Tom Tykwer – wizjoner kina by Patrycja Włodek

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<b>Estudos cronotópicos em narrativas audiovisuais</b> by Egle Müller Spinelli

“…The films Run Lola, Run (Tom Tykwer, 1998), Boca de Ouro (Nelson Pereira dos Santos, 1962) and Rashomon (Akira Kurosawa, 1950) are used here to illustrate the principal chronotopic types established by Bakhtin, namely, adventure, everyday life and autobiography. …”
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25 Jahre LOLA RENNT, 5 Jahre interaktive Lernbausteine für die Filmbildung: Rückblick, Erfahrungsbericht, Reflexion, Ausblick by Olaf Schneider, Volker Wittenbröker

“… Der Beitrag erläutert die besondere Rolle des Films LOLA RENNT (1998) von Tom Tykwer für die Deutschdidaktik und beschreibt die Entstehung des webbasierten Filmbildungsprojekts "LOLA RENNT: Interaktive Lernbausteine für die Filmbildung" und dessen Auswirkungen auf die deutsche Bildungslandschaft. …”
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The (Trans)national Appeal within 'Babylon Berlin?' by Hilary Potter

“…This article examines Sky Atlantic’s 'Babylon Berlin' (Tom Tykwer, Henk Handloegten, Achim von Borries, 2017–), exploring national and transnational constructions in order to understand the series’ international appeal from the British perspective, in what Tim Bergfelder identifies as an “imaginary idea of the foreign”. …”
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Multiple Hotseating by Even, Susanne

“…is equally without function after Tom Tykwer’s film Lola rennt has been shown. More appropiate are open questions like “How are you feeling now, Gregor?” …”
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Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run by Maree Macmillan

“…Alban Berg's opera Lulu, dating from the early part of the twentieth century, and Tom Tykwer's film from the end of the century, Lola rennt, (known to English-speaking audiences as Run Lola Run), have one striking feature in common: both culminate in an ear-splitting scream. …”
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Lola ReRuns in the Classroom: Dramatic Improvisations on the Film Run Lola Run for Intermediate German Instruction by M. Nelson, Erika

“…This paper presents an approach of how student-created dramatic reenactments and improvisational renditions of the German film Run Lola Run (Lola rennt, Tom Tykwer 1998) can serve as important vehicles to foster transcultural and communicative, student-centered competence in intermediate German language instruction, based on successful implementation in two intermediate college German courses. …”
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Construire un espace d’où faire émerger un nouveau cinéma allemand : l’espace au cœur du récit dans Im Lauf der Zeit, Lola rennt et Wolfsburg by Louise Dumas

“…Im Lauf der Zeit (Wim Wenders, 1976) a été généré par la route, au sens où celle-ci l’inscrit dans le genre du road movie et où le film est né de la route, puisqu’il a été écrit et tourné au gré des aléas du voyage. Lola rennt (Tom Tykwer, 1998) expérimente dans un Berlin nouvellement réunifié les possibilités de l’« image-mouvement » ouvertes par la nouvelle situation géopolitique. …”
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Agency in contemporary German cinema: Tykwer, Akın and Petzold by Burt, S

“…It includes analyses of Tom Tykwer’s <em>Heaven</em> (2002) and <em>The International</em> (2009), Fatih Akın’s <em>Gegen die Wand</em> (2004) and <em>Auf der anderen Seite</em> (2007) and Christian Petzold’s <em>Barbara</em> (2012) and <em>Phoenix </em>(2014), which illustrate that these three directors, who belong to different traditions in German cinema, have a focus on agency in common. …”

Parfums et miasmes : olfactographies littéraires et cinématographiques by Nikol Dziub

“…Cette sombre morale n’a pas manqué de déteindre sur la littérature, comme en témoigne le roman de Patrick Süskind, Das Parfum (1985, adapté au cinéma en 2006 par Tom Tykwer), qui raconte l’histoire d’un enfant naissant dans les immondices, matricide malgré lui et futur parfumeur-meurtrier.…”
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Destruction, Reconstruction and Resistance: The Skin and the Protean Body in Pedro Almodóvar’s Body Horror <i>The Skin I Live In</i> by Subarna Mondal

“…The article situates “The Skin I Live In” in the filmic continuum of Body Horrors that focus primarily on skin, beginning with Alfred Hitchcock’s “Psycho” (1960), and touching on films like Jonathan Demme’s “The Silence of the Lambs” (1991) and Tom Tykwer’s “Perfume: The Story of a Murderer” (2006) and attempts to understand how the exploited bodies that have been culturally and socially subjugated have shaped the course of the history of Body Horrors in cinema. …”
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