Buckland-Warren-Puzzle-Films-Complex-Storytelling-Contemporary-Cinema

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Time, Place, and Character Subjectivity in Run Lola Run 149BibliographyAtkins, B. 2003. More Than a Game: The Computer Game as Fictional Form.Manchester: Manchester University Press.Bal, M. 1997. Narratology: Introduction to the Theory of Narrative, 2nd edn.Toronto: University of Toronto Press.Bianco, J. S. 2004. “Techno-cinema.” Comparative Literature Studies, 41, 3:377–403.Bordwell, D. 2002. “Film futures.” SubStance, 31, 1: 88–104.Chion, M. 1994. Audio-Vision: Sound on Screen (ed. and trans. C. Gorbman). NewYork: Columbia University Press.Cubitt, S. 2004. The Cinema Effect. Cambridge, MA: The MIT Press.Donnelly, K. J. 2005. The Spectre of Sound: Music in Film and Television. London:BFI Publishing.Eskelinen, M. 2004. “Towards computer game studies,” in N. Wardrip-Fruin andP. Harrigan (eds.), First Person: New Media as Story, Performance, and Game.Cambridge, MA: The MIT Press, pp. 36–44.Evans, O. 2004. “Tom Tykwer’s Run Lola Run: Postmodern, posthuman or ‘posttheory’?”Studies in European Cinema, 1:2, 105–15.Flinn, C. 2003. “The music that Lola ran to,” in N. M. Alter and L. Koepnick (eds.),Sound Matters: Essays on the Acoustics of Modern German Culture. New York:Berghahn, pp. 197–213.Foucault, M. 1979. Discipline and Punish: The Birth of the Prison (trans. A.Sheridan). New York: Vintage.Foucault, M. 2000. “Different spaces,” in Aesthetics, Method, and Epistemology(Essential Works of Foucault, 1954–84, vol. 2, ed. J. Faubion, trans. R.Hurley and others). London: Penguin Books, pp. 175–85.Garwood, I. 2002. “The autorenfilm in contemporary German cinema,” inT. Bergfelder, E. Carter and D. Göktürk (eds.), The German Cinema Book.London: BFI Publishing, pp. 202–10.Grieb, M. 2002. “Run Lara run,” in G. King and T. Krzywinska (eds.), Screenplay:Cinema / Videogames / Interfaces. London: Wallflower Press, pp. 171–84.Hamm-Ehsani, K. 2004. “Screening modern Berlin: Lola runs to the beat of a newurban symphony.” Seminar, 10, 1 (February): 50–65.Heath, S. 1986. “Narrative space,” in P. Rosen (ed.), Narrative, Apparatus, Ideology:A Film Theory Reader. New York: Columbia University Press, pp. 379–420.Jaeckel, A. 2003. European Film Industries. London: BFI Publishing.Jameson, F. 2003. “The end of temporality.” Critical Inquiry, 29 (Summer):695–718.Jay, M. 2005. Songs of Experience: Modern American and European Variations on aUniversal Theme. Berkeley: University of California Press.
150 Michael WedelJenkins, H. 2004. “Game design as narrative architecture,” in N. Wardrip-Fruinand P. Harrigan (eds.), First Person: New Media as Story, Performance, andGame. Cambridge, MA.: The MIT Press, pp. 118–30.Koepnick, L. 2004. “Photographs and memories.” South Central Review, 21, 1(Spring): 94–129.Lefebvre, H. 1991. The Production of Space (trans. D. Nicholson-Smith). Oxford:Blackwell.Lefebvre, H. 1992. Critique of Everyday Life, Volume 1 (trans. J. Moore). New York:Verso.Lefebvre, H. 2002. Critique of Everyday Life, Volume 2: Foundations for a Sociologyof the Everyday (trans. J. Moore). New York: Verso.Lefebvre, H. 2004. Rhythmanalysis: Space, Time and Everyday Life (trans. S. Eldenand G. Moore). London: Continuum.Lefebvre, H. 2006. Critique of Everyday Life, Volume 3: From Modernity toModernism (trans. G. Elliot). New York: Verso.Mergenthaler, V. 2006. “Kreisfahrten: überlegungen zum ästhetischen potentialeines filmischen ‘stilmittels’.” Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft,51, 2: 269–86.Michon, P. 2002. “Strata, blocks, pieces, spirals, elastics and verticals: Six figuresof time in Michel Foucault.” Time & Society, 11, 2/3: 163–92.Nabokov, V. 1969. Ada, or Ardor: A Family Chronicle. New York: McGraw-Hill.Rings, G. 2005. “Zum Gesellschaftsbild zweier zeitgenössischer Märchen:Emotionale und kognitive Leitmotive in Tykwer’s Lola rennt und Jeunet Lesfabuleux destin d’Amélie Poulain.” Fabula, 46, 3/4: 198–216.Schlipphacke, H. 2006. “Melodrama’s Other: Entrapment and escape in the filmof Tom Tykwer.” Camera Obscura, 21, 2: 108–43.Töteberg, M. 1998. Tom Tykwer: Lola rennt. Reinbek: Rowohlt.Töteberg, M. 1999. “Run Lola Run: die karriere eines films.” In M. Töteberg (ed.),Szenenwechsel: Momentaufnahmen des jungen deutschen Films. Reinbek:Rowohlt, pp. 44–9.
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ContentsList of ContributorsviiIntr
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List of ContributorsDaniel Barratt
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List of ContributorsixHollywood (20
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2 Warren BucklandAll poetic arts, a
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4 Warren BucklandIn reading Bordwel
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6 Warren Bucklandfilm again, rather
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8 Warren Bucklandprocess of narrati
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10 Warren BucklandAllan Cameron and
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12 Warren Buckland4 Eleftheria Than
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14 Thomas Elsaessergenre or a sub-g
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16 Thomas Elsaesserdetails that do
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18 Thomas Elsaesserturns out that t
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20 Thomas Elsaessersituations, and
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22 Thomas ElsaesserA countervailing
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24 Thomas Elsaesserwindows, refresh
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26 Thomas ElsaesserYet paranoia, on
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28 Thomas Elsaesserhim. Donnie Dark
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30 Thomas Elsaessersame time as the
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32 Thomas Elsaesserwriters such as
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34 Thomas Elsaesserand syndication
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36 Thomas ElsaesserIt would be inte
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38 Thomas Elsaesserconditions,” a
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40 Thomas Elsaessermachine of the v
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2Making Sense of Lost HighwayWarren
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44 Warren Bucklandoff-screen sounds
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46 Warren BucklandScene 5, the next
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48 Warren Bucklandview of events. T
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50 Warren Bucklanddream and Renee
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52 Warren Bucklandprotagonist up to
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54 Warren Bucklandpresents a series
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56 Warren Bucklandshe seems to retu
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58 Warren BucklandFred’s optical
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60 Warren Bucklandsame way she did
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3“Twist Blindness”: The Role of
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64 Daniel Barratt(a) comprehension(
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66 Daniel Barrattsay Anna Crowe, pa
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68 Daniel BarrattFinally, two gener
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70 Daniel BarrattFigure 3.2The Sixt
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74 Daniel Barratt(b) Establishing t
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78 Daniel BarrattContrary to our in
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80 Daniel Barrattof the mise-en-sc
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82 Daniel Barrattbecause these emot
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84 Daniel Barrattplausible that thi
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86 Daniel BarrattMiller, G. 1956.
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88 Stefano Ghislottiemploy, and the
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90 Stefano Ghislotti(Carrie-Anne Mo
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92 Stefano GhislottiBW1-BW22Motel r
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94 Stefano GhislottiThe following s
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96 Stefano Ghislotticolor sequence
Page 109 and 110: 98 Stefano Ghislotti← ...+ C3(e-2
Page 111 and 112: 100 Stefano GhislottiFilm formMain
Page 113 and 114: Table 4.1 Mental images, memories a
Page 115 and 116: 104 Stefano Ghislottiand that they
Page 117 and 118: 106 Stefano GhislottiBibliographyBo
Page 119 and 120: 108 Chris DzialoMoreover, it is tem
Page 121 and 122: 110 Chris Dzialorunning time (24 fr
Page 123 and 124: 112 Chris Dzialoshifting network of
Page 125 and 126: 114 Chris DzialoIn this version, th
Page 127 and 128: 116 Chris DzialoIn this version, th
Page 129 and 130: 118 Chris Dzialo[T]he great asymmet
Page 131 and 132: 120 Chris Dzialoinexorably forward,
Page 133 and 134: 122 Chris DzialoShot of a smudge of
Page 135 and 136: 124 Chris DzialoJOELWhat are you do
Page 137 and 138: 126 Chris Dzialounmoored between a
Page 139 and 140: 128 Chris DzialoMamber, S. 2003.
Page 141 and 142: 130 Michael WedelThe Opening Sequen
Page 143 and 144: 132 Michael WedelLola runs in three
Page 145 and 146: 134 Michael Wedelnarratives tend to
Page 147 and 148: 136 Michael WedelThis tension aroun
Page 149 and 150: 138 Michael Wedelin opposition” b
Page 151 and 152: 140 Michael Wedelthe nuns, the tram
Page 153 and 154: 142 Michael Wedellonger’ and the
Page 155 and 156: 144 Michael Wedelwithin the logic o
Page 157 and 158: 146 Michael Wedelspiral as one of t
Page 159: 148 Michael Wedel10 For Lefebvre’
Page 163 and 164: 152 Allan Cameron and Sean Cubittth
Page 165 and 166: 154 Allan Cameron and Sean Cubittti
Page 167 and 168: 156 Allan Cameron and Sean CubittIn
Page 169 and 170: 158 Allan Cameron and Sean Cubittow
Page 171 and 172: 160 Allan Cameron and Sean Cubittho
Page 173 and 174: 162 Allan Cameron and Sean Cubittsa
Page 175 and 176: 164 Allan Cameron and Sean Cubittmu
Page 177 and 178: 166 Allan Cameron and Sean CubittBi
Page 179 and 180: 168 Gary Bettinsonreclamation of lo
Page 181 and 182: 170 Gary BettinsonAs the film progr
Page 183 and 184: 172 Gary Bettinsonaction in the 204
Page 185 and 186: 174 Gary BettinsonGradually, the pr
Page 187 and 188: 176 Gary Bettinsonand retardation.
Page 189 and 190: 178 Gary Bettinsonpresentation of t
Page 191 and 192: 180 Gary Bettinsonnarration has mis
Page 193 and 194: 182 Gary Bettinsonlevel, however, t
Page 195 and 196: 184 Gary Bettinsonnarrations that h
Page 197 and 198: 186 Gary Bettinsone.g., Chow’s ne
Page 199 and 200: 188 Yunda Eddie FengLou has been ca
Page 201 and 202: 190 Yunda Eddie Fengnarrative progr
Page 203 and 204: 192 Yunda Eddie FengDialogue emanat
Page 205 and 206: 194 Yunda Eddie FengCuriously, desp
Page 207 and 208: 196 Yunda Eddie Fengher dead body).
Page 209 and 210: 198 Yunda Eddie FengSegment 5 (2:05
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200 Yunda Eddie FengXinxia. Even if
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202 Yunda Eddie FengBibliographyBar
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204 Marshall Deutelbaumgenesis, is
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206 Marshall DeutelbaumRecognizing
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208 Marshall Deutelbaumplace in Dec
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210 Marshall Deutelbaumthat he turn
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212 Marshall DeutelbaumCrash and Th
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214 Marshall Deutelbaumher, she mig
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216 Marshall DeutelbaumKwak, H. J.
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218 Eleftheria ThanouliOn first vie
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220 Eleftheria Thanouliactions set
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222 Eleftheria Thanouliin an expres
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224 Eleftheria ThanouliFigure 11.4O
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226 Eleftheria Thanouliscene not on
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228 Eleftheria Thanoulihand, helps
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230 Eleftheria Thanoulisome of the
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232 Eleftheria Thanoulia good knowl
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234 IndexBoccaccio, Giovanni 20book
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236 Indexfoveal vision 63fragmented
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238 IndexMontgomery, Robert 190mora
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240 IndexStranger Than Fiction 108S
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