When the camera is tracking around Lola in the beginning while she decides who to go to help for, time is being slowed down before she begins her journey. Often when something is spinning, whether it be the camera or Lola or an object, it reflects time as being slowed down or at least focused on. The spinning is related to the film’s time. The scene does explicitly display the rest of the film’s motifs: spinning – through the spinning of he roulette wheel, Lola’s screams and the glass breaking, and the number 20.Īll of these motifs have been previously defined in the film as well. However, interestingly enough, in the casino scene, the clock is really the only motif that is not explicitly displayed. For example, arguably one of the most important motifs, the clock, showcases the importance of time to the film and creates anxiety in the viewer as clocks are constantly shown so the viewer knows how much time is left. Run Lola Run consists of many motifs throughout the film. This sort of montage will be highlighted in Run Lola Run, and especially so in the casino scene.
Therefore, it takes all the elements of the shot: the length of the shot, the rhythm, and the emotional meaning, focuses on whatever is the dominant principle of the shot, and creates conflict in order to establish a ore complex meaning. The overtonal method of montage is essentially a combination of metric, rhythmic, and tonal methods being used simultaneously to create meaning: “overtonal montage resulted from the conflict between the tonal principle of the shot (the dominant) and the overtonal” (“The Fourth Dimension” 120). While these do include metric, rhythmic, tonal, and overtonal, his essay will be focused mainly on the previously mentioned intellectual theory and the overtonal. Then, there are also the other specific methods of montage. He also compares this montage to the Japanese kubuki theatre, where the different theatrical elements and recognized conventions of these elements help to portray the characters’ emotions and the story (91).įundamentally, intellectual montage contains conflict, whether it be from inside the shot, between different film elements, or in the montage itself, because “the shot is a montage cell” (87).
Essentially, “the combination of two ‘representable’ objects achieves the representation of something that cannot be graphically represented” (83).Įisenstein compares intellectual montage to the Japanese kanji hieroglyphs, explaining that they often use two graphic symbols put together to create a new meaning etween the two, “for example: the representation of water and an eye signifies ‘to weep” (83). This sort of montage takes these recognizable images with ither a previously observed convention attached to it through culture or an easily attachable meaning, juxtaposes it together with another shot or image of the same sort, and then creates a meaning for those two images, as well as it often elicits a sort of emotional response from the viewer. In this case, these conventions are displayed in the form of images. Intellectual montage makes use of associationism, which describes conventions that are learned by a repeated association. Eisenstein provides a basic definition of intellectual cinema early on in the essay: “a cinema that seeks the maximum laconicism in the visual exposition of abstract concepts” (83). Intellectual montage is a concept created by Eisenstein and explained thoroughly in his essay titled “Beyond the Shot”. First, one must understand at least the basics of intellectual and overtonal ontage before they look into the film in specifics. Once these motifs are edited together as they are in the casino scene of the film (1:05:10 – 1:08:40), they create a new and dialectical meaning for the scene and in relation to the film as a whole, as thought to be very important in a film by Eisenstein. Run Lola Run makes use of both Eisenstein’s theory of intellectual montage and overtonal montage distinctively in order to highlight the motifs of the film and their subsequent meanings as understood by the viewer. This type of montage aligns specifically with Sergei Eisenstein’s theory of intellectual montage and dialectical montage in order to create the meaning it does, as well as the varying use of his ther techniques of film montage: metric, rhythmic, tonal and overtonal.
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