The_Disjunctive_Corollary_Of_Organized_Chaos_In_Full_Metal_J

The Disjunctive Corollary Of Organized Chaos In Full Metal Jacket To concentrate on a cinematic work is to be absorbed by it in that one is consumed by its context; the conscious perspective to internalize representations of reality is shifted to that of the eyes and ears of the camera. However, to be distracted by a cinematic work is to have these aforementioned abilities to rationalize overruled by emotion, thus superceding logical processes that would normally project unto a conscious that what is being represented through a camera is merely a representation. It is through this ability to “distract” a conscious from its grounded perspective in reality that allows representations of reality to hold an emotional weight equal to reality, and it is this principle which Stanley Kubrick harnesses in the second half of Full Metal Jacket to draw upon its viewers to experience the chaotic, terrifying, and impulsive nature of war. Unlike the first half of the film, in which the viewer is exposed to an organized and carefully crafted representation of marine training, Kubrick thrusts his viewers into the midst of battle. The actions of the characters in this segment are defiant and highly unpredictable, a sign that while one can train for any possibility half, camera, one, kubrick, viewers, reality, movie, first, distracted, both, viewer, through, scene, representations, representation, perspective, nature, metal, man, kubrick’s, jacket, full, film, emotion, conscious, characters, allows, work, war, upon, unto, training, sniper, second, plot