Section B revision

Alignment-The process of identification with something or someone. The emotional impact of a film frequently depends on spectator alignment with central characters. 

Reception Theory

Says that an audience may response in one of the three ways based on their reading of a film and how they 'decode' the meanings/ideologies places in to the text by the filmmaker. 

Preferred Reading-Taking an intended reading of the film. Identifying and agreeing with all the messages encoded in to the text.

Negotiated Reading-The viewer identifies with most of the meanings coded in the text but does not agree with, or take the full meaning.

Oppositional Reading-The viewer does not identify with the meanings encoded in to the text and their own personal ideologies form an alternate meaning within the text.

Reception Theory dictates that a film does not have any meaning without the spectator. Meaning is only generated when the spectator views the text and 'decodes' it. 

Central Imaging

Refers to an immersion in the film. There are certain times when a spectator experiences 'central imaging'-when a film recreates physical sensations such as falling over or walking in a daze.

In theory, 'central imaging' is the merging of the spectator with the film-when the cinematic experience is felt physically. 

Full Metal Jacket

Full Metal Jacket begins with the core getting their hair shaved off. This introduces the theme of 'Loss of Identity' as they are being stripped of their prior identity. Each shot in the sequence uses a mid-shot that lasts four seconds so no clear protagonist is highlighted. Instead the spectator is encouraged to view them as a collective instead of individuals. 

The introduction of Hartman reinforces the theme of 'Loss of Identity' in many ways. Firstly, Hartman gives each character a nickname and through doing so removes their civilian identity and provides then with an identity within the core. Hartman also tells the group that they are "all equally worthless" which reinforces the theme of unity. This scene also introduces Hartman's abuse of Pyle but as it has comical overtones (Hartman tells Pyle to choke himself with Hartman's hand) the spectator doesn't view Hartman's actions as aggressive and instead think it is funny. Through doing this, Kubrick desensitises the spectator to Pyle's abuse and lessens the impact of the overt bullying. 

As the Boot Camp sequence develops, the spectator is encouraged to view Pyle as separate from the group. This is demonstrated in a variety of shots but most significantly when the core are marching - shot in a wide shot - with Pyle trailing behind with his pants around his ankles and his thumb in his mouth. Because of this, the spectator is encouraged to view Pyle as pathetic. Pyle's failure is constantly reinforced throughout the Boot Camp sequence as he isn't able to do any of the obstacles. On one the obstacles we receive the first reaction shot from Cowboy when Pyle can't get over an obstacle. 

In each scene, the spectator can see other groups training in the background in focus. This was done by a specially designed camera make for Full Metal Jacket. Because of this, we can deduce that it was Kubrick's intention for the spectator to be able to view the order and structure in the background so there can be a comparison with how much Pyle is holding the group back. In one scene, Pyle is seen to physically halt the cores progression as he drags Joker and Cowboy down in to the mud when he falls.