Iconography is utilised to create recurring motifs as the narrative is transformed into a cinematic arcade game and an alternate reality, as the imperatives of fate and inevitability in the real world are questioned by chance and choice in the game world. The symbolic representation of spirals is introduced in the animated opening credits when Lola is able to run upside down and around the spinning wheel, representing both a loss of control and a disregard for the conventions of gravity which apply in the physical world. This is replicated in the Casino scene where a slow-motion editing technique accentuates the movements on the Roul

ette board in a tense, mesmerising cyclical fashion indicting how this ultimate game of chance is essential uncontrollable in creating a change in individual worlds. The repeated iconography of clocks and the momentum created by the close-up movement of the clock hands in the supermarket, Bank and Casino scenes, represents the time restraints in the simulated world, which plays an increasingly prominent role in contemporary worlds.

Changing worlds are also depicted through a variety of avant-garde filming and editing techniques to represent changes in Lola's world and community. These are represented by slight alterations in the recreation of key scenes, such as the courtyard scene, which position the responder to view Lola differently. In the first episode, an overhead crane shot traces Lola as she runs diagonally through the courtyard creating a sense of smallness and vulnerability. Secondly, a s

Some common words found in the essay are:
Bank Casino, Tom Tykwer, Lola Manni, Lola Run, Lola Manni's, , run lola run, alternate world, Run Lola, run lola, lola run, simulated world, collective worlds, changing worlds, visual techniques,
Approximate Word count = 609
Approximate Pages = 2 (250 words per page double spaced)