On one end is the emphasis on individual corporeality; cinematically staged by images of physical proximity, heightened by images of a physical, pressing, confinement that reaches its apex in the portrayal of individual corporeality that explicitly does not or can not (yet) merge with the group body of the troop.

On the other end is the absorption of individual corporeality into a group body. This absorption always has a temporal dimension—it begins with an emphasis on the individual, the cinematic staging of the transitional phase always involves the formation of more or less insufficient individual bodies into a powerful group body. This second pole often brings to the fore the motif of military drill as the driving force behind this act of merging. Compositionally, the successful absorption often culminates in an image of the geometric figuration of the group body.