Expressive movement unit 1

Metadata

This abstraction ends with an unexpected pan to the left that catches in medium close-up the collective movement of a group of soldiers. The image itself is thus set in motion. A concrete visual space replaces the preceding abstraction of spatial movement. This is marked in particular by the end of the voice-over. In this way in particular the documentary format of the images of Pearl Harbor to follow becomes a set piece of staged immediacy. The editing of shots of badly hit heavy weapons produces a spatially broad image of destruction. In it, the motionlessness of the weapons contrasting the movement of the water and the camera pan becomes an expression of elegy. In the reverse shots of the soldiers’ faces, this expression is mirrored in their expressions. A multiplied face emerges whose expression refers to the feeling of injustice that had been actuated in the first place by the military movements previously commented on by the off-camera voice. The “we” of the voice-over is now manifested in the faces of the soldiers: the voice now sounds in the speech of one of the characters.

The short black screen clearly marks the end of the movement from voice-over to inner-diegetic speech, from the visual abstraction of movement to the spatial staging of a collective emotion.