Commence Part 2… Credit: Buy it in print, canvas or shirt form here.
William James takes on.
The film not only tells a good story, but also uses many techniques of film to make a wonderful and brilliant movie. The very first sequence in the film portrays these elements of film technique and adds to the meaning of the film as a whole.
It jumps right into the characters in action. The story is told in linear form with some flashbacks. Thompson are attempting to disassemble a bomb. Thompson is wearing the protective bomb suit and advancing toward the bomb, while Sgt.
Sanborn and Eldridge are staying back and keeping a look out. The sequenced I analyzed begins when Eldridge sees suspicious action coming from a butcher shop nearby.
The scene ends with the butcher man dialing the cell phone to set off the bomb, which kills Thompson. As a set-up for the rest of the film, this sequence plays an important role in constructing meaning of the film as a whole. There are many techniques that apply to the deeper meaning of the film.
First of all, this film follows a narrative form. As a part of the narrative, this sequence foreshadows the type of jobs that Will has to do when he replaces Thompson. This sequence serves as an obstacle that Will must overcome later on in the film; he needs to make sure that nothing like this happens again.
Also, underlying this sequence is the fact that it was one of the first deaths that Eldridge really experienced and he took it hard. It really narrows down to about how these bombs are deathly and no one is safe. It takes real skill and patience, which we see Will practice later.
The sound in this sequence plays a role in representing the intensity of the situation. The non-diegetic sound in the sequence is the music. The music is instrumental, with an emphasis on long, low, eerie sounds to intensify the situation.
It also guides our attention toward Eldridge, Thompson, and Sanborn and the actions that they are performing and foreshadows events that are about to happen. Diegetic sounds in the sequence were the dialogue and the sounds of the environment.
There was a lot of dialogue in this sequence between Eldridge and Sanborn, but it soon turned into yelling, which was repeated several times. The sounds were overlapping in this sequence to emphasize the commotion and confusion.
They need to be quick on their feet, while many things are happening around them. The sound blends well with the action. There are also diegetic sounds of rocks and the explosion. As a result, we hear his breathing and assume he is struggling and desperately trying to get away.
These are very natural sound effects in order to capture the real life of war. This sequence, and the rest of the film, is shot like a documentary. To portray the documentary-like movements, the camera moves up and down and is jerky at moments.
There is also fast film stock to show grainy picture. The speed of motion of the sequence is normal, but there are many moments of slow motion.
There are moments of fast-paced shots to lead up to explosions and as the bomb explodes, the speed slows down. The technique of slow motion in this sequence emphasizes the extreme impact of the explosion on Thompson. Also, this quick scene of the bomb exploding is spread out in order to see how different things are impacted and to emphasize the size of the bomb.
For example, during the slow motion, there are stunning shots of the rocks on the ground rising and the dirt on cars shaking because of the huge impact of the explosion. There are quick reaction shots and shot counter shots to once again emphasize the quick thoughts and intensity.The Washington Post's News Service and Syndication page.
The movie, “The Hurt Locker” provoked me to think differently about the war in Iraq because I witnessed the emotional and psychological effects it had on the characters.
Specifically in the scene when William James, the main character, thought that the body he had found with a bomb in it was a little boy he knew named Beckham. A Look into the Reality of The Hurt Locker The Hurt Locker The Hurt Locker opens with a line: “War is a Drug” (Barsanti ).
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