Film Analysis Of Full Metal Jacket, By Stanley Kubrick

Full Metal Jacket: Film Analysis
Full Metal Jacket is written and directed by Stanley Kubrick. The film was released in 1987 and it is starring Matthew Modine (Joker), Vincent D’Onofrio (Pyle), Adam Baldwin (Animal), and R. Lee Ermey ( Guy.Segr. Hartman).
The film, which is set in 1968, is structured in two main parts. The first takes place in a Marine boot camp, while the second shows the situation on the battlefield in Vietnam. The movie is quite atypical. In fact it does not homologate to the convectional conception of the classic war film. This particular aspect is evident once that the stylistic elements, both aesthetic and thematic, are analyzed. First of, it is pretty much impossible to identify a single protagonist, the hero whose

Therefore, it is possible to notice how the cinematography, the mise-en-scene and the editing are used to resemble the peculiarities of the space in which the actions are taking place. For instance, the first part is characterized by long pan or tilt shots, the camera is steady but still manages to follow the characters actions. The editing points to the linear occurring of the events. Also, the characters and the objects are usually methodically placed in the scene. All of the elements are used to convey the rigid organization, efficiency and control typical of the military environment. On the other hand, in the second part, there are usually shorter shots and steadicam shots. The camera is free to investigate the space of action. Here, the editing is used to create a dynamic perception of the events. In this way Kubrick is able to bring in the spectators’ minds the chaotic reality of the war. Moreover, colors become another tool to communicate to the audience this sort of split within the film. In fact, after Pyle’s death the viewer can notice how those metallic and cold colors, that are present at the beginning of the film, shift into wormer colors. It is actually through Pyle’s suicide that the the spectator gets this switch. In that scene the dark red blood stains, and ideologically violates, the cold white tiles of the bathroom. This film is also different on

Indeed, it is through editing that a story gains clarity and uniformity. This also applies for this movie. For instance, by analyzing the scene in which Joker and Rafterman arrive to the encampment of Cowboy’s platoon, one’s can understand how editing is used to define the spatial relationships between shots. The spacial editing tries to introduce the audience to facts that are taking place in a determined environment. In particular, it is important to notice that in only few minutes, there are many cuts and different kind of shots. Also, the 180° axis shifts numerous time. The two main conversations that are present in the scene, first the one between Joker and Cowboy then the one between Joker and Animal, are filmed using two shots and the shot/reverse shot system. Also, in this scene there are many examples of full shots and medium close up shots. Besides, when Cowboy introduces to his companions the new arrivals, Kubrick uses an eye line match shot to present the members of the platoon. It is important to notice that to engage the audience and grab people's attention the prospective on the events, even if slightly, changes continually. As mentioned above, the editing is also used to create a dynamic development of the events. This is a key aspect of the entire film, in fact, the succession of brief different shots recall the chaotic and unfair reality of the war. Furthermore on a level of content, this scene