Section B Question

Most films encourage the spectator to align with a character so a preferred reading can be taken?

(Opening Scene - Stripping identity) Full Metal Jacket, is a film which does not allow us to align with any one specific character, and we are manipulated to align with a group. This idea is established from the opening scene, whereby we see identical shots, both in time and shot types, of men having their heads shaved. The only character we effectively see more than any other is the barber, we are entirely prevented to form any identification with a character from the beginning. The idea of the men having their heads shaves, suggests the director does not want any character to stand out, in that they are effectively losing their identification, and any form of being different. At this point, we have not identified with the group, nor anyone character. 

(Aligning with Alex) Contrasting, the opening sequence of ACWO (a clockwork orange), uses techniques which almost instantly encourage us to align with the character Alex. The opening shot visually connects us to Alex, as he looks directly at us (the audience), as well as this he is framed central to the shot - which suggests he is the protagonist of the film. The opening shot lasts for around 90 seconds and does not break, thus the visual link the audience has with Alex does not break, and from this we effectively align with him. The voice over of Alex is extremely useful, as not only does it encourage us to align, but Alex actually guides us in this un-familiar world. Alex's narration mentions ultra violence, however he is framed at a distance away from the camera, thus is effectively dissociated with the violence.
 (Opening Boot Camp Scene - Pyle is different) The idea of stripping each character's identity is established in the boot camp stage of the film. From the opening scene, we notice how Hartmans gives Pyle a heavier treatment than everybody else, especially Joker, who we see being simply let off by Hartman. Hartmans heavier treatment on Pyle singles him out, and we see him as weaker. We notice how the rest of the men simply comply with Hartman's treatment, yet Pyle seemingly struggles, and is punished for this. In this scene, we notice how both Joker and Pyle attempt to show personality, yet it is quickly brushed off by Hartman. Joker's attempt to be funny, momentarily allows us to see his personality, whereby he stands out, however it is prevented by Hartman- the character who allows the director to prevent us from identification. From this point on, we have not identified with anyone character, and seen a deliberate attempt to prevent this; yet we simply recognise how Pyle has been singled out by Hartman. 

(Staying Aligned with Alex) In the following sequence we see Alex and his droogs assault a tramp, however it is through Alex's narration in the opening sequence that we anticipate the attack and are actually prepared for what we see. Throughout the attack however, Alex again narrates, and through this we understand his motivation for the attack thus stay aligned with his character. Also, we notice how Alex is framed behind his droogs when the attack happens, thus we again dissociate the crimes from Alex and stay aligned with his character. Alex's constant narration effectively encourages us to see the world as he does, thus it is the only point of view we are presented and therefore align with his character.

(Training Sequences - Pyle is a failure/ Identifying with the group) As the film progresses, we again notice that Pyle is being reinforced as weaker than everybody else. We see him failing obstacles, whereby he again receives a harsher treatment from Hartman, such that we see a marine fail to complete all ten pull ups, however is simply 'let off'' by Hartman, yet when Pyle fails we see a clear difference in Hartman's behaviour; ultimately singling Pyle out, whereby we are manipulated to again, view him as weaker than everybody else. Also, we notice Pyle is physically bigger than everybody else, again reinforcing the idea that he is different. We begin to see shots in both the foreground and background representing unity, in which we are not proposed anyone characters POV, moreover simply presented with the idea of group mentality. This juxtaposes the on-going failure of Pyle, in which throughout the opening training sequences, we see the repetition of him standing within the unified group, contrasted by a failure to complete tasks which we see the rest of the group complete; allowing us to identify a clear juxtaposition between him, and the group. We see the group is framed away from Pyle as he walks sucking his thumb, this reinforces the fact that he is drifting away from the group, as he cannot complete the tasks to marine standard, however at this point we do not see him as a threat, simply a failure to himself. Pyle continuously is mistreated by Hartman each time he fails, however I do not empathise with him as I have not identified with him. Moreover, I begin to identify with group as it is the only reinforced POV, which has been achieved through the continuous reinforcement of group mentality, as well as the lack of individual character POVs. Also, through beginning to identify with the group, I understand Hartman's motivation for treating Pyle so harshly, as he is treating him this way therefore he can be prepared for war; thus ultimately prevents me from feeling sorry for Pyle, and simply seeing him as a failure to the 'group'.

(Rape Sequence) The rape sequence however, is the biggest test to the spectator, as to whether or not they stay aligned with the character Alex. This scene reinforces the split persona of Alex, however it is the use of the mask Alex wears which again dissociates Alex from the crimes, thus are firstly encouraged to stay aligned to him. The spectator however, is denied the experience of the actual rape; this is a deliberate approach from Kubrick as Alex addresses the audience and removes us from the sequence, thus again we are not able to associate Alex with the crimes, but also we get a sense we are being protected by our guide - Alex.

 

(Training Scene - Pyle is becoming a threat/ Aligning with the group) As the film progresses, we notice how Pyle starts to become a threat to the group and is no longer simply weaker. We see Cowboy’s response, in which for the first time shows how a member of the group is acknowledging that he is having an effect on the progression of the group. Further, the final wide shot, in which we see the whole group framed directly behind Pyle, is the moment we see Pyle as a threat. We no longer see him effecting his own ability to progress, but we see him fall and prevent the group from moving forward, at this point Pyle becomes a threat to the Core. At this point, we align with the group, and understand the directors direct attempt to do this, thus we are taking the preferred reading, although not through the typical use of aligning with any one single character.

(Jelly Donut Scene - A-central response) The idea that Pyle is a threat is continued in the jelly donut scene. However, we see the shift from Hartman no longer punishing Pyle, in that he punishes the group. We notice how Hartman now removes Pyle completely from the group, such that we see a medium shot of him standing alone whilst the group perform their punishment. This combination, along with the uniformity of the group's chanting, positions Pyle not only as pathetic, but we now see him as an 'outsider'. The idea that Pyle is a threat is reinforced, as we see the effects he begins to have on the group, which we have aligned with. I do not feel sorry for Pyle in this scene, moreover see him as pathetic, thus take an A-central response to him, as I feel disconnected to his character.

(Soap Beating Scene - Allegiance to the group) In the Jelly Donut Scene, Hartman says, 'You have not given Pyle the correct motivation', suggesting that Hartman has no solutions for his inability to complete tasks, and fit in with the core ideologies. The next scene we see, is a potential response to what Hartman said, such that we see the group punish Pyle (soap beating scene). We notice how Joker gives Pyle the most harsh treatment, and it is at this point where Joker gives his allegiance to the group. We do not feel sorry for Pyle in this scene, and again I take an A-central response, as I can imagine this would be horrible to experience, however I understand the motivation behind the group's decision to do this. The group punish Pyle in response to Hartman, such that he reinforces the idea that Pyle is now a threat, and this scene shows that the weak link must be punished. As a spectator, I gave my allegiance to the group with Joker also, as I have aligned with a group and not experienced the POV or shared feelings with any one character, thus accepted the purpose of Pyle's beating. Further, in the next scene we notice that Joker calls Pyle, Leonard. This suggests that he has now been removed from the group, and is no longer recognised in marine form.

(Allegiance towards Alex) The interrogation scene is the first time we see Alex as vulnerable, and he has been framed this way purposely and we are encouraged to take an central response towards him, to feel empathy towards him. We view the authority figures in the scene through POV's of Alex, in which we as an audience also feel addressed of these crimes. The shots of the authority figures also, are low angle which frame them as intimidating and overpowering, therefore we actually feel empathetic towards Alex regardless of his crime committing actions. This scene, is effectively the stage of the film where we devote our allegiance towards Alex.

In the second half of the film, the structure of the narrative becomes chaotic. We also learn about the duality of man which Joker mentions, and it is through this we are unsure of his motivations towards being part of war; he suggests he kills for compassionate reasons thus we cannot distinguish any one clear view point. Further, we learn about the rest of the groups motivations, and they all offer alternative motivations. Because of this, the spectator are never given a clear motivation message and cannot align with any one character. Further, spectator allegiance therefore remains with the group. this contrasts to conventional war films such as Platoon in which the protagonist motivations are clear and we are encouraged to take their view to ultimately take the preferred meaning of the film.

(I was cured alright) Through giving allegiance towards Alex, when he goes through the mistreatment and is suffering, we do not see any POV from him. We actually only view Alex's response and through this we feel uncomfortable as he is punished - both I and Alex no longer take pleasure in the gruesome films being displayed. The ending  of the film has great significance, as the audience is relieved as is Alex. Alex's mistreatment is reversed and he is returned to his old ultra-violent self, which we know through his imaginary visuals of women, and through this we see his enjoyment, thus he has been cured. The uplifting music and depiction of ultra violence suggests the director wanted us to also be happy for Alex at the end of the film, and through our allegiance towards him we too feel a sense of relief that Alex is cured.

I believe I have taken the preferred reading of both films, and it has been through the alignment, and eventually allegiance towards what the director has intended, which has effectively allowed me to take the preferred reading of both films. The oppositional reading to FMJ would be to feel sorry for Pyle, however we would have to identify with Pyle, and ultimately reject the true purpose the director wanted to achieve. Therefore, this film challenges the idea that a spectator need to align with a character to take a preferred reading of a text.