Essay on Gallipoli: The Desctructive Nature of War

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In Gallipoli, the final running sequence mirrors the opening sequence in order to draw the viewer’s attention to the destructive nature of war. This is emphasised by the film concluding with a freeze frame of Archy being mowed down by gunfire. The use of a medium shot assist in emphasising his movements and facial expressions as he runs (5). This in conjunction with the repetition of the whistle sound that indicates the start of Archy running, along with the mere sound of heavy breathing, reveals the similarity in the opening running scene and the final sequence of the film. In the opening sequence, Archy’s running was seen to be an act of freedom, which is created through the smile on his face and the warm lighting created by the sunrise.…show more content…
Focalisation on Archy and Frank’s relationship was created through featuring more than one person in each shot, and witnessing them journey through numerous experiences (2). Both these objectives were accomplished through wide and medium shots, featuring both characters. This allowed for the audience to see them on the journey from the Australian outback, to Egypt and to the battlefield together as a result of these shot choices (2). The audience’s view of seeing all this concomitantly was purposefully created by Weir in order to accentuate their relationship and to position the viewer in a way to sympathise and side with them as characters (2). As the death of Archy occurs, it creates a tear in their relationship and therefore allows for the audience to feel the trauma Frank would feel. In turn this allows for Weir’s directorial decisions to prove that the nature of war is destructive. Similarly to Ted Kotcheff, Weir is also making a commercial film, so it shares similar conventions with First Blood, which is also a commercial film.
Kotcheff’s relies heavier on technical elements, such as close-ups and explosions to grab the viewer, as demonstrated in First Blood. His use of close-ups on Rambo’s face and body “directs the audience’s attention to the significance of his actions” (5, p.29), which in turn makes the viewer feel closer to him. For example, as Rambo is stitching up his war wound, the

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