Expressive movement unit 1

The shot composition provides the basis for this highly dynamic scene. A foxhole wall creates a broad horizontal edge within the frame and marks the camera’s frontal and low position. The angle of the shot and the figures in the foreground create a flat and at the same time very closed image. There is no character movement at the beginning, so that the shot looks like a stage at the beginning of an act.  Within this close space, the introduction of movement to the image (an expression of discovery, the first reverse shot of the jungle, the hectic movement of the characters, the machine gun fire) quickly increases the pacing. 

This potential for movement is transferred to the editing: the jump in frame size in the second reverse shot and the introduction of high-pitched violins correspond to the vehemence of shock. The interruption created by this break in the image and the sound is also expressed on another level. The image of the jungle ends the previous movement that had the bodies of the group of figures at its center. The vibration of the music, the ground fog and the swinging of the hanged man without visible cause make this movement spooky. Edited as a reverse shot to the soldiers' stares, the movement is given the quality of a facial expression. Imbuing the jungle with a soul through the constellation of gazes is the starting point of the horror. The multiplied face of the characters acts as a sounding board for this horror. Again there are passionate facial expressions. The final focus of the camera acts as a crystallization of this movement at the end of which a new expression—anger—can be found.