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La Conversión De Terrence Malick: Una Visión Del Mundo Traducida Al Cine
ARTÍCULOS Área Abierta. Revista de comunicación audiovisual y publicitaria ISSN: 2530-7592 / ISSNe: 1578-8393 http://dx.doi.org/10.5209/arab.69075 La conversión de Terrence Malick: una visión del mundo traducida al cine Pablo Alzola Cerero1 Recibido: 28 de abril de 2020 / Aceptado: 9 de septiembre de 2020 Resumen. El hecho de que el cineasta estadounidense Terrence Malick se dedicara durante unos años a la filosofía académica y tradujera al inglés el opúsculo De la esencia del fundamento de Martin Heidegger es tomado por algunos autores como clave interpretativa de su cine. Este artículo parte del concepto de mundo del filósofo alemán, tema central del citado opúsculo, y sus presuntas influencias en la filmografía del director con el objetivo de poner en duda esta afinidad y sugerir, en cambio, la hipótesis de que las películas de Malick están alentadas por una visión del mundo de raíces cristianas. La probabilidad de esta hipótesis será mostrada por una vía negativa, detectando algunas carencias de los estudios que vinculan a Heidegger con Malick, y por una positiva, analizando el significado de sus filmes desde la experiencia de conversión religiosa que estos parecen suscitar en los espectadores. Palabras clave: Terrence Malick; Martin Heidegger; Cristianismo; Mundo; Espectador; Conversión [en] The Conversion of Terrence Malick: A Worldview Translated into the Film Medium Abstract. The fact that American filmmaker Terrence Malick devoted some years of his life to academ- ic philosophy and translated into English Martin Heiddegger’s The Essence of Reasons is understood by some authors as an interpretive key to his body of work. -
GB, Avalon Oppose Midway Bid but Are Not Going Were the Best Interests of Those Injured
A W A R D ● W I N N I N G Blue Angel remembered: LCdr. Kevin Davis page6A 50¢ YOUR COMMUNITY NEWSPAPER April 26, 2007 GB, Avalon oppose Midway bid but are not going were the best interests of those injured. Midway FD may propose to handle to sacrifice pro- PART TWO As an ALS first response unit, we felt an fessional stan- OF A obligation to check out those patients and Local countywide ambulance services dards to do so. their well-being.” We are a state Chief Sid Wiggins explains that his gymnast BY STAFF REPORTS Asbetween the Gulf Breeze Volunteer Fire TWO-PART page deadline Department and Midway Fire. certified training problem with Midway stems from a fail- qualifies for Gulf Breeze News SERIES [email protected] ap- Now, the chief of the Avalon Fire center and we ure to accept and obey ‘incident proto- national meet 4C proach- District says he’s opposed to working have to follow col.’ es for Midway Fire Department to make with Midway as well. the letter of the law. Avalon’s beef with “Our incident occurred a year ago. To its bid to handle ambulance service for Midway Fire Chief Stephen Demeter us extends from the fact that we did not put it bluntly,” Wiggins says,”Midway all of Santa Rosa County, the City of says he’s trying to smooth any ruffled agree to stand down from an EMS call. Fire is now not allowed in our district. PAGE The chief tried to cancel us. As there was They have a lot of good equipment and 1B Gulf Breeze is joined by another agency feathers. -
Terrence Malick a Zvukové Vyjadřovací Prostředky V Jeho Filmech
Terrence Malick a zvukové vyjadřovací prostředky v jeho filmech Ondřej Šmejkal Bakalářská práce 2016 ABSTRAKT Hlavním cílem této práce je analýza filmů režiséra Terrence Malicka z pohledu zvukové složky. Pomocí dvou vybraných filmů, které vznikly v rozmezí zhruba dvaceti let po sobě, se pokusím přiblížit Malickovy tendence ve zvukové dramaturgii a její částečnou interpre- taci. Seznámím čtenáře s krátkým životopisem a filmografií Terrence Malicka a to přede- vším proto, abych ho uvedl do kontextu doby a přiblížil jeho způsob uvažování. V termino- logicko-analytické části práce se budu zabývat popisem zvukových kategorií a praktickou analýzou Malickových děl a to z hlediska podobnosti, interpretace a zajimavých dramatur- gických momentů ve vybraných scénách. Klíčová slova: Terrence Malick, zvuková dramaturgie, voiceover, Tenká červená linie, Zapadákov ABSTRACT Main target of this work is to analyse films of Terrence Malick from the sound perspective. Using two selected films which were made twenty years in a row i will try to approach Malick´s tendencies in sound dramaturgy and it´s partial interpretation. I will acquaint rea- ders with brief biography and filmography to classify him into the context of time and ap- proaching his way of thinking. In terminological-analytical part i will deal with the description of the sound categories and practical analysis of Malick´s film in terms of simi- larities, interpretations and interesting dramaturgical moments of selected scenes. Keywords: Terrence Malick, sound dramaturgy, voiceover, Thin Red Line, Badlands Chtěl bych poděkovat Mga. Pavlu Hrudovi za vedení mé práce a věcné připomínky. Dále chci poděkovat mojí rodině za finančí i psychickou podporu, bez které bych ve Zlíně ne- mohl studovat a mému strýci Svatoplukovi Šíbalovi za zajímavé diskuze nad zvukovým filmem. -
Terrence Malick, 1973
Université Inter-âge | Cycle Road Movies | Séance du 06/01/2020 / Cyrielle VINCENT ([email protected]) La Balade Sauvage Terrence Malick, 1973 Générique technique Générique artistique Réalisation : Terrence Malick Martin Sheen : Kit Carruthers Scénario : Terrence Malick Sissy Spacek : Holly Sargis Production : Terrence Malick Warren Oates : Le père d’Holly Société de distribution : Warner Bros. Ramon Bieri : Cato Musique : George Tipton, Carl Orff, James John Carter : M. Scarborough Taylor Dona Baldwin : La domestique sourde Photographie : Tak Fujimoto, Stevan Larner, Gary Littlejohn : Le shérif Brian Probyn Alan Vint : Tom, le shérif adjoint Montage : Robert Estrin Terrence Malick : L’homme qui sonne à la porte Budget : 300 000 / 350 000 dollars Bryan Montgomery : Jack Gail Threlkeld : La petite amie de Jack Pays de production : États-Unis Sortie le 13 octobre 1973 (Festival de New-York) Durée : 94 minutes Genre : Road Movie, Drame, Thriller Dans ce dossier, les images n’ayant pas de légende sont extraites du film La Balade Sauvage de Terrence Malick 1 Université Inter-âge | Cycle Road Movies | Séance du 06/01/2020 / Cyrielle VINCENT ([email protected]) Histoire du cinéma américain : Le Nouvel Hollywood Les années soixante marquent la fin de breux autres réalisateurs vont s’engouffrer dans l’hégémonie des studios. Néanmoins, en par- la brèche en réalisant des films comme Easy allèle, un nouveau cinéma va émerger dans le Rider, M.A.S.H.... contexte de la contre culture. En 1967, la sor- Enfanté par une nouvelle génération de réal- tie de Bonnie et Clyde d’Arthur Penn, sur un isateurs, la fin des années soixante marque le scénario de Robert Benton et David Newman, début du Nouvel Hollywood. -
Una Aproximación a Través De La Obra De Terrence Malick
UNIVERSIDAD DE SEVILLA FACULTAD DE COMUNICACIÓN MÁSTER OFICIAL COMUNICACIÓN Y CULTURA TRABAJO FIN DE MÁSTER NUEVA ESTÉTICA EN LA POSMODERNIDAD CINEMATOGRÁFICA: Una aproximación a través de la obra de Terrence Malick. JOSE JUAN LÓPEZ CLEMENTE Tutora: Profº. Dra. INMACULADA GORDILLO ÁLVAREZ Sevilla, noviembre de 2014 Trabajo Fin de Máster NUEVA ESTÉTICA EN LA POSMODERNIDAD CINEMATOGRÁFICA: Una aproximación a través de la obra de Terrence Malick Para optar al título de Máster en Comunicación y Cultura de la Universidad de Sevilla JOSE JUAN LÓPEZ CLEMENTE Tutora: Prof. Dra. Inmaculada Gordillo Álvarez Vº Bº Tutora: Sevilla, 21 noviembre de 2014 «Creo que si observas todo detenidamente… esta mesa, lo que hay sobre ella, la nevera, esta habitación, su nariz, el mundo entero… puedes darte cuenta de que hay una especie de armonía cósmica entre las formas y los tamaños… y me preguntaba por qué. No sé porque es así… pero es así» Soñadores (Bertolucci, 2003) I. INTRODUCCIÓN 3 II. DISEÑO DE LA INVESTIGACIÓN 9 2.1. Planteamientos de la investigación 9 2.2. Objeto de estudio 10 2.3. Objetivos de la investigación 11 2.4. Hipótesis de la investigación 12 2.5. Justificación de la investigación 12 2.6. Carácter de la investigación, metodología de trabajo y 13 estructuración III. MARCO CONTEXTUAL Y TEÓRICO 17 3.1. Cronología técnico-artística cinematográfica 17 3.1.1. Cine clásico 24 3.1.2. Cine moderno 28 3.1.3. Cine posmoderno 32 3.1.4. Consideraciones finales acerca del cine clásico, moderno y 37 posmoderno 3.2. Referencias tecnológicas fílmicas: evolución de los dispositivos de 40 captura de la imagen y procesamiento digital 3.2.1. -
Responsibility’ to Adopt $60 Fee for Fire
Finals: Heat look to rebound from Game 1 loss /B1 MONDAY TODAY CITRUS COUNTY & next morning HIGH 90 Scattered LOW afternoon and evening storms. 72 PAGE A4 www.chronicleonline.com JUNE 10, 2013 Florida’s Best Community Newspaper Serving Florida’s Best Community 50¢ VOL. 118 ISSUE 307 QUESTION Monday CONVERSATION OF THE WEEK BOCC ‘More responsibility’ to adopt $60 fee for fire Contribute! Like us at service facebook.com/ citruscounty CHRIS VAN ORMER chronicle and Staff writer respond to our INVERNESS — The Question of the new $60 per residential Week. unit fee to fund the fire service will be taken Hurricane sea- through the next step at son has begun Tuesday’s meeting of the — how do you Citrus County Board of County Commissioners prepare for it (BOCC). each year? The board will hear the resolution establishing Have we been the fire service municipal lulled into a service benefit unit false sense of (MSBU) from County At- torney Richard Wesch, security that ... who will ask the board to we’re “safe”? MATTHEW BECK/Chronicle adopt and authorize the Crystal River National Wildlife Refuge Manager Michael Lusk, pictured outside of the refuge headquarters resolution to provide the Jessica Roman on King’s Bay in Crystal River, oversees a large series of refuges along the Gulf Coast. services, facilities and With HAARP, none of us are safe. programs in the unincor- (Editor’s note: HAARP is the porated areas of the High Frequency Active Michael Lusk says he is up to the management challenge county and the city of In- Auroral Research Program verness. -
Terrence Malick's Emersonian Cinema
AN ABSTRACT OF THE THESIS OF Bill Fech for the degree of Master of Arts in English presented on May 31, 2013 Title: The Soul Announces Itself: Terrence Malick’s Emersonian Cinema Abstract approved: Jon R. Lewis This thesis takes an auteurist approach to the films of director Terrence Malick by reading them through the spiritual philosophy of Ralph Waldo Emerson. I establish Malick’s thematic concern with the human struggle to achieve better existences in a broken material world, a concern buoyed by his signature aesthetic that includes expressive voice-overs and sublime photography of nature. I close- read each of Malick’s six films, drawing upon tenants of Emersonian philosophy to reveal Malick’s expression of transcendent events of the soul against brutal earthly realities. In chapter one I put forth Badlands and Days of Heaven as Emersonian “cautionary tales” for lives lived bereft of meaningful communion with the world. Chapter two sees The Thin Red Line as Malick’s turn toward an explicitly philosophical cinema where the spiritual/material divide becomes paramount. In chapter three I focus on The New World and The Tree of Life as refined versions of Malick’s renewed philosophical interests and style. I conclude on Malick’s latest film, To the Wonder, finding that despite his depictions of an increasingly fractured modern world, Malick retains an Emersonian faith in the individual’s ability to spiritually transcend material life. ©Copyright by Bill Fech May 31, 2013 All Rights Reserved The Soul Announces Itself: Terrence Malick’s Emersonian Cinema by Bill Fech A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts Presented May 31, 2013 Commencement June 2013 Master of Arts thesis of Bill Fech presented on May 31, 2013. -
Décadrages, 11 | 2007, « Terrence Malick » [En Ligne], Mis En Ligne Le 01 Octobre 2008, Consulté Le 22 Novembre 2020
Décadrages Cinéma, à travers champs 11 | 2007 Terrence Malick Édition électronique URL : http://journals.openedition.org/decadrages/377 DOI : 10.4000/decadrages.377 ISSN : 2297-5977 Éditeur Association Décadrages Édition imprimée Date de publication : 1 octobre 2007 ISBN : 978-2-9700582-6-7 ISSN : 2235-7823 Référence électronique Décadrages, 11 | 2007, « Terrence Malick » [En ligne], mis en ligne le 01 octobre 2008, consulté le 22 novembre 2020. URL : http://journals.openedition.org/decadrages/377 ; DOI : https://doi.org/10.4000/ decadrages.377 Ce document a été généré automatiquement le 22 novembre 2020. ® Décadrages 1 Les films de Malick examinés à travers l'univers sonore et le "rythme" qu'ils proposent (bruits, musique et paroles), et dans leurs implications idéologico-culturelles, narratologiques et philosophiques. Remerciements : Cinémathèque suisse Décadrages, 11 | 2007 2 SOMMAIRE Editorial Alain Boillat Dossier : Terrence Malick Entre distance et immersion : des voix qui glissent sur le monde Les locuteurs over dans les films de Terrence Malick Alain Boillat Quelques fonctions de la parole dans Badlands Frank Steiger Mue de la nature dans Days of Heaven Jean-Michel Durafour Le cri de la nature chez Terrence Malick Analyse du son de The Thin Red Line Martin Barnier De l’Or du Rhin au Nouveau Monde : Terrence Malick et les rythmes du romantisme pastoral américain Laurent Guido « Le Nouveau Monde » ou la vie dans les bois : la culture du transcendantalisme dans les films de Terrence Malick François Bovier Rubrique cinéma suisse Le -
Goodland Star-News / Tuesday, November 23, 2004 Abigail Was to Come
4b The Goodland Star-News / Tuesday, November 23, 2004 abigail was to come. He is the world’s worst BOB IN CHICAGO the gander. — EQUAL OPPORTU- by proposing to him. It was like they Many answers cheapskate. DEAR BOB: No, so I called Dawn NITY ENGAGER thought less of him somehow. I think van buren I can count on one hand the num- Moore, the West Coast regional direc- DEAR ENGAGER: Thank you for it embarrassed him, which was stupid ber of gifts he has given me over the tor of Chopard Jewelers. She in- stating the opposing point of view. because he was ready to be married to questions on years. He is equally withholding emo- formed me that a wristwatch is the DEAR ABBY: I proposed to my long before I was. (I was divorced and •dear abby tionally. When I was single, I never “traditional offering” from the longtime boyfriend and bought him afraid of making another mistake.) who buys ring thought that such things were impor- woman to the man at the time of the an engagement ring. I didn’t care if I When I felt ready, I decided to sur- Read on: tant in a relationship. I was wrong. It’s engagement or the wedding. (What a received one or not. He asked if I prise him and propose. He was loving DEAR ABBY: “Deb in Knoxville” been a lonely life. — LONELY IN clever way of ensuring he makes it to wanted one as well, and I declined. and patient with me — and it’s unfair asked who should buy the ring if the DEAR ABBY: Your answer to “Deb in Knoxville” was right on. -
The American Film Institute and Philanthropic Support For
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Napier “IN THE BEST INTERESTS OF THE COUNTRY”: THE AMERICAN FILM INSTITUTE AND PHILANTHROPIC SUPPORT FOR AMERICAN EXPERIMENTAL AND INDEPENDENT CINEMA IN THE 1960s. BY R CI R RE A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF DOCTOR IN PHILOSOPHY AT EDINBURGH NAPIER UNIVERSITY APRIL 2013 ii Contents Tables ........................................................................................................................ vi Figures ....................................................................................................................... vi Acknowledgements .................................................................................................. vii Abbreviations .......................................................................................................... viii Abstract ..................................................................................................................... ix INTRODUCTION .......................................................................................................... 1 Defining Experimental and Independent Cinema ....................................................... 2 Personal Films and the Medium-Specific Evolution of Avant-Garde Cinema ........... 6 Philanthropic Support and Avant-Garde Arts ........................................................... 12 Experimental Cinema in Academic Institutions ...................................................... -
Terrence Malick O El Cine Pensado
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Re-UNIR TERRENCE MALICK O EL CINE PENSADO José María Aresté Wonder Filmmaker. Treinta años haciendo cine. Un corpus fílmi- co con seis títulos de lirismo incomparable. Genuinamente ame- ricano y genuinamente universal. El filósofo cineasta Terrence Malick ha sabido abordar en sus películas las grandes cuestio- nes sobre la condición humana con una coherencia y sinceridad indiscutibles. Terrence Malick es decididamente una «rara avis» en el panorama cinematográfico. Basta echar un vistazo a los tí- tulos de las películas de este cineasta lírico y reflexivo, que incluyen palabras nada triviales como «malo», «tierra», «días», «cielo», «maravilla», «vida», «nuevo mundo», o la alusión a «delgadas líneas rojas», para llegar a esta con- clusión. Por no hablar del irregular ritmo en la producción de una obra de indudables cualidades artísticas, aunque sin espectaculares resultados en taquilla, o lo que es lo mismo, entre el gran público. Dos películas separadas por un lapso de cinco años cimentan el aura de artista consu- mado. Veinte años de ausencia alimentan la leyenda y preparan el glorioso retorno. Y luego, tras recuperar el 192 nueva revista · 143 terrence malick o el cine pensado paso tranquilo, llega el frenesí, hasta el punto de tener en fase de postproducción, mientras se escriben estas líneas, tres películas. Los enigmas en torno a Malick arrancan ya con su naci- miento, que unos sitúan en Waco, Texas, y otros en Otta- wa, Illinois. Sí hay acuerdo en la fecha, el 30 de noviembre de 1943, y en una infancia transcurrida en los grandes es- pacios abiertos de Texas y Oklahoma, luego presentes en su cine. -
Les Pastorales Iconoclastes De Terrence Malick Daniel Canty
Document generated on 09/30/2021 6:13 a.m. 24 images Les pastorales iconoclastes de Terrence Malick Daniel Canty L’animation en question Number 125, December 2005, January 2006 URI: https://id.erudit.org/iderudit/7773ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Canty, D. (2005). Review of [Les pastorales iconoclastes de Terrence Malick]. 24 images, (125), 8–9. Tous droits réservés © 24/30 I/S, 2005 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Les pastorales iconoclastes de Terrence Malick par Daniel Canty À la veille de la sortie sur nos écrans le 13 janvier prochain du très attendu The New World, le quatrième film en trente ans de Terrence Malick, nous proposons un retour sur l'œuvre fascinante de ce cinéaste. l y a une légende Malick qui tient à plus tard, s'il accepte de scénariser The Thin (Sissy Spacek), égarées dans des contes tra trois films et un silence de vingt ans. Red Line, c'est que les deux jeunes produc giques, à la frontière de leur vie de petites I Les rumeurs vont bon train quant à teurs new-yorkais qui l'ont retrouvé à Paris filles et de la responsabilité adulte.