Briefing in the submarine*

Classification in categories

• Transition between two social systems
• Formation of a group body (corps)
• Battle and technology

Metadata

The interplay of the speech and the camera in this scene develops a step by step process of the creation of the collective desire to fight. In the succession of different figurations of space that follow, the step-by-step transformation of the mood is staged: from a relaxed, laid back mood the first real suspense develops which is shifted to readiness for battle and aggression toward the enemy.

In the film’s dramaturgical structure this scene follows (> “Group body in the submarin“) and develops as a processual transitional phase of forming a military body. The map shown at the beginning marks one of these phases and situates it topographically as well as temporally.

The scene first produces relaxedness and composure, at the beginning through the camera movement in one long take and then through the editing. The diffuse consecutive reactions to Leo “Transport” Andreof’s orders cannot be placed (the sources of the voices are unidentifiable) and the meaningless quips are spatialized through later separate cuts. (> EMU 1) The relaxed mood in the submarine sleeping quarters dissipates as an increasing tension is built through the announcer’s voice through the loudspeaker. This tension is created on the one hand through the editing, which links separate spaces to a homogenous whole, and also through a turn of the camera as it pans and links the motionless soldiers in the room, binding them into a collective unit (> EMU 2) This camera movement, a figure of movement parallel to that staged in EMU 1, creates a change of mood in the room in contrast to “before.” The serious tension is created by the staccato, rhythmic question-and-answer session, whereby this time the speakers are clearly identifiable. The next camera pan is parallel to the central, moving character and oriented towards a goal. The line of sight of the motionless soldiers’ bodies concentrate on this figure’s movement. This character acts as a catalyst which awakens energy and stimulates the group’s readiness for battle and desire to fight (> EMU 3)    HJC

Expressive movement units

Materials about the scene

Position of scene in film