Expressive movement unit 2

A soldier’s laugh is interrupted by loud airplane engines. The previously calm and fluid camera makes a sudden tilt downwards as the soldier throws the Philippine girl from his soldier and gathers her in his arms to protect her.  The next shots are characterized by very jerky movements. On the ground, bomb explosions can be seen, as a result the mass of refugees also explodes. Soldiers and civilians jump to the side, throw themselves on the ground, hide ducked under vehicles and houses. The people take cover in the bushes, they are pushed back from the visible, broad street by the explosions. But no shots show the enemy planes in the sky; they can only be perceived acoustically. They look up to the sky, widen their eyes, their bodies tense, but at the same time they retreat to the ground. The expression of widening and the upwards motion are in disharmony These contradictory patterns of movement together with the increased frequency of the edits create a visual-spatial disorientation: The fragmented individual movements of vehicles, explosions, groups of people and body parts are edited as scattered in different directions. The elements of dissolution are also realized on the level of shot composition. Smoke, bursting earth, fire and gunpowder smoke represent visual attacks that block parts of the image and individual objects, bury and disfigure bodies until finally the audiovisual image itself is taken over completely by disfiguring explosions that replace concrete objects with abstract forms. As the enemy sound attacks become quieter, the shots also increase in length; the previously full street is a battlefield, corpses and injured bodies mark the path. Some of the injured stir with difficulty, dying movements in the middle of destruction and chaos.