These pathos scenes, by showcasing weapons technology, convey the experience of the all-powerful.
The cinematic staging of this revolves around two complexes. The first is the merging of human bodies and machines. The use of weapons is staged in this complex as the experience of weapons technology as bodies that have become infinitely powerful. This goes hand in hand with the dissolution of the individual body and its adaptation to the group body. The latter is in these scenes itself connected to the technological body. The cinematic staging of battles—the explosions of grenades and bombs and striking artillery—is portrayed as the merging of organic bodies and weapons technology; as the triumph of unlimited potency of the self which takes the form of a frenzied fantasy of destruction.
The second complex of this type of pathos scene focuses on the special relation of weapons technology and cinematic technology. At the fore is a specific form of viewer pleasure that stems mostly from their perspective, which allows them to experience and enter the perceptual and affective/emotional space of a filmic battle without getting as much as a scratch. Everyday perception is expanded by the technological capabilities of cinema.
The affective dimension of these pathos scenes lies in the illusion of creating both complexes—the experiences of the protagonists in battle and the cinematographic military action—as an image of a triumphant desire to meld.