Expressive movement unit 3

While posture as, as it were, an outer sign of tension is at the center of the preceding EMU (>EMU 2), the staging now concentrates on the inner experience of building tension.

The long shot of the clearing delineates this EMU from the preceding EMU’s waiting posture which was staged by medium close shots with a high horizontal line and obstructed camera. Furthermore, the series of individual shots that follow contrast with the flowing camera movement in EMU 2. After in EMU 2 a starting line was inscribed on the image, the staging now moves to the time of the waiting itself. The series of medium close ups piece together, through the soldiers’ lines of sight and movements and through the repetition of the shots, a kind of circular or arched movement. The soldiers gaze over their shoulders past the left- or right-hand frame. Through the repetitiveness of the editing, this movement transcends the individual shots and gives the series of images a form as a whole. This series of images is also bound together by an acoustically staged rhythm: the quiet hammering of the construction. The erratic rhythm refers the shots not to an abstract length of time, but sets it in motion as a set duration, that makes it appear as the staging of inner tenseness.