Expressive movement unit 2

Metadata

Through the interplay of camera and sound design, the image is developed of a battle as release from tension. The dynamics of this release can be divided into three phases: audiovisual ecstasy, taking up this ecstasy and converting it into a movement and finally the end of this movement as the end of the ecstasy.

The first phase takes up the increasing dynamic nature of the images developed in the image of military sacrifice (> EMU 1) and transfers it to an ecstatic, accelerated series of visual and audio events. At first the spatial opposition of “above” and “below” is retained. However the series of shots quickly becomes a series of close-ups and medium close shots of soldiers; alternating between American and Japanese soldiers, dark and light images and different camera angles with no apparent order. The continuous rounds of machine gun volleys and passages of strings and brass with no coherent melody acoustically underline this impression of accelerated chaos.

In the second phase, the frequency of edits and the music continue the audiovisual dynamization previously developed, but the coupling of the camera movements to the character of Colonel Thorwald give this dynamic movement a direction.

Finally, in the third phase the end of this movement takes place as a dual standstill: of the camera and of the groups of soldiers storming the frame. The visual and simultaneous audio standstill finally finds an end in the call of the commanding officer: “Down everybody, hold your fire.”