Salvation and commemoration*

Classification in categories

• Transition between two social systems
• Suffering / victim / sacrifice

 

The interplay of shot composition with sound design and camera connects—by means of a sequence of two figurations of space—an image of camaraderie and an image of commemoration.

Dramaturgically, this scene follows an image of salvation from fear  (> "Miracle water for weapons").The interlinking of camaraderie and commemoration is staged in the dynamic interaction of two figurations of movement that are structured in phases.

The first figuration of movement is comprised of three phases. Over the course of these phases two streams of soldiers are merged by means of vectors of movement, the shot/reverse shot technique and a movement of approaching one another in successively closer camera range until—in a crescendo of soldiers’ voices—they are joined in an audiovisual image of collective camaraderie (> EMU 1).

The second figuration of movement has two phases, whereby the space of action in the second phase is replaced by an abstract figuration of space staged primarily through the use of commentary from off-screen, melodramatic music, evenly metered edits and symbolic images (> EMU 2). The rifle-and-helmet crosses on the graves at center frame towards the end have both a symbolic dimension and reference earlier scenes within the film (> "First victim and a spring run dry"; > "Second victim - no answer"; > "Third victim - 100:1 shot"; > "Second battle - Guiseppe and Tambul"; > "Negotiations 2 - Leroux's fall").

Thus combined, both figurations of movement can be read as the temporal arrangement of changing, specific, spatial configurations. These interlink the motifs of camaraderie and commemoration in a sequence that goes through the steps a) striving toward union, b) union, c) familiarity and d) mourning.    JHB

Expressive movement units

01 02 

Materials about the scene

Position of the scene in the film