Expressive movement unit 2

The opening of the frame to a space along a vector marks the transition on the level of shot composition to Dane’s final battle, accompanied by the strong facial expression of anger and raging madness. With a cut to the jungle, out of the depths of which, hidden in fog, snake-like opponents crawl, the x-axis construction is taken leave of and traded for an implicit z-axis along which the enemy approaches. The stress on the axis that leads into the depths is strengthened by the slightly diagonal placement of the fallen tree stump that crosses the forwards movement of the enemy on the level of shot composition. The camera takes up the newly-established axis with a track in to Dane, who clambers into his own grave. This jump from the x-axis to the z-axis is continuously accompanied by music that at first retains the motif of suffering. The lingering image of the sunken figure of Dane in a medium close up foreshadows the change in the way in which Dane’s character is staged—a concentration on his facial expressions—and, together with the music creates an audiovisual figuration in which shrill strings can be heard, analog to the danger emerging from the jungle. A rise in tension initiated by the ever louder music is taken up again on the level of shot composition by stressing the z-axis as the enemy, in shot/reverse shot technique, tries to cross Dane’s post at the zero coordinate from the space of the jungle. The culmination of Dane’s rage begins with a slowly growing tension at the level of the character’s facial expression. Dane’s fearful expectation when he awakens from sleep transforms in the escalation of his battle against the enemy and the strident machine gun volleys, paired with a series of close-ups of an outburst of rage and develops into the distorted visage of a berserk man. The growing intensity of these stages corresponds with the increasing dynamic of the depth of the shot. The radial machine gun volleys into the forest create punctual alternative axes starting from the zero-coordinate and preparing the figure's dissolution (>EMU 3) This space along a vector also adds dynamic to the uncontrolled emergence of the enemy and creates an interlocking pattern with the bursts of music, an impenetrable pandemonium of sound. The zoom in to the barrel of Dane’s machine gun, parallel to his increasingly unfocused visage finally initiates the process of dissolution of a corporeal appearance  (>EMU 3). Dane’s tirades on the level of sound design and his face on the level of shot composition merge with the agitated machine gun to become an audiovisual resonance chamber.