Dialogue analysis

Analysing dialogue using examples

After Lola's first and second run, quiet sequences shot with red filters are inserted, the "red scenes". Lola and Manni discuss uncertainties about love and death while lying in bed. The person asking the questions is always the one who has died in the previous run.

TC: 00:30:21 – 00:32:58

Task 1

  1. Below you will find the script extract from the conversation between Lola and Manni about their love. Please read the text carefully. Generate note cards and describe in brief what effect the conversation between the two of them has on you. You can also copy extracts of the text into the workspace.
  2. How does it work?
Lola's eyes wander to the side: Manni lies next to her. Both are smoking. They speak very, very softly.

Lola: Manni?

Manni: Mmh...

Lola: Do you love me?

Manni: Well, sure.

Lola: How can you be sure?

Manni: I don't know. I just am.

Lola: But I could be somebody else.

Manni: No.

Lola: Why not?

Manni: Because you're the best.

Lola: The best what?

Manni: Well, the best woman.

Lola: Of all, all women?

Manni: Of course!

Lola: How do you know that?

Manni: I just do.

Lola: You believe it.

Manni: Okay, I believe it.

Lola: You see.

Manni: What?

Lola: You're not sure.

Manni: Are you crazy or what?

Lola: What if you had never met me?

Manni: What if I had?

Lola: Then you would tell the same thing to somebody else.

Manni: I don't have to say it, if you don't want to hear it.

Lola: I don't want to hear anything. I want to know what you feel.

Manni: Okay. I feel that you're the best.

Lola: Your feeling. (Pause) Who is that, your feeling?

Manni: Me. (Thinking) My heart.

Lola: Your heart says: "Hello Manni, is that her?"

Manni: That's right.

Lola: And you say: "Oh yes, thank you very much for this information, goodbye, until next time?"

Manni: Exactly.

Lola: And you do everything your heart tells you?

Manni: Well, it doesn't say anything, so, yeah, I don't know, that … it just feels.

Lola: And what does it feel now?

Manni: It feels that someone is asking really stupid questions.

Lola: Man, you're not taking me seriously at all.

Manni: Lola, what's the matter? Are you trying to … want to get away from me?

Lola: I don't know, I just have to decide, I think.
Lolas Augen wandern zur Seite: Manni liegt neben ihr. Beide rauchen. Sie sprechen ganz, ganz leise.

Lola: Manni?

Manni: Mmh...

Lola: Liebst du mich?

Manni: Na, sicher.

Lola: Wie kannst du sicher sein?

Manni: Weiß nicht. Bin’s halt.

Lola: Aber ich könnt auch irgend ’ne andere sein.

Manni: Nee.

Lola: Wieso nicht?

Manni: Weil du die Beste bist.

Lola: Die beste was?

Manni: Na, die beste Frau.

Lola: Von allen, allen Frauen?

Manni: Na klar!

Lola: Woher willst du das wissen?

Manni: Das weiß ich halt.

Lola: Du glaubst es.

Manni: Gut, ich glaub’s.

Lola: Siehste.

Manni: Was?

Lola: Du bist dir nicht sicher.

Manni: Sag mal, spinnst du jetzt, oder was?

Lola: Und wenn du mich nie getroffen hättest?

Manni: Wie, was wär dann?

Lola: Dann würdest du jetzt dasselbe ’ner anderen erzählen.

Manni: Ich brauch’s ja nicht zu sagen, wenn du’s nicht hören willst.

Lola: Ich will überhaupt nichts hören. Ich will wissen, was du fühlst.

Manni: Okay. Ich fühle, dass du die Beste bist.

Lola: Dein Gefühl. (Pause) Wer ist denn das, dein Gefühl?

Manni: Na ich. (Überlegt) Mein Herz.

Lola: Dein Herz sagt: „Guten Tag Manni, die da, die ist es?“

Manni: Genau.

Lola: Und du sagst : „Ach ja, vielen Dank für diese Information, auf Wiederhören, bis zum nächsten Mal?“

Manni: Genau.

Lola: Und du machst alles, was dein Herz dir sagt?

Manni: Na, das sagt ja nichts, also, ja was weiß ich, das, ... es fühlt halt.

Lola: Und, was fühlt es jetzt?

Manni: Es fühlt, dass da gerade jemand ziemlich blöde Fragen stellt.

Lola: Mann, du nimmst mich überhaupt nicht ernst.

Manni: Lola, was ist denn los? Willst du irgendwie ... weg von mir?

Lola: Ich weiß nicht, ich muss mich halt entscheiden, glaub ich.
Note cards

The four-sides model

Friedemann Schulz von Thun's four-sides model (or: four-ears model) is one of the most well-known communication models. It assumes that every statement can be viewed from four different angles. With the help of this model, the causes of interpersonal conflicts can be worked out from the course of a conversation or individual dialogue sequences.

by Friedemann Schulz von Thun

This model is inspired by Bühler (1934) and Watzlawick et al. Bühler distinguishes "three aspects of language": representation (= factual content), expression (= self-revelation) and appeal. Watzlawick distinguishes between the content aspect and the relationship aspect of messages. The "content aspect" is equivalent to the "factual content" of the present model.

The "relationship aspect", on the other hand, is defined more broadly in his work and basically comprises all three: "self-revelation", "relationship" (in the narrower sense) and "appeal", and thus also the "meta-communicative" part of the message, which provides clues as to how it should be understood.

Watzlawick sees the advantage of this four-sides model in the fact that it allows a better classification of the variety of possible communication disorders and problems and opens the view for different training goals to improve communication skills. Watzlawick gives an example from everyday life: A man (= sender) says to his wife (= receiver) sitting at the wheel of a car: "Hey, there's a green light ahead!"
The four sides of this message are explained below:

Content

(or: What I am informing you about) Zunächst enthält die Nachricht eine Sachinformation. Im Beispiel erfahren wir etwas über den Zustand der Ampel – sie steht auf Grün. Immer wenn es „um die Sache“ geht, steht diese Seite der Nachricht im Vordergrund – oder sollte es zumindest. […]

Appeal

(or: What I want you to do)
Hardly anything is said "just for the sake of it" – almost all messages have the function of influencing the recipient. In our example, the appeal might be: "Put your foot down, and we'll still make it through the traffic lights!"

The message thus (also) serves to induce the recipient to do or refrain from doing certain things, to think or feel. This attempt to exert influence can be more or less overt or covert – in the latter case we speak of manipulation. The manipulating sender is not afraid to put the other three sides of the message at the service of the appeal. The reporting on the factual side is then one-sided and tendentious, the self-presentation is aimed at achieving a certain effect on the recipient (e.g. feelings of admiration or helpfulness); and the messages on the relationship side may also be determined by the secret aim of "keeping the other person happy" (e.g. by submissive behaviour or compliments). If the material, self-revelation and relationship sides are directed towards improving the impact of the appeal side, they become functionalised, i.e. they do not reflect what is, but become the means of achieving the goal. […]

Relationship

(or: What I think of you and how we feel about each other)
The message also shows how the sender feels about the receiver, what he thinks of them. [...] Generally speaking: Sending a message also always means expressing a certain kind of relationship to the person addressed. Strictly speaking, of course, this is a special part of self-revelation. However, we want to treat this aspect of the relationship as different from that, because the psychological situation of the recipient is different: on receiving the self-revelation, he is a diagnostician who is not himself affected ("What does your statement say about you?"), on receiving the relationship side of the message, he himself is "affected" (often in the double sense of the word).

Strictly speaking, there are two types of messages gathered on the relationship side of the message. The first type shows what the sender thinks of the receiver, how he sees him. In the example, the man indicates that he thinks his wife is in need of help. On the other hand, the relationship side also contains a message about how the sender sees the relationship between himself and the receiver ("this is how we relate to each other"). If someone asks another person: "Well, how is marriage?" then this factual question implicitly contains the relationship message: "We relate to each other in such a way that such (intimate) questions are quite possible.” Of course, it is possible that the recipient does not agree with this definition of the relationship, and considers the question to be out of place and intrusive. And so it is not uncommon for two interlocutors to engage in an exhausting tug-of-war over the definition of their relationship. So while the self-development side (seen from the sender) contains I-messages, the relationship side contains You-messages on the one hand and We-messages on the other. […]

Self-revelation

(or: What I reveal of myself)
In every message there is not only information about the communicated factual content, but also information about the sender themself. We can see from the example that the speaker is obviously German-speaking and probably colourful, in general that it is awake and inwardly present. Furthermore: that he may be in a hurry, etc. Generally speaking: in every message there is a piece of self-revelation by the sender. I choose the term self-revelation in order to include both deliberate self-representation and involuntary self-disclosure. This side of the message is psychologically highly explosive, as we will see. […]

From: Friedemann Schulz von Thun: Miteinander reden 1. Störungen und Klärungen. Allgemeine Psychologie der Kommunikation. Reinbek bei Hamburg (Rowohlt) 1981. S. 30–35.

Task 2

  1. Describe in your own words what lies at the heart of the conflict between Lola and Manni in this dialogue.
  2. Use the communication model of Schulz von Thun to analyse this conflict more closely. Pick out a statement by Lola or Manni and its factual content, appeal, relationship and self-revelation.
  3. How does it work?

    If you want to analyse another statement, save your work first.

Screenplay excerpt from Run Lola Run

Lola's eyes wander to the side: Manni lies next to her. Both are smoking. They speak very, very softly.

Lola: Manni?

Manni: Mmh...

Lola: Do you love me?

Manni: Well, sure.

Lola: How can you be sure?

Manni: I don't know. I just am.

Lola: But I could be somebody else.

Manni: No.

Lola: Why not?

Manni: Because you're the best.

Lola: The best what?

Manni: Well, the best woman.

Lola: Of all, all women?

Manni: Of course!

Lola: How do you know that?

Manni: I just do.

Lola: You believe it.

Manni: Okay, I believe it.

Lola: You see.

Manni: What?

Lola: You're not sure.

Manni: Are you crazy or what?

Lola: What if you had never met me?

Manni: What if I had?

Lola: Then you would tell the same thing to somebody else.

Manni: I don't have to say it, if you don't want to hear it.

Lola: I don't want to hear anything. I want to know what you feel.

Manni: Okay. I feel that you're the best.

Lola: Your feeling. (Pause) Who is that, your feeling?

Manni: Me. (Thinking) My heart.

Lola: Your heart says: "Hello Manni, is that her?"

Manni: That's right.

Lola: And you say: "Oh yes, thank you very much for this information, goodbye, until next time?"

Manni: Exactly.

Lola: And you do everything your heart tells you?

Manni: Well, it doesn't say anything, so, yeah, I don't know, that … it just feels.

Lola: And what does it feel now?

Manni: It feels that someone is asking really stupid questions.

Lola: Man, you're not taking me seriously at all.

Manni: Lola, what's the matter? Are you trying to … want to get away from me?

Lola: I don't know, I just have to decide, I think.
Lolas Augen wandern zur Seite: Manni liegt neben ihr. Beide rauchen. Sie sprechen ganz, ganz leise.

Lola: Manni?

Manni: Mmh...

Lola: Liebst du mich?

Manni: Na, sicher.

Lola: Wie kannst du sicher sein?

Manni: Weiß nicht. Bin’s halt.

Lola: Aber ich könnt auch irgend ’ne andere sein.

Manni: Nee.

Lola: Wieso nicht?

Manni: Weil du die Beste bist.

Lola: Die beste was?

Manni: Na, die beste Frau.

Lola: Von allen, allen Frauen?

Manni: Na klar!

Lola: Woher willst du das wissen?

Manni: Das weiß ich halt.

Lola: Du glaubst es.

Manni: Gut, ich glaub’s.

Lola: Siehste.

Manni: Was?

Lola: Du bist dir nicht sicher.

Manni: Sag mal, spinnst du jetzt, oder was?

Lola: Und wenn du mich nie getroffen hättest?

Manni: Wie, was wär dann?

Lola: Dann würdest du jetzt dasselbe ’ner anderen erzählen.

Manni: Ich brauch’s ja nicht zu sagen, wenn du’s nicht hören willst.

Lola: Ich will überhaupt nichts hören. Ich will wissen, was du fühlst.

Manni: Okay. Ich fühle, dass du die Beste bist.

Lola: Dein Gefühl. (Pause) Wer ist denn das, dein Gefühl?

Manni: Na ich. (Überlegt) Mein Herz.

Lola: Dein Herz sagt: „Guten Tag Manni, die da, die ist es?“

Manni: Genau.

Lola: Und du sagst : „Ach ja, vielen Dank für diese Information, auf Wiederhören, bis zum nächsten Mal?“

Manni: Genau.

Lola: Und du machst alles, was dein Herz dir sagt?

Manni: Na, das sagt ja nichts, also, ja was weiß ich, das, ... es fühlt halt.

Lola: Und, was fühlt es jetzt?

Manni: Es fühlt, dass da gerade jemand ziemlich blöde Fragen stellt.

Lola: Mann, du nimmst mich überhaupt nicht ernst.

Manni: Lola, was ist denn los? Willst du irgendwie ... weg von mir?

Lola: Ich weiß nicht, ich muss mich halt entscheiden, glaub ich.
  1. Describe the cinematic means used to create the scene and compare them with the cinematic “look” of the rest of the film.
  2. Explain why the director chose this type of look for this scene.