Expressive movement unit 1

Metadata

The image of relaxedness is staged as a spatial figuration through the interplay of the speech with the camera movement and the editing.

In the first long take, the relaxed mood in the space is shown, analog to the movement of Leo “Transport” Andreof, through a parallel camera pan (with slight tilts) that leads through the confinement of the submarine (conveyed through tight framing and reduced depth of focus). With exaggerated gestures Transport distributes a map in the corridor between the bunks—which block the view in the fore- and background of the frame, accompanied by the seemingly (so staged) unimportant banter of the soldiers. The bits of dialogue provide no orientation; their source in the narrow, full space can not be identified with the exception of the dialogue with “Pig-iron” Matthews at the end. Many of the physical movements that attend the distribution of the white pages and the diffuse, successive banter in the close quarters do not match the central movement of Transport. The contradiction between Transport’s loud demanding voice and the casual verbal reactions of the soldiers create a general atmosphere of not (yet) targeted disorder. The montage that follows at the end however testifies to exaggerated relaxation and composure, shown through the overly affected relaxed body language and the content of the speech which does not match the situation.