The Cinema of GEORGE A. ROMERO

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the cinema of GEORGE A. ROMERO DIRECTORS’ CUTS Other titles in the Directors’ Cuts series: the cinema of EMIR KUSTURICA: notes from the underground GORAN GOCIC the cinema of KEN LOACH: art in the service of the people JACOB LEIGH the cinema of WIM WENDERS: the celluloid highway ALEXANDER GRAF the cinema of KATHRYN BIGELOW: hollywood transgressor edited by DEBORAH JERMYN & SEAN REDMOND the cinema of ROBERT LEPAGE: the poetics of memory ALEKSANDAR DUNDJEROVIC the cinema of ANG LEE: the other side of the screen WHITNEY CROTHERS DILLEY Second Edition the cinema of TERRENCE MALICK: poetic visions of america edited by HANNAH PATTERSON the cinema of ANDRZEJ WAJDA: the art of irony and deﬁance edited by JOHN ORR & ELZBIETA OSTROWSKA the cinema of KRZYSZTOF KIESLOWSKI: variations on destiny and chance MAREK HALTOF the cinema of DAVID LYNCH: american dreams, nightmare visions edited by ERICA SHEEN & ANNETTE DAVISON the cinema of NANNI MORETTI: dreams and diaries edited by EWA MAZIERSKA & LAURA RASCAROLI the cinema of MIKE LEIGH: a sense of the real GARRY WATSON the cinema of JOHN CARPENTER: the technique of terror edited by IAN CONRICH AND DAVID WOODS the cinema of ROMAN POLANSKI: dark spaces of the world edited by JOHN ORR & ELZBIETA OSTROWSKA the cinema of TODD HAYNES: all that heaven allows edited by JAMES MORRISON the cinema of STEVEN SPIELBERG: empire of light NIGEL MORRIS the cinema of WERNER HERZOG: aesthetic ecstasy and truth BRAD RAGER the cinema of GEORGE A. ROMERO knight of the living dead second edition tony williams WALLFLOWER PRESS london & new york A Wallf lower Press Book Wallf lower Press is an imprint of Columbia University Press Publishers Since 1893 New York Chichester, West Sussex cup.columbia.edu Copyright © 2015 Tony Williams All rights reserved Wallﬂower Press® is a registered trademark of Columbia University Press Library of Congress Cataloging-in-Publication Data Williams, Tony, 1946 January 11– The cinema of George A. Romero : knight of the living dead / Tony Williams.—Second edition. pages cm.—(Directors’ cuts) Includes bibliographical references and index. ISBN 978-0-231-17354-4 (cloth : alk. paper) — ISBN 978-0-231-17355-1 (pbk. : alk. paper) — ISBN 978-0-231-85075-9 (ebook) 1. Romero, George A.—Criticism and interpretation. I. Title. PN1998. 3.R644W55 2015 791.4302'33092—dc23 2014029738 Columbia University Press books are printed on permanent and durable acid-free paper. This book is printed on paper with recycled content. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 Book design by Rob Bowden Design Cover image: © Getty References to websites (URLs) were accurate at the time of writing. Neither the author nor Columbia University Press is responsible for URLs that may have expired or changed since the manuscript was prepared. .

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Kvarterakademisk
kvarter Volume 18. Spring 2019 • on the web akademiskacademic quarter From Wander to Wonder Walking – and “Walking-With” – in Terrence Malick’s Contemplative Cinema Martin P. Rossouw has recently been appointed as Head of the Department Art History and Image Studies – University of the Free State, South Africa – where he lectures in the Programme in Film and Visual Media. His latest publications appear in Short Film Studies, Image & Text, and New Review of Film and Television Studies. Abstract This essay considers the prominent role of acts and gestures of walking – a persistent, though critically neglected motif – in Terrence Malick’s cinema. In recognition of many intimate connections between walking and contemplation, I argue that Malick’s particular staging of walking characters, always in harmony with the camera’s own “walks”, comprises a key source for the “contemplative” effects that especially philo- sophical commentators like to attribute to his style. Achieving such effects, however, requires that viewers be sufficiently- en gaged by the walking presented on-screen. Accordingly, Mal- ick’s films do not fixate on single, extended episodes of walk- ing, as one would find in Slow Cinema. They instead strive to enact an experience of walking that induces in viewers a par- ticular sense of “walking-with”. In this regard, I examine Mal- ick’s continual reliance on two strategies: (a) Steadicam fol- lowing-shots of wandering figures, which involve viewers in their motion of walking; and (b) a strict avoidance of long takes in favor of cadenced montage, which invites viewers into a reflective rhythm of walking. Volume 18 41 From Wander to Wonder kvarter Martin P.
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