In Gallipoli, the final sequence mirrors the opening sequence in order to draw the viewer's attention to the destructive nature of war. This is underlined by the film ending with a freeze frame of Archy being mowed down by gunfire. The use of a medium shot helps emphasize his movements and facial expressions when he runs (5). This, in conjunction with the repetition of the whistle that indicates the start of Archy's race, as well as the simple sound of heavy breathing, reveals the similarity between the opening scene of the race and the final sequence of the film. In the opening sequence, Archy's run was seen as an act of freedom, created by the smile on his face and the warm lighting created by the sunrise. However, in the final scene, the long, dark orchestral music and the abundance of crossovers between shots help create suspense. Loud diegetic sounds of screams and devastating war sound effects build up to the final sequence which, in turn, creates a feeling of fear (6). The disparity between the two scenes is how Archy finishes the race each time. The first time we see him running, he wins the race and the journey the viewer takes with him as the protagonist begins. However, the second time he runs he is shot and the screen goes black and the film ends. While the viewer expects the protagonist to live, as is the case in most films, his ideologies are questioned and he is faced with the harsh reality of the destructive nature of war, without exception. Through the final sequence, as well as its connections to the opening sequence, the destructive nature of war as a key demonstration throughout the film is evident. Peter Weir uses violence to emphasize the destructive nature of war as a means. of paper... on their side, which gives them the feeling of doing the right thing (1). Explosions also seem to differentiate Kotcheff's cinematic style from Weir's, as they are used continually throughout the film. Julian Murphet explains that in cinema, “the suspension of disbelief” (2, p. 48) occurs, for example, when they witness an explosion. The viewer enjoys this suspended disbelief long enough to feel like they are feeling a thrill, while still being freed from the pain of the thrill. This idea comforts them and these explosions therefore become somewhat spectacular. As Monaco (2009) explains, only the perceptions of spectators experience these moments, even though they are so powerful. The audience is drawn in both by this spectacular explosion and by the feeling of being close to the protagonist that makes Kotcheff's film so enticing..