Address 3*

Classification in categories

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

Metadata

Through the interplay of camera and facial expressions the scene unfolds the circular motion pattern of the military communal body that moves from the condition of ordered activity to a prolonged moment of calm and finally again into a new form of mobility. 

The scene’s dramaturgical position within the film is the link between two civilian snapshots (> “Togetherness and the experience of separation“ and > “Separation from civilian life and the girl“),whose common image of the comically failed intimacy of man and woman is contrasted with the representation of a purely fatherly community in this scene.

The dynamic interaction of camera pans and images ordered by progressive depth of field is created at first by the even movements of a rhythmically marching battalion that successively slows and comes to a complete stop. This image of the battalion at ease is prolonged on the temporal level by the interplay of camera and facial expressions. During this time, the squad and the character of the Colonel are woven into a hierarchically structured unit through this representation and the calculated crossing of many lines of sight. In the departure of the soldiers that follows, the circular structure of the movement is in the end again closed (> EMU 1).The narrative order of the scene, more exactly; the rows of approaching soldiers, the allowance for them to rest, the authoritative address and caring order to eat by a fatherly figure, all recognizably imitate stations of family life.    FS

Expressive movement units

Materials about the scene

Position of scene in film