1. A2 FILM STUDIES

2. Identify Key Terms:
Alignment
Analyse the different ways that a
filmmaker can ‘Align’ us or manipulate
our emotional responses
Begin an in-depth analysis of the Boot
Camp sequences from Full Metal Jacket
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3. ALIGNEMENT
The process of adjusting parts so that they are
in proper relative position
ALIGNEMENT is the process of identification
with something or someone.
As film students we must refer to the way
spectators are encouraged – through micro
and macro features – to relate to characters’
emotions as well as adopt their points of view
The emotional impact of a film frequently
depends on spectator alignment with central
characters
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4. In what ways can a filmmaker attempt to ‘align’ spectators with
specific characters?
Cinematography – a CU positions the spectator closer to the
character. Alternatively, a wide shot or MLS will put distance
between the character and the spectator
Sound – certain sounds / music are used to highlight and guide our
responses
Themes / Content – depending on the subject matter of the film
we can be easily manipulated if the issues portrayed resonate
within us on a personal level
E.g/
•Death of a loved one
•Cultural / Social Issues
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5. Watch the opening scene from Goodfellas and make notes on
the following:
• What techniques are used to ‘align’ us with Henry Hill
(Liotta)?
• How do you feel about the character of Jimmy?
• How should audiences be feeling about both Jimmy
and Henry after this scene?
• How does Scorsese make us fear for Henry’s safety and
see Jimmy as a threat?
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6. Most films will attempt to align the spectator with a
specific character or group of characters
Why would a filmmaker do this?
If a filmmaker can align us with a character
(emotionally or culturally) we are more willing to adopt
a preferred reading of a film (take on the meaning
intended by the producer)
If we are aligned our emotions can be easily
manipulated and we are more likely to
experience an ‘Audience’ response rather
than an individual ‘Spectator’ response
You will learn by the numbers I will teach you!

7. Most films and filmmakers will encourage an audience response – a
shared emotional response that is initially intense but quickly fades
How can a filmmaker do this? Spielberg is an advocate
of this approach to
• Use existing genre convention cinema and he has been
labelled “Technically
• The ‘under-dog’ story gifted but intellectually
• Sympathetic Characters and situations shallow”
• Place characters in realistic scenario –
the more common the scenario the better
• A mix of ‘mood’ (through music, light etc) and realistic
emotions
• Play on audience fears and phobias
• Build expectation and eventually meet that expectation
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8. Watch the endings for both ‘Full Metal Jacket’
& ‘Platoon’
Make a list of the different ways in which the
film provokes strong emotional responses from
the audience
How does the film encourage an audience
reading of the film?
What are your opinions on this approach to
filmmaking?
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9. Films like Platoon offer us two possible readings of the film
We either ‘Get it’ and accept the meaning and share a response with the
audience
Or
We don’t ‘Get it’ and have no / little emotional response to the film
Full Metal Jacket does not suppose a single
meaning for the film, rather it relies on the
individual experiences of each spectator to
create meaning – this is what defines a spectator
experience as opposed to an audience
experience
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10. Some films do not rely on ‘alignment’ to generate a specific response
In some cases the lack of alignment with a specific character can be
used to stop us taking a specific response
Watch the opening sequence from
Full Metal Jacket and make notes
on how Kubrick introduces a group
of characters whilst refusing to
align us with a one specific
character
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11. The opening sequence sees the individuals
stripped of their own identities
Shaving their heads gives them a ‘uniform look’
and they are essentially indistinguishable from
one another
A Key Theme of ‘loss of identify / individuality’ is
introduced and is the first stage in aligning the
audience with the group, rather than an individual
The idea of ‘the group’ is essential to our
understanding of the film and we must consider
WHY Kubrick has done this
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12. You must now go through the film and identify key scenes where
Kubrick attempts to alignment the spectator with the group, over an
individual. Your own personal response should be noted here!
Scene Response to character Construction
A selection of quick cuts from the same angle
reinforces the uniformity of the characters. They are
being stripped of their identify (head shaving) and the
camera reflects this.
The non-diegetic music reinforces the militaristic focus
At this point all characters
of the film and audience awareness of the Vietnam
Head are introduced anonymous
conflict may dictate their emotional responses. The
Shaving and without individual
southern accented twang of the vocalists sing of the
identities.
individual in Vietnam, not the gung ho all American
image from other films.
The purpose of this sequence is to introduce and focus
upon the regimented army life style and loss of
identify the characters will face
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13. You must now go through the film and identify key scenes where
Kubrick attempts to alignment the spectator with the group, over an
individual. Your own personal response should be noted here!
Scene Response to character Construction
We see how Hartman treats the rest of the group. He
is strict but unconcerned. However Pyle’s open locker
and donut provoke a violent and aggressive response
towards Pyle. Pyle is humiliated and is charged with
“dishonouring himself and the core” (The group). As a
result the group are punished. Pyle is literally removed
Pyle is a disruptive force
“Jelly from the group by Hartman and is positioned to be
who brings punishment to
Donut” alone. The group maintain their uniformity (stance and
the group.
push ups) whilst Pyle is framed in a MS with a donut in
his mouth, making his appearance more pathetic . The
final shot shows the group moving in clinical unison
whilst Pyle, surrounded by his discarded items, stands
alone. The chants of “I Love the Marine Core” from the
You will learn by thegroup reinforces teach ‘otherness’
numbers I will Pyle’s you!