Ducks in a shooting gallery*

Classification in categories

• Transition between two social systems
• Battle and nature

 

In the interplay of camera and acting as well as sound design an image of growing fear as the group slowly veers out of control is staged through a sequence that goes from total exhaustion to a short moment of relaxation to worry (EMU 1) and by the building unrest within the group (>EMU 2). The dramaturgic position of the scene is between a battle (>To the weapons and Battle) and the growing consciousness of the weakening of the group (>Exhaustion).

Regarding character choreography, the scene is divided into two units: First, Sergeant Dane’s return to the water – realized primarily though horizontal camera movements and a long, unmoving shot (>EMU 1) – second, through the appearance and disappearance of “Yankee” Salazar, which, conveyed by the montage of shots of the soldiers, acts as a catalyst for the dissolution of the group (>EMU 2). The transition between these two units is marked by the cut to a reverse shot of Salazar quickly running through a gap in the bushes which suddenly makes Salazar the object of attention instead of Dane. This creates a transition in the affective mode, from a linear sequence of emotions to the creation of a climactic affect.    HJC

Expressive movement units

01 02 

Materials about the scene

Position of the scene in the film