Expressive movement unit 3

Metadata

This EMU stages the physical dimension of confinement through the alternation of tension and relaxation. This is done primarily through an embodiment of the point of view, but at the end of the EMU there is an acoustic and visual override of the corporeality that has thus been staged.

The fast sequence of shots at the beginning of the EMU is a contrast to the long camera movements in EMU 2. The frequency of cuts takes on the character of a pulse. Within the editing, the camera movement (towards the bulkhead) is repeated that in EMU 1 already led to the embodiment of the point of view and thus to the staging of the physical dimension of confinement. Together with the reverse shot of a clenched face, an image of physical fear is produced..

The lower frequency of cuts and with it the duration created in the course of the talk to follow resolve this image of fear before an acoustic signal, a short insert of a close-up and a change in the next camera position lead to a renewed dynamization.

The camera’s upward movement, which makes the frame seem to sink, as well as the tipping of the horizontal line in the close-ups that follow again lead to an embodiment of the point of view through which sinking is staged as a  sensorial experience.

The exterior shot inserted at this point acts as an indicator of the change to follow: introduced as diegetic music, the harmonica melody—quickly supported by strings—expands to become a sound that rises above the diegetic space. At the same time, the quick repetition of the frame size and motif (close-ups of soldiers’ faces) transcends the embodied point of view. In the sound of the music the multiplied shots become the image of a common experience. It is felt no longer by the individual bodies, but by the body/Corp of the “Raiders.”