Address 2*

Classification in categories

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

Metadata

This address shapes a relaxed, calm process of creating respect and hierarchical frontality between squad and leader while simultaneously claiming a democratic principle of equality and unity in which readiness for battle is grounded. This process is shown by the symmetry of the shot sequences, the tonality of the speech and the way in which the choreography of the characters is presented in terms of shot composition.

The scene is constructed symmetrically. The minimal difference in the relation of Colonel and squad to one another—the shot composition with which the scene beginst (>EMU 1) and the frontality with which it ends (> EMU 3) )—describes the meaning and direction of the equally symmetrical constructed process which lies in between (> EMU 2).Frontality of opposition and distance becomes, through the even movement of the Colonel into the middle of the squad and out again, an affirmative, desired frontality based on an immanent unit.

Furthermore, through the disintegration of the squad at the end of EMU 1 from a geometric formation into chaos presents the work of formation as unfinished. The figure of the Colonel is, in contrast, staged compositionally as a dominant principle—an ideal that stands above the individual. He is always higher than the other figures or is shot majestically from below, ruler of both order and chaos. Furthermore, the camera only follows the movements and spoken statements of the Colonel, whose calm and evenness are formed by the calm and evenness of the camera movement and length of shots (> EMU 2).    MG

Expressive movement units

Materials about the scene

Position of scene in film