Terrence Malick's 4 function motion pictures were celebrated through critics and loved as immediate classics between movie aficionados, however the physique of serious literature dedicated to them has remained strangely small compared to Malick's stature on the earth of up to date film.
Each of the essays in Terrence Malick: movie and Philosophy is grounded in movie experiences, philosophical inquiry, and the rising box of scholarship that mixes the 2 disciplines. Malick's movies also are open to different angles, significantly phenomenological, deconstructive, and Deleuzian methods to movie, all of that are evidenced during this collection.
Terrence Malick: movie and Philosophy engages with Malick's physique of labor in special and independently major methods: via taking a look at the culture during which Malick works, the inventive orientation of the filmmaker, and by way of discussing the ways that feedback can light up those extraordinary motion pictures.
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Extra resources for Terrence Malick: Film and Philosophy
Unlike characters in most historical films made in Hollywood, Malick’s characters, who all exist in vividly recreated visions of historical epochs in the American past, do not function to “hold together” the historical world of America under the sign of a single truth that might provide the viewer a myth for understanding the meaning of history. ”24 In Heidegger’s terms, their existences can be understood as various searches for authentic meaning (as opposed to the familiar meanings that enframe quotidian life), or an original experience that leads to meaning that did not previously exist in the world.
But unlike classical voice-over narrators, who work to clarify aspects of narrative or character psychology for the viewer, and unlike Chaplin, whose graceful and theatrical appropriation of objects comprises the primary attraction in viewing his films, Malick’s characters do not hold together or settle the meaning of imagery or efface its ongoing sensuous presence in our own experience. If anything, the interpretive work of Linda and Holly—and, as we will see in more detail in the next part of the chapter, the multiple narrators of Malick’s two later films—far from “using up” the sensuous materiality of Malick’s images, make this sensuousness stand forth even more luminously.
They instead form a mute testament to his ongoing inability to express significance, which has led to his recourse to violence. Both Holly and Linda here—like Chaplin throughout his oeuvre— open up a world through their creative interpretation of the earth, and their expressive creativity forms a potential intervention—a new worlding—into and of the already-worlded world that surrounds them. But unlike classical voice-over narrators, who work to clarify aspects of narrative or character psychology for the viewer, and unlike Chaplin, whose graceful and theatrical appropriation of objects comprises the primary attraction in viewing his films, Malick’s characters do not hold together or settle the meaning of imagery or efface its ongoing sensuous presence in our own experience.