Photograph 31
The opening of this shot uses diagonals with the main diagonal running from top left to the bottom right of frame above the diagonal is the water coming onto shore and Millers knees. The bottom half of the diagonal is taken up by the upturned hat wedged into the sand. As the hat is raised onto his head, the camera rises upwards following the hat move in an opposite diagonal from screen left to right. As Millers places the hat on his head he is framed on the right contrasting the previous profile styled shot. His face is kept right of frame as he looks up to the camera and down the lens making the audience feel uncomfortable. At the same point the camera moves in towards him with the shaker going off. This is because he is slowly coming back to realisation of where he is and that what is happening is real and a danger to him.
Photograph 32
The shot continues towards his face becoming a very tight close up. It is broken by a shot of another soldier shouting at him but when we come back he is breathing heavily, moving in and out of frame. This faster jerky move from him, along with a change in the sound shows he is almost ready to continue with what he has to do.
