The Sergeant and his squad*

Classification in categories

• Transition between two social systems
• Formation of a group body (corps)

 

Before this scene, a separation of civilian and military communities takes place. The soldiers scattered around the camp are brought together by the sergeant to form a unified group. The disordered image portrays the squad’s loose and disjointed condition. The manner of staging the Sergeant’s appearance at the encampment, using methods that stress continuity – the protracted pan, the Sergeant’s voice alone on the soundtrack - creates a pulling movement. This is contrasted with a stress on individuality: the framing of single figures and separate movements. The continuous protractions and disconnected entities are integrated into pulling movements. Gradually all figures are oriented towards the Sergeant as the center (through camera movements and character movements) (>EMU 1).

Next, the result of this movement of pulling and centering, the unity of the squad, is created using shot composition and editing:. a geometric, aligned image is created encompassing the entire group including the Sergeant. This fixed order is intensified by an editing sequence that shows the Sergeant and each member of the squad in the same manner, a repetition of shots and reverse shots, of questions and answers that weaves the individuals together into a unit (>EMU 2).

The affective dimension is first created as a conflict between common duty and individual actions by two rivaling qualities: continuous protractions and disconnected entities. The soldiers’ individual bodily movements make way for cohesive lines of sight and alignment of movement, with the Sergeant at the center. The group’s fixed and unified structure stands for the synthesis of the contrasting poles. The seriousness of the roll call alternates with a representation of each individual, sometimes adding a comic note. In an orderly format, editing and dialogue both make the individual more visible and keep it at bay. The cohesive structure, through its temporal progression, emphasizes the perpetual sameness of the individual differences: The continuum of protraction (>EMU 1) is transformed by the repetitive structure (> EMU 2) into an amalgamated continuum built upon the individual entities. The individual is clearly marked by the editing as a building block and, together with its continuous repetition, builds a pattern of common spirit (Gemeinsinn).    SG

Expressive movement units

01 02 

Materials about the scene

Position of the scene in the film