FMJ - Narrative Structure - Structured/Chaotic

The first half of the film can be considered extremely structured, to the point of exactness. The narrative begins with the head shaving sequence, in which the scene conveys an instant feeling of structure. Every shot in this scene connotes an idea of equality within the men, whereby we are un-able to identify with any ne character, nor are we allowed to appreciate one character more than another. The shots used are shot equally also, and for the same length of time. Further, the only character we are actually present with throughout the scene is in fact the head shaver, however we do not see this person. This scene effectively begins the idea of unity within the men, in which although in this scene, is not established yet, the characters are orderly structured one by one equally, as if to suggest no character is different - they are all simply the same; a unit. As the narrative progresses, we met Sargent Hartman. Hartman, throughout the first of the film, effectively keeps the narrative structured, he keeps the group unified. We see this from the opening boot camp sequence, whereby through the use of Hartman's character,  Kubrick prevents any one characters from standing out, or showing any form of difference; thus the audience are unable to identify and are simply presented a group of men, similarly to the opening sequence. As the boot camp sequence progresses, the idea of unity quickly begins to insert. Kubrick achieves this through Hartman's both Hartman, but also the camera work. As tarining begins however,we notice there may be a weak link. The training sequence follows a structure, in which we are presented the shots of a group, as well as this we can also see groups training in the background, which further connotes unity. The shots are very ordered, but also the sequence is controlled by Hartman, as if any moment one character seemingly shows identity it is his duty to remove this. Contrasting to the idea of unity, we begin to see Pyle fail, the narrative follows a pattern of a group mentality, which grows more prominent as the film progresses, contrasting to a scene of Pyle faling a task. The narrative takes this approach, and it can be seen as very ordered as throughout the whole half of the film.  We establish that the firstly are presented shots of unified group which is also reinforced by Sargent Hartman, to then a sequence of Pyle failing, and so on. The first of the film can be seen as very controlled, and through this, we give our allegiance to the grop, as does Joker.

The second half of the film however, completely juxtaposes. The second half presents the audience with the duality of man through many chaotic scenes, as we try to figure out the characters, Joker specifically. Kubrick uses deliberate techniques in the second half of the film which ultimately prevent alignment of any one character. He does this through the motivations we learn about the marines. In which are completely varied thus we do not get any one single, clear relatable view point which we can identify with. This contrasts to the conventional war film approach  in films such as Platoon and Saving Private Ryan, whereby we are constantly reinforced of the motivation behind the characters decisions, thus we identify. In the case of FMJ, we continue our alignment with the group as we are unable to identify with any characters or identify a protagonists - which is present in many of the conventional war films. We do not see Joker as a protagonist however, as his voice over is simply functional and does not provide the audience with an insight to his outlook. Joker's helmet - 'born to kill' juxtaposes the peace sign, and reinforces his duality, which we see in the sniper scene, whereby Joker tells us that he committed murder for compassionate reasons. It is this duality, which leaves the audience uncertain, and ultimately prevents identification with Joker, thus we remain aligned with the group - which we can say was the intentional response as the marines march off singing as one unified group in the finale.