Section B Answer

With reference to the films you have studied for this topic, explore in detail two of the 
key elements that produce an emotional response in the spectator.

The movies I have studied for this topic are Full Metal Jacket and A Clockwork Orange. Both directed by Stanley Kubrick, they use allegiance and alignment to produce an emotional response in the spectator. This is done by creating a connection between the characters and the spectator so they ultimately identify with them. 

The opening scene of Full Metal Jacket denies the spectator the option to align with any one character as Kubrick uses all mid shots of the men that are all equal lengths. Because of this, the spectator is encouraged to view the men as a collective and not as individuals. By shaving their heads the men are also stripped of their identities and made to look the same. This introduces the theme of unity that runs throughout the film. 

The first half of the boot camp sequence reinforces the theme of unity as the core are all forced to look, act and speak the exact same. Unlike mainstream film, a protagonist isn’t introduced and instead the spectator is encouraged to align with the core as a whole. Hartman’s introduction is a good example of the men because dehumanised as he strips their identity by providing them with nicknames. He also uses anger and aggression to scare the men into listening to him. The only two men to oppose Hartman are severely punished. Unlike Joker who is verbally punished, Pyle is singled out and physically punished by Hartman. This is the first time Pyle is introduced as a character that stands in the way of the core’s progression. As the sequence develops, the spectator begins to understand Pyle is different, both psychically and psychologically. Because of this Hartman is more aggressive towards him than the other men. By using physically abuse, Hartman attempts to toughen Pyle up but instead he weakens him. Each obstacle also provides Pyle with an obstruction to develop as he is physically unable to complete any of the obstacles. This in turn prevents the core from developing as they have to both metaphorically and physically carry him. This is demonstrated in a short shot in which the spectator gets to view Pyle as a burden to the core as they are dragging him through the mud. The shot is filmed in slow motion not only to reinforce how much of a burden Pyle is for the group but to also show how physically unable he is to complete the training. 

The film is edited in a way that shows Pyle failing, getting punished and then him in the core again, over and over. The jelly doughnut scene is the first time the spectator witness’ the core getting severely punished for Pyle’s actions. In the scene the spectator is encouraged to align with the group as Pyle is shot in a low angle so the spectator is positioned within the group rather than with Pyle. Pyle also looks alone in the shot as he is the only person standing up and he is being rewarded and the core punished for his actions. Hartman does this because he knows that without the right "motivation" Pyle will always slow down the group and stop their progression. 

The spectator is encouraged to produce an emotional response in the soap beating scene. The spectator understands the motivation of the core and advocates the behaviour as it is what is best for the group. Because of this, the spectator gives their allegiance to the core and withdraws any prior feelings they had towards Pyle. In my opinion I feel sympathetic for Pyle as I can imagine the situation he is in is terrible but I give my allegiance to the core as Pyle is a threat to their development. By feeling sympathetic towards Pyle and not empathetic it is forcing a disconnection, again adding to my alignment with the core. 

The soap beating scene is the tipping point for Pyle and after it he is shown to be a mechanical killing machine. He looks much darker than usual and his facial expressions are disturbing. As Joker decides to pledge his allegiance to the core, Pyle is therefore perceived as the outcast. This leads to the shooting scene is which Pyle looses all humanity and instead becomes a killing machine. He shows no emotion or empathy so it is almost impossible to align with him. Pyle has now become dangerous and a threat to the core in a more literal sense. 

The second half of the film focuses on Joker much more, but again doesn’t give the option for the spectator to align with him. This is reinforced through Joker’s duality in which he has unclear motivations which make it hard to align with him. An example of Joker’s duality is the wearing of the peace symbol with ‘Born to kill’ written on his helmet. The juxtaposition of the two emphasises Joker’s unsureness of the situation. This is also demonstrated in the very last scene in which he wants to commit an act of mercy on the young sniper but also wants to kill her  out of pure spite. Because of Joker’s duality, the spectator finds it to hard to align with him at any given time. 

From the very first shot of A Clockwork Orange the spectator is encouraged to align with Alex. The film begins in an extreme close up of his face as he narrates. He breaks the fourth wall, providing a direct mode of address by talking to the spectator. After waiting for several seconds in the ECU, the camera begins to track backwards. As the camera tracks we are still encouraged to align with Alex as he is the centre of the shot. This continues throughout the first half of the film until the spectator finally gives their allegiance to him. 

The driving scene is used to reinforce the techniques Kubrick is using to align the spectator with Alex and helping to build the alignment. A narration is provided again so the spectator is guided through the foreign world by Alex. POV's are also used to align the spectator with Alex as we experience the world through Alex's eyes. Eye contact is also used so help us align further. The droogs appear to be out of control and manic, this is contrasted with Alex's demeanour as he is still and in charge of both the vehicle and the droogs. The final shot from that scene ends on a close up of Alex, he is the last thing the spectator sees. 

The home invasion scene comes straight after the driving scene so the spectator is already partially aligned with Alex. This scene somewhat challenges the spectators alignment with Alex as we get to see him perform rape but as he is wearing a mask and we never see the act through the female's POV so he is disconnected from the ultra violence. We don't get to see any rape either as Alex stops the spectator from watching, saying "Viddy well my brothers" and the scene ends. By doing this he is protecting the spectators from the violence. In every opportunity we get to watch the rape taking place the spectator never experiences it from the women's POV so we are denied the chance to view Alex as a rapist. Instead we see the husbands POV and reaction to the rape through an extreme close up of his face. This encourages sympathy with the husband but again the spectator isn't as affected by the events as they would if we got the women's POV. Alex's mask helps to disconnect him from the violence as well as he creates a new persona in which the spectator can't align with. Because of this we are encouraged to align with Alex when he isn't wearing his mask. 

The interrogation scene is the scene where allegiance is intended to take place. After aligning with Alex throughout the first 40 minutes of the movie the spectator finally accepts his ideologies and feels empathy for him. In my opinion, the part in the scene where I finally gave my allegiance to Alex was was the headmaster spits on him because I felt empathy and shocked that he was being abused by authority figures as he is only a young boy. I understand that Alex has committed murder and rape but I don't associate him with the acts and instead I feel empathy for him because he is young and alone in a world that doesn't understand him. Alex looks vulnerable in many of the shots as he is shot from a high angle and the authority figures a low angle POV from Alex's perspective. The men all look extremely dominant and through doing this the spectator is encouraged to view Alex as a victim. Close up's of Alex's face also make him look child-like and innocent, again encouraging the spectator to pledge their allegiance to him.

To conclude, I believe allegiance and alignment play a vital role in the spectator having an emotional response. Because of allegiance, the spectator is able to view the situation through the characters eyes and not be encouraged to change views on the situation. This is emphasised in A Clockwork Orange the most as when the spectator finally pledges their allegiance to Alex, he can do no wrong in their eyes. As Alex is the spectators leader through the foreign land, the events the spectator witness are all through his eyes. 

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