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duces in a set of new relationships which can be described by terms “spatial” and “simultaneous”: the relationship between different layers in a composite; the relationship between a frame of a movie and other information which can be hyperlinked to this frame; the relation ships between different images which can be distributed over the screen at the same time; etc. The term “spatial” therefore has a different meaning in two discussions. When I talk about “spatial montage” I am thinking of the relationships between different images that appear on the screen at the same time – in short, this is a literal 2D space. In the case of new material” dimensions of a moving images, I use the term space metaphorically: software “spatializes” the single image by connecting it to other images which share the same slice of time: other images in a composite, other images which can be hyperlinked to it, other im ages which may appear on the screen at the same time.2
Together with the act of creating hyper spatial reality, the way in which these split screens appears also targets to challenge the perception of the audience: In these sequences, wipe-ins and wipe-outs are geometrically in synch with the visuals. For instance, Lola appears with a wipe-in which is in synch with the movement of the sliding door of the store which Manni intends to rob. 4.3. Jump Cuts Jump cuts distract the linearity sense of the film. Regardless of a chronological temporality, the sequential events are organized as if the audience is let to see fractions from future and past while the ticking time runs towards the end Lola fights to prevent. 4.4 Flash Light Effects Flash light effects are also used to distract the linearity. Every time, with flash light effect, a scene jumps to another scene either belongs to past or future. Therefore, they are used to create a kind of passageway between the tenses of time. 4.5. Audio Editing (Soundtrack) Soundtrack communicates entirely well with the hyper action of the film. Not only the lyrics but also constantly playing music with techno-pulsing gives the film a backbone. Like a very fast heart beat, the sound track creates tension by giving the film a fast pace. Some in-between scenes are quiet and contain almost no sound at all, yet due to the editing technique, these scenes are very short and works like a pauses or breaks. A close association is considered between the notion of speed and the operation logic of the late capitalism. Both of them operate and are perceived by breaks3. As Paul Virilio mentions; the notion of speed can only be perceived through breaks. Therefore, these scenes also work as the effect of duration –as a speed effect which indicates electronic and technical interruptions– in order to perceive the speed. Conclusion After analysing the film scene by scene, I came up with an assumption that both the plot organization and the editing structure are shaped alike a computer game. The story with three routes is subtly changing each time. Hence, each time or in each take this subtle changes have enormous
2. Manovich, Lev. Lev Manovich. <http://www.levmanovich.net> 3. Virilio, Paul. “The Third Window: An Interview with Paul Virilio”. Global Television.188.