now being used. The video ends where it began, with the band sat on an old brown leather sofa.
