Recruitment selection*

Classification in categories

• Transition between two social systems

 

In this series of talking scenes that concentrate strongly on the dialogue, combative tension is generated. The focus increasingly moves from the verbalization of civilian origin towards readiness for battle and aggression towards the enemy. Each stage is characterized by a variation of the shot sequences through which the dialogues are designed as character constellations.

The first (> EMU 1) and second (> EMU 2) units both begin with a pan to the left and dynamic movement within the image. They represent two poles, individual and military apparatus, which come closer to one another in this segment. The drawing together of these poles is expressed in the first unit by a higher frequency of cuts between close-ups in the middle of each dialogue and a final shot where both figures can be seen (> EMU 1).The staging then changes so that the choreography of the Colonel’s movements correlates closely with the camera’s movements (> EMU 2) thus establishing his figure as a dynamic and dominant principle..

The dialogue that follows adds a comic component as a variation of the interview structure in the first unit. Instead of one interviewee, there are two people who interrupt one another (> EMU 3).The fourth unit—following the pattern laid in the first three talks—brings together a recruit and the Colonel, who is moving and is followed by the camera (> EMU 4). The final montage of short statements, the reduction of dialogue to the essential—the will to fight—moves the question and answer sessions towards a cinematic form of acceleration and aggression. Through track-ins and cuts to close-ups, facial expressions are integrated into the compositional level of the rhythm of editing and camera movements (> EMU 5)    MG 

Expressive movement units

01 02 03 04 05 

Materials about the scene

Position of scene in film