Josephine Martin
Professor Mary McCay
Politics and Reel Life
17 November 2011
Restrepo Draft
Though the documentary Restrepo emphasizes an objectivity and evades a clear political message, one emotional theme still emerges. Tim Hetherington and Sebastian Junger, the makers of the documentary, seek to relay the emotional terrain of war to their audience. Restrepo follows the men of the Second Platoon, Battle Company, on a 15 month deployment in the Korengal Valley of Eastern Afghanistan. At the time, the Korengal Valley was regarded as “the deadliest place on Earth.” Throughout their deployment, the men’s lives were constantly threatened . Hetherington and Junger are able to express the men’s range of emotions through three key scenes. There is sadness and fear when Juan “Doc” Restrepo is killed, humor and aggression in the cafeteria, and a rush of adrenaline after a midday firefight.
Most dramatically, the audience witnesses the immediate aftermath of Juan “Doc” Restrepo’s death early in their deployment, followed by the emotional reactions of the soldiers. Private First Class Juan “Doc” Restrepo was killed in action during the early days of the deployment on which the film is based. He was so beloved by his comrades that they later named a strategic outpost after him in remembrance. The audience learns of his demise in a segment that alternates between post-war interviews with Specialist Miguel Cortez, Specialist Kyle Steiner, First Sergeant LaMonta Caldwell, and Specialist Misha Pemble, and shaky shots of the chaotic battle. The interviews are shot at eye-level with extreme close-ups around the men’s faces. The background is black, gives way to brightly lit faces that dominant the shots. The emphasis on their facial expressions is very honest and reveals a heavy sadness in all of their eyes, even when their words are spoken in an even tone (Restrepo).
The Term Paper on 180 Degree Film Shot Audience
The first stage in the production process is the creation of the script. This determines not only the dialogue of a piece, but lays down the basis of the film's plot. In modern cinema before a film goes into production it is probable that it's script has gone through a series of treatments and re-writes. Once a script is completed it is given to a director who's job it is to realise the script. ...
The hand-held scenes of the firefight are, in a sharp contrast to the interviews, filmed shakily and reveal a sense of urgency and fear. The cameraman never speaks and the soldiers rarely talk directly to him, almost giving the audience the impression of presence in the field. The shots are primarily filmed at eye-level, and the close, intimate camera proxemics to the soldiers adds a sense of true realism to the documentary. The camera is constantly zooming in and out, at times resting on men’s faces or the bright red bullets flying out of their guns. The heat of the terrain is emphasized by the grainy, yellow tones created by the natural lighting of Afghanistan. The fear of the men, who are obviously dominant in this scene, is as evident as the sweat on their faces (Restrepo).
The cafeteria wrestling scene, which plays out during a lull in the fighting, reveals the platoon’s need for physical contact, humor, and to vent a bit of misguided aggression. It is so poignantly played that it almost feels like fictional character development. Through this scene, the audience begins to understand these men as much through a humdrum instance of rough play conveyed in homophobic language as through the action. During a meal several soldiers with big smiles converge on a cook. Manhandling him with hugs while telling him not to fight it, they put him in a chokehold and start to tickle. The cook asks an observing soldier, “Why aren’t they messing with you anymore?” (Restrepo).
The soldier responds, “I was one of the first ones that got messed with” (Restrepo).
Another soldier affectionately chimes in, “Look at him, look at how sexy he is” (Restrepo).
Another jokingly adds, “He is a beautiful man, I would fuck him back in the States” (Restrepo).
Though the cafeteria scene is humorous, there is also a sense of repressed aggression. The room is lit by fluorescent lights, which contributes to a high key, cheery lighting. The dominant colors of the room are still the tans and greens of war, but it is the men who really capture the scene. The eye-level camera angle and the full-shot focused on the men creates a social vibe. The men are laughing and joking around, their voices seem relaxed and cheerful in comparison to former scenes. Still there is a sense of restraint created by the closed form and tight framing of the scene. While the men are able to move about the room, the camera still fixes tightly on them. They are surrounded by obstructing tables, chairs, and coolers, and appear trapped by the wooden walls surrounding them. With no real outlets on the battlefield, and the soldier’s emotions are subtly exposed in these simple moments (Restrepo).
The Essay on Men Battle Fighting Soldiers
For Another Man's Freedom " All men are created equal', but the men this is pertaining to are not the men losing blood in this battle at Gettysburg. The men losing their lives in this war are men fighting for what they believe in, for the benefit of their suggested equals. Stepping forward, and then looking back; these memories, and the impact these memories have, are not and will never be ...
The high off the adrenaline rush that the men of the Second Platoon experience in the war zone is best illustrated during an interlude with one Specialist Kyle Steiner just after one particular firefight. “Man that was fun, ” exclaims Steiner, still surging with adrenaline, “You can’t get a better high. It’s like crack, you know? You can skydive or bungee jump or kayak, but once you’ve been shot at, you really can’t come down. You can’t top that” (Restrepo).
Steiner stands in front of a tree with his gaze is focused on the valley. The scene is lit by natural light, but the altitude and openness of where he stands creates a high key lighting. Steiner is center and dominant in this shot, though his face is slightly obscured by shadows of the tree. In a way, the shadows contribute to the underlying ambiguity of his statement. One questions how he will fare in the future. The camera maintaining eye-level, films him with a personal, medium close-up. After staring at Steiner for a moment, one can not help but notice the unprotected shanty house in the background, a vivid reminder of this grim situation (Restrepo).
The objective interviews with the men after their deployment, along with the gritty footage taken in the Korengal Valley, reveals the platoon’s true emotional journey. The film makers never directly ask the men if they believe they have the right to be in Afghanistan, or questions them about a government official or policy. Instead, they immerse themselves in the platoon and attempt to capture the true realities of war for these men. Their true nature emerges as they sleep, during quiet times, and when they fear for their lives. The intimate post-war interviews gives insight into the bond shared, and the psychological scars left behind. The footage is honest, showing the men at their worst and their best.
The Essay on Black Man Of Civil War.
One of the things that were important at war was that the Blacks proving themselves was that of the Black Man acting as a soldier in the Civil War. During the Civil War the decision to use Blacks as soldiers in the Union Army was a slow and not very wanted process and a different types of strategic political decisions. The black people wouldnt be a soldier just like that they would do different ...
Works Cited
Restrepo. Dir. Sebastian Junger, Tim Hetherington. Perf. Dan Kearney, Juan “Doc” Restrepo, The Men of Battle Company 2nd of the 503rd Infantry Regiment 173rd Airborne Brigade Combat Team. Virgil Films and Entertainment, 2010. DVD.
