Expressive movement unit 2

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In the interplay of the sound design, the camera and the shot composition, growing anticipation unfolds during the act of landing, accomplished through an accentuated prolonged duration. The tension thus created then “explodes” in the expanding movement of the squads towards the target.

The act of landing is staged as a series of jumps into numerous rubber dinghies, riding over a large wave and finally landing on the shore. This process is accompanied by an “omnipresent” voice-over and slightly euphoric music. The editing of the soldiers jumping into the dinghies jumbles the soldiers’ movements, a contrast to the previous confinement in the submarine. This makes them seem like wind-up figures that develop “explosive” force in the long-awaited action.

This expanding movement of the squad is taken up in the following shots in which the power of physical forces is more strongly staged in the movement of the dinghies, characterized by shaking images. The landing itself is then shown from multiple perspectives one of which, through a cut to a Japanese soldier, can be assigned to the “invisible enemy.” The growing anticipation reaches a climax when the camera tilts to show a panorama and the voice-over clearly intones “let’s go!” at which the many groups of soldiers all storm the beach simultaneously. The masses of soldiers and their turbulent movements are edited as an interplay of different field sizes and perspectives. The tension upheld until this moment thus “explodes” and moves towards the will to fight.

The soldiers’ movements are slowed when they reach the jungle. At the end, parallel to the figure of the Colonel, they reach a standstill.  The Colonel then delineates the further movement on a map.