This is my final essay for Euro movie class. Most of you won't find it interesting, but some of you might. It contains spoilers of "Run Lola Run" and the first five seconds of Super Mario Bros. I did talk about the ending of The Dark Tower too, but took it out as it didn't really serve the paper and I needed to shorten it down. It you read the paper I think you'll see where I was going with The Dark Tower, though. Love to hear your thoughts
Philip Armstrong
Vincent Piturro
Classics of European Cinema from 1950 - Present
8 March 2006
Nature of the Spiral: Reoccurrence, Forking paths, and the Buddha nature of Lola
We discovered during our class discussion on Run Lola Run (Tykwer, 1998) that the film is about the movement from a constant cycle of repetition to a spiral that lets the protagonist, the titular Lola, have a happy ending. This is an intriguing idea but a seemingly empty one. It’s all well and good that Lola, a fictional character in a movie, escapes the structure that the filmmakers have set up for her. Her triumph seems to have no weight outside the specialized world of the film. This essay seeks to explore the nature of the spiral in Run Lola Run and it’s relevance to the audience. In other words, does the spiral structure answer the question that drove our class: why are we here? This idea will be explored in three areas of detail: the concept of learning through reoccurrence, or Run Lola Run as a videogame; an exploration of the structure of the film as a spiral and as a “forking-path film;” and through a comparison with Hindu and Buddhist philosophies on reincarnation.
Learning through Reoccurrence: Run Lola Run as a videogame.
It’s no secret that Run Lola Run is structured as a game. At the very beginning of the film we are told that “the ball is round, the game lasts 90 minutes. That’s a fact.” ( Run Lola Run). And so it is. The movie is constructed of three twenty minute sequences with some time in between for discourses. Each sequence is the same story retold. Different outcomes occur in each sequence based on the differing details of each one. In the first ending Lola dies, in the second Lola’s boyfriend Manni dies, in the third repetition both live and are 100,000 marks richer. The idea of the spiral is that by the third repetition Lola has moved from a cycle that repeats endlessly to one that changes as it continues and that Lola is free from the structure.
The movie is like a game in more ways than just the overlaying 90 minute time frame. In fact, the whole theory of the spiral in Run Lola Run is based on an occurrence that only exists in videogames. Consider a person playing the classic videogame “Super Mario Brothers” for the very first time. The very first level of the game begins with the player represented on screen by a character named Mario. Experimenting, the player learns that they can move mario to the left, to the right, and can make him jump into the air. They proceed to the left and soon encounter a small mushroom like creature known as a Goomba. The player, never having played before and not knowing the rules of the game, continues forward and comes in contact with the Goomba. Mario drops out of frame with a hurt expression, the player’s “lives” are reduced by one, and the player starts over at the begging of the level. This time when the player encounters the Goomba they try jumping on it. The Goomba is squashed and the player is allowed to continue on with the level. Because of it’s availability and reputation “Super Mario Brothers” is often the first videogame a person plays. I have witnessed this scenario many times with new players and they always die on the Goomba and then learn to jump on it.
Something important happens when the player learns how to get past the Goomba. The player learns in a way that is unique to videogames. The player failed on her first attempt at conquering an obstacle, and given a second chance, takes what she learned in her previous “life” tries a different approach. How nice it would be if we could relive an instance in time with the knowledge of our mistakes. Unfortunately it is only when playing a videogame can we live multiple “lives” over and over again to learn how to do things right. Only in this special stucture can we experience this type of learning and application.
It is in this videogame structure that Lola is placed. Each repetition through the scenario is a chance for Lola to experiment and take what she has learned from previous repetitions and apply them. The film is never really explicit that Lola can remember the past repetitions, or even that they are happening one after another, but it does provide some clues. The most overt being a concrete example of Lola applying something that she has learned in a previous “life.” At the end of the first repetition Lola ends up helping Manni rob a grocery store. She steals a handgun from the security guard and threatens him with it. Manni teaches Lola about the gun’s safety catch and how to turn it off. It is implied in this scene that Lola has never held a gun before. She now knows how to turn the off the safety on a gun. In the second repetition Lola decides to rob the bank her father works for. She steals a handgun from the bank’s security guard. Again, the implication is that this is the first time Lola has ever held a gun, yet instinctively she knows to turn the safety off. Lola is applying a fact she learned in a previous “life” to her current one. She might as well be playing a videogame.
This does more than reinforce the motif of Run Lola Run as a game. It also provides the foundations of structure that allows Run Lola Run to be a spiral rather than a different type of “forking-path film.”
The structure of the Run Lola Run as a spiral and as a “forking-path film.”
David Bordwell describes a forking-path film as ones that “proceed from a fixed point, the fork, and purportedly present mutually exclusive lines of action, leading to different futures” (89). The fork in Run Lola Run is when she runs out of her room and past her neighbor. It is the earliest point in the movie where all three repetitions share the exact same details. Immediately after, Lola encounters the boy with his dog on the stairs. This situation has a different outcome in each repetition, hence it is past the fork.
What makes Run Lola Run unique and important as a forking-path film is that its paths are linear, and create the spiral. The events in one path can affect the events in the next, and Lola is allowed to learn from one to the next. Unlike other forking-path films such as Sliding Doors (Peter Howitt, 1998), which shows two different realities based on the outcome of a single event, or Rashomon (Akira Kurosawa, 1950), which shows three possible realities that lead to the same outcome, Run Lola Run’s realities are not independent to themselves. This is the key to the movie’s spiral structure. Because these paths are linear and connected they gain important attributes that Sliding Doors and Rashomon’s disconnected parallel paths do not. If paths are linear then logic dictates that the last one taken is more important than the others (Bordwell, 97). If Lola learns something in one path and then applies it in the next, than the path in which she applies her understanding is more important than the one in which she learned it, but failed to reach her goal. Just as the “life” in which the player navigates past the Goomba and continues the game is more important than the one in which she fails and has to start over.
“What comes earlier shapes our expectations about what follows. What comes later modifies our understanding of what went before; retrospection is often as important as prospection.” (Bordwell, 98) Not only does Lola learn by experimenting and trying different paths. She also learns by understanding what went wrong in the previous ones. This leads to her out of the cycle of repetition and into the forward movement of the spiral.
Comparisons of Run Lola Run with Hindu and Buddhist philosophies on reincarnation.
In the third and final path Lola manages to save both her and Manni’s lives and also wins 100,000 marks. Despite the details of the plot, the third repetition is also where Lola applies everything she has learned over the past two and becomes a better, more enlightened person.
For the religions of India, existence is cyclical. A being is born, lives, dies and then is re-born. For Hinduism, this process is known as reincarnation and provides a framework that is consistent with its other beliefs. There is a permanent self (atman, which would equate to the soul in western philosophy) which survives death and comes back into flesh (reincarnates) as another living being, based on its karmic inheritance. (Wikipedia, Rebirth (Buddhism))
The Hindu idea of reincarnation closely resembles the idea of repeating “lives” in videogames or Run Lola Run’s repeating paths. The key difference is the Hindu belief relies on the idea of karma. If you lead a bad life then you will be reincarnated into a bad situation, and if you do good deeds you will be reincarnated into a better lot in life. What you learn in a previous life has no bearing on what you do in your current one. The theory of reincarnation then can be described as concentric circles. You can move to one circle or another based on your deeds but you’re always going around and never moving forward.
Buddhist theory rejects the idea of reincarnation and rather suggest that there is no life after death and nothing gets passed on (Wikipedia, Rebirth (Buddhism)). This is a simple explanation of the theories of death in Buddhism as different sects believe in different ideas of reincarnation, but it serves well enough for our purposes. More so, Buddhists strive to attain “nirvana.” Nirvana is a state in which one can grasp the ultimate truth of existence and be freed from states of desire for earthly possessions. “When a person who has realized nirvana dies, his death is referred as his parinirvana, his fully passing away, as his life was his last link to the cycle of death and rebirth (samsara), and he will not be reborn again. Buddhism holds that the ultimate goal and end of existence is realization of nirvana.” (Wikipedia, Nirvana) Achieving nirvana breaks one from the repeating cycle.
Achieving nirvana is often a result of enlightenment. “’The enlightened' are those who are not distracted by their thoughts but who stay focused —resisting the natural tendency to be come 'lost' in thinking about experience (rather than experiencing the present). This focus is called 'awareness of being'.” (Wikipedia, Enlightenment (Concept))
The idea of nirvana ending the cycle of rebirth closely resembles Lola’s escape from the cycle and the ending of the movie. The “awareness of being” is an apt description of Lola’s understanding during the third repetition. (I’m not suggesting that Run Lola Run is essentially Buddhist in nature, but rather that the two share similar structures that become important when answering the central question.) Lola has become enlightened during her final repetition. She has learned the ways to avoid obstacles in her path. But has also learned about her self and the spiritual elements that will contribute to her success.
Robert A. Lauer states in his essay “Run Lola Run at the dawn of postmodernity” that “what one has in Run Lola Run is a modern rendition of an ancient idea, the Hindu concept of eternal recurrence, but without its moral aspect, à la Nietzsche” (20). I’m inclined to disagree. I think that there is a strong moral element in Lola’s enlightenment. It’s not the simple idea of karma, that Lola must do good to achieve good. Rather, Lola becomes a moral person in her enlightenment. Lola discovers in her journey the spiritual ideas of faith and grace.
At the beginning of the movie Lola screams twice in frustration. Once on the phone in the prelude to the paths. As she is talking to Manni and Lola emits an ear piercing scream, frustrated at his hopelessness. Later, during the first repetition, she screams again, frustrated with her father not understanding the danger Manni is in. She screams one more time, during the third repetition. She has bet one hundred marks that a roulette wheel will land on 20. It does and she lets her winnings ride. If the ball lands on 20 again she will win the 100,000 marks needed to save Manni’s life. As the ball is spinning on the wheel Lola screams. This time isn’t out of frustration, but rather hope. She is putting her faith into some greater power. Not necessarily god, but something larger than herself. Her scream is like a prayer. It can be argued that he scream influences the outcome of the wheel, but that does not change the fact that Lola has put her faith into something bigger than herself.
This is not her first act of faith, though. Earlier in the casino Lola has faith in the bouncers and cashier will not throw her out, though they have reason to. By their grace they don’t. Lola has become the product of their grace and in turn gives her grace to another. Shortly after she leaves the casino she catches a ride with a passing ambulance. Inside is the security guard from her father’s bank. He is dying. Lola takes the guard’s hand. By staying with him and by her grace the guard does not die. Lola has learned not just how to get pass the obstacles in her way but has learned to put faith in the world and attribute grace towards other. She has become a moral person and enlightened.
Conclusion: Putting it all together.
Through this essay we’ve discovered that Run Lola Run’s motif of the spiral is crucial in it’s structure. As a forking-path film it’s repetitions must be connected to attribute meaning to the final repetition. They are connected because of the game like structure of of the repetitions allows Lola to learn from past repetitions. Lola is able to replay “lives” and explore and apply different outcomes. Because of this learning through reoccurrence Lola learns how to avoid obstacles that block her from her goal, learns how to put faith into the world, and learns to be graceful in her actions. She becomes enlightened. That’s great for Lola in her specialized world, but as I asked at the beginning, what does this teach the audience? I believe it answers the central question: why are we here?
Run Lola Run is essentially a parable for life. The structure of it closely parallels Buddhist philosophy. The goal of both the Buddhist life and of Lola’s journey is to achieve this enlightenment. Lola is rewarded with the movement out of a repeating cycle and into a forward moving spiral. She changes, grows, and becomes moral. I believe that her journey is representative of all of ours. In life we seek to change and grow. The movie states what we must do to achieve our goals. We must learn from our past., we must put faith in the world around us, and we must be graceful in our actions to others. This is Run Lola Run’s answer to the question. Growth, Faith, and Grace. These are the paths of enlightenment. These are the paths out of the circle. These are the nature of the spiral.
Works Cited
Bordwell, David. “Film Futures.” SubStance - Issue 97 (Volume 31, Number 1) 2002: 88 - 104. Project Muse. Auraria Library. Denver, CO. 8 March, 2006 <http://0- muse.jhu.edu.skyline.cudenver.edu>
“Buddhism.” Wikipedia. 8 March 2006. Wikimedia Foundation, Inc. 8 March 2006 <http://en.wikipedia.org/wiki/Buddhism>
“Enlightenment (Concept).” Wikipedia. 8 March 2006. Wikimedia Foundation, Inc. 8 March 2006 <http://en.wikipedia.org/wiki/Enlightenment_%28concept%29>
Lauer, A. Robert. “Run Lola Run at the dawn of postmodernity.” Simile 3 (2003): pB.PAG, 00p. Ebsco Acadmeic Search Premier. EBSCO Host Reseach Databases. Westminster Library, Westminster, CO. 8 March 2006 <http://rpa.westminster.lib.co.us/rpa/webauth.exe>
“Rebirth (Buddhism).” Wikipedia. 8 March 2006. Wikimedia Foundation, Inc. 8 March 2006 <http://en.wikipedia.org/wiki/Rebirth_%28Buddhist%29>
Run Lola Run. Dir. Tom Tykwer. Pref. Franka Potente, Moritz Bleibtreu, Herbert Knaup, Nina Petri, Joachim Krol, Armin Rohde, Heino Ferch, Suzanne Von Borsody, and Sebastian Schipper. X-Filme Creative Pool Production, 1998.
Super Mario Brothers. Designer. Shigeru Miyamoto. Nintendo, 1985.
Philip Armstrong
Vincent Piturro
Classics of European Cinema from 1950 - Present
8 March 2006
Nature of the Spiral: Reoccurrence, Forking paths, and the Buddha nature of Lola
We discovered during our class discussion on Run Lola Run (Tykwer, 1998) that the film is about the movement from a constant cycle of repetition to a spiral that lets the protagonist, the titular Lola, have a happy ending. This is an intriguing idea but a seemingly empty one. It’s all well and good that Lola, a fictional character in a movie, escapes the structure that the filmmakers have set up for her. Her triumph seems to have no weight outside the specialized world of the film. This essay seeks to explore the nature of the spiral in Run Lola Run and it’s relevance to the audience. In other words, does the spiral structure answer the question that drove our class: why are we here? This idea will be explored in three areas of detail: the concept of learning through reoccurrence, or Run Lola Run as a videogame; an exploration of the structure of the film as a spiral and as a “forking-path film;” and through a comparison with Hindu and Buddhist philosophies on reincarnation.
Learning through Reoccurrence: Run Lola Run as a videogame.
It’s no secret that Run Lola Run is structured as a game. At the very beginning of the film we are told that “the ball is round, the game lasts 90 minutes. That’s a fact.” ( Run Lola Run). And so it is. The movie is constructed of three twenty minute sequences with some time in between for discourses. Each sequence is the same story retold. Different outcomes occur in each sequence based on the differing details of each one. In the first ending Lola dies, in the second Lola’s boyfriend Manni dies, in the third repetition both live and are 100,000 marks richer. The idea of the spiral is that by the third repetition Lola has moved from a cycle that repeats endlessly to one that changes as it continues and that Lola is free from the structure.
The movie is like a game in more ways than just the overlaying 90 minute time frame. In fact, the whole theory of the spiral in Run Lola Run is based on an occurrence that only exists in videogames. Consider a person playing the classic videogame “Super Mario Brothers” for the very first time. The very first level of the game begins with the player represented on screen by a character named Mario. Experimenting, the player learns that they can move mario to the left, to the right, and can make him jump into the air. They proceed to the left and soon encounter a small mushroom like creature known as a Goomba. The player, never having played before and not knowing the rules of the game, continues forward and comes in contact with the Goomba. Mario drops out of frame with a hurt expression, the player’s “lives” are reduced by one, and the player starts over at the begging of the level. This time when the player encounters the Goomba they try jumping on it. The Goomba is squashed and the player is allowed to continue on with the level. Because of it’s availability and reputation “Super Mario Brothers” is often the first videogame a person plays. I have witnessed this scenario many times with new players and they always die on the Goomba and then learn to jump on it.
Something important happens when the player learns how to get past the Goomba. The player learns in a way that is unique to videogames. The player failed on her first attempt at conquering an obstacle, and given a second chance, takes what she learned in her previous “life” tries a different approach. How nice it would be if we could relive an instance in time with the knowledge of our mistakes. Unfortunately it is only when playing a videogame can we live multiple “lives” over and over again to learn how to do things right. Only in this special stucture can we experience this type of learning and application.
It is in this videogame structure that Lola is placed. Each repetition through the scenario is a chance for Lola to experiment and take what she has learned from previous repetitions and apply them. The film is never really explicit that Lola can remember the past repetitions, or even that they are happening one after another, but it does provide some clues. The most overt being a concrete example of Lola applying something that she has learned in a previous “life.” At the end of the first repetition Lola ends up helping Manni rob a grocery store. She steals a handgun from the security guard and threatens him with it. Manni teaches Lola about the gun’s safety catch and how to turn it off. It is implied in this scene that Lola has never held a gun before. She now knows how to turn the off the safety on a gun. In the second repetition Lola decides to rob the bank her father works for. She steals a handgun from the bank’s security guard. Again, the implication is that this is the first time Lola has ever held a gun, yet instinctively she knows to turn the safety off. Lola is applying a fact she learned in a previous “life” to her current one. She might as well be playing a videogame.
This does more than reinforce the motif of Run Lola Run as a game. It also provides the foundations of structure that allows Run Lola Run to be a spiral rather than a different type of “forking-path film.”
The structure of the Run Lola Run as a spiral and as a “forking-path film.”
David Bordwell describes a forking-path film as ones that “proceed from a fixed point, the fork, and purportedly present mutually exclusive lines of action, leading to different futures” (89). The fork in Run Lola Run is when she runs out of her room and past her neighbor. It is the earliest point in the movie where all three repetitions share the exact same details. Immediately after, Lola encounters the boy with his dog on the stairs. This situation has a different outcome in each repetition, hence it is past the fork.
What makes Run Lola Run unique and important as a forking-path film is that its paths are linear, and create the spiral. The events in one path can affect the events in the next, and Lola is allowed to learn from one to the next. Unlike other forking-path films such as Sliding Doors (Peter Howitt, 1998), which shows two different realities based on the outcome of a single event, or Rashomon (Akira Kurosawa, 1950), which shows three possible realities that lead to the same outcome, Run Lola Run’s realities are not independent to themselves. This is the key to the movie’s spiral structure. Because these paths are linear and connected they gain important attributes that Sliding Doors and Rashomon’s disconnected parallel paths do not. If paths are linear then logic dictates that the last one taken is more important than the others (Bordwell, 97). If Lola learns something in one path and then applies it in the next, than the path in which she applies her understanding is more important than the one in which she learned it, but failed to reach her goal. Just as the “life” in which the player navigates past the Goomba and continues the game is more important than the one in which she fails and has to start over.
“What comes earlier shapes our expectations about what follows. What comes later modifies our understanding of what went before; retrospection is often as important as prospection.” (Bordwell, 98) Not only does Lola learn by experimenting and trying different paths. She also learns by understanding what went wrong in the previous ones. This leads to her out of the cycle of repetition and into the forward movement of the spiral.
Comparisons of Run Lola Run with Hindu and Buddhist philosophies on reincarnation.
In the third and final path Lola manages to save both her and Manni’s lives and also wins 100,000 marks. Despite the details of the plot, the third repetition is also where Lola applies everything she has learned over the past two and becomes a better, more enlightened person.
For the religions of India, existence is cyclical. A being is born, lives, dies and then is re-born. For Hinduism, this process is known as reincarnation and provides a framework that is consistent with its other beliefs. There is a permanent self (atman, which would equate to the soul in western philosophy) which survives death and comes back into flesh (reincarnates) as another living being, based on its karmic inheritance. (Wikipedia, Rebirth (Buddhism))
The Hindu idea of reincarnation closely resembles the idea of repeating “lives” in videogames or Run Lola Run’s repeating paths. The key difference is the Hindu belief relies on the idea of karma. If you lead a bad life then you will be reincarnated into a bad situation, and if you do good deeds you will be reincarnated into a better lot in life. What you learn in a previous life has no bearing on what you do in your current one. The theory of reincarnation then can be described as concentric circles. You can move to one circle or another based on your deeds but you’re always going around and never moving forward.
Buddhist theory rejects the idea of reincarnation and rather suggest that there is no life after death and nothing gets passed on (Wikipedia, Rebirth (Buddhism)). This is a simple explanation of the theories of death in Buddhism as different sects believe in different ideas of reincarnation, but it serves well enough for our purposes. More so, Buddhists strive to attain “nirvana.” Nirvana is a state in which one can grasp the ultimate truth of existence and be freed from states of desire for earthly possessions. “When a person who has realized nirvana dies, his death is referred as his parinirvana, his fully passing away, as his life was his last link to the cycle of death and rebirth (samsara), and he will not be reborn again. Buddhism holds that the ultimate goal and end of existence is realization of nirvana.” (Wikipedia, Nirvana) Achieving nirvana breaks one from the repeating cycle.
Achieving nirvana is often a result of enlightenment. “’The enlightened' are those who are not distracted by their thoughts but who stay focused —resisting the natural tendency to be come 'lost' in thinking about experience (rather than experiencing the present). This focus is called 'awareness of being'.” (Wikipedia, Enlightenment (Concept))
The idea of nirvana ending the cycle of rebirth closely resembles Lola’s escape from the cycle and the ending of the movie. The “awareness of being” is an apt description of Lola’s understanding during the third repetition. (I’m not suggesting that Run Lola Run is essentially Buddhist in nature, but rather that the two share similar structures that become important when answering the central question.) Lola has become enlightened during her final repetition. She has learned the ways to avoid obstacles in her path. But has also learned about her self and the spiritual elements that will contribute to her success.
Robert A. Lauer states in his essay “Run Lola Run at the dawn of postmodernity” that “what one has in Run Lola Run is a modern rendition of an ancient idea, the Hindu concept of eternal recurrence, but without its moral aspect, à la Nietzsche” (20). I’m inclined to disagree. I think that there is a strong moral element in Lola’s enlightenment. It’s not the simple idea of karma, that Lola must do good to achieve good. Rather, Lola becomes a moral person in her enlightenment. Lola discovers in her journey the spiritual ideas of faith and grace.
At the beginning of the movie Lola screams twice in frustration. Once on the phone in the prelude to the paths. As she is talking to Manni and Lola emits an ear piercing scream, frustrated at his hopelessness. Later, during the first repetition, she screams again, frustrated with her father not understanding the danger Manni is in. She screams one more time, during the third repetition. She has bet one hundred marks that a roulette wheel will land on 20. It does and she lets her winnings ride. If the ball lands on 20 again she will win the 100,000 marks needed to save Manni’s life. As the ball is spinning on the wheel Lola screams. This time isn’t out of frustration, but rather hope. She is putting her faith into some greater power. Not necessarily god, but something larger than herself. Her scream is like a prayer. It can be argued that he scream influences the outcome of the wheel, but that does not change the fact that Lola has put her faith into something bigger than herself.
This is not her first act of faith, though. Earlier in the casino Lola has faith in the bouncers and cashier will not throw her out, though they have reason to. By their grace they don’t. Lola has become the product of their grace and in turn gives her grace to another. Shortly after she leaves the casino she catches a ride with a passing ambulance. Inside is the security guard from her father’s bank. He is dying. Lola takes the guard’s hand. By staying with him and by her grace the guard does not die. Lola has learned not just how to get pass the obstacles in her way but has learned to put faith in the world and attribute grace towards other. She has become a moral person and enlightened.
Conclusion: Putting it all together.
Through this essay we’ve discovered that Run Lola Run’s motif of the spiral is crucial in it’s structure. As a forking-path film it’s repetitions must be connected to attribute meaning to the final repetition. They are connected because of the game like structure of of the repetitions allows Lola to learn from past repetitions. Lola is able to replay “lives” and explore and apply different outcomes. Because of this learning through reoccurrence Lola learns how to avoid obstacles that block her from her goal, learns how to put faith into the world, and learns to be graceful in her actions. She becomes enlightened. That’s great for Lola in her specialized world, but as I asked at the beginning, what does this teach the audience? I believe it answers the central question: why are we here?
Run Lola Run is essentially a parable for life. The structure of it closely parallels Buddhist philosophy. The goal of both the Buddhist life and of Lola’s journey is to achieve this enlightenment. Lola is rewarded with the movement out of a repeating cycle and into a forward moving spiral. She changes, grows, and becomes moral. I believe that her journey is representative of all of ours. In life we seek to change and grow. The movie states what we must do to achieve our goals. We must learn from our past., we must put faith in the world around us, and we must be graceful in our actions to others. This is Run Lola Run’s answer to the question. Growth, Faith, and Grace. These are the paths of enlightenment. These are the paths out of the circle. These are the nature of the spiral.
Works Cited
Bordwell, David. “Film Futures.” SubStance - Issue 97 (Volume 31, Number 1) 2002: 88 - 104. Project Muse. Auraria Library. Denver, CO. 8 March, 2006 <http://0- muse.jhu.edu.skyline.cudenver.edu>
“Buddhism.” Wikipedia. 8 March 2006. Wikimedia Foundation, Inc. 8 March 2006 <http://en.wikipedia.org/wiki/Buddhism>
“Enlightenment (Concept).” Wikipedia. 8 March 2006. Wikimedia Foundation, Inc. 8 March 2006 <http://en.wikipedia.org/wiki/Enlightenment_%28concept%29>
Lauer, A. Robert. “Run Lola Run at the dawn of postmodernity.” Simile 3 (2003): pB.PAG, 00p. Ebsco Acadmeic Search Premier. EBSCO Host Reseach Databases. Westminster Library, Westminster, CO. 8 March 2006 <http://rpa.westminster.lib.co.us/rpa/webauth.exe>
“Rebirth (Buddhism).” Wikipedia. 8 March 2006. Wikimedia Foundation, Inc. 8 March 2006 <http://en.wikipedia.org/wiki/Rebirth_%28Buddhist%29>
Run Lola Run. Dir. Tom Tykwer. Pref. Franka Potente, Moritz Bleibtreu, Herbert Knaup, Nina Petri, Joachim Krol, Armin Rohde, Heino Ferch, Suzanne Von Borsody, and Sebastian Schipper. X-Filme Creative Pool Production, 1998.
Super Mario Brothers. Designer. Shigeru Miyamoto. Nintendo, 1985.
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