DOCSLIB.ORG

To the Wonder : Terrence Malick

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
To the Wonder : Terrence Malick To the Wonder : Terrence Malick Autor(en): Volk, Stefan Objekttyp: Article Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 55 (2013) Heft 332 PDF erstellt am: 27.09.2021 Persistenter Link: http://doi.org/10.5169/seals-864140 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch FILMBULLETIN 5.13 NEU IM KINO TO THE WONDER Terrence Malick Alles bewegt sich. Bond-Girl Olga Ku- Zu Beginn, auf dem Mont-Saint-Michel, men, würde die Montage sein Ringen nicht rylenko breitet die Arme aus, wirbelt durch in Paris und Frankreich lieben sich Marina zerstückeln und ins Allgemeingültige, Kornfelder, Strassen, über Wiesen und Plätze. und Neil noch, auch wenn Ben Affleck den Metaphysische entrücken. Die Kamera tanzt und fliegt mit ihr dahin, Geliebten hier schon demonstrativ passiv spielt, Das nämlich ist es, worum es Malick schwebt über Dächer, gleitet durch Zimmer, seltsam regungslos, wortkarg, während geht: ums Ganze. Nicht um noch eine Flure. Ständig unterwegs, auf einer Suche, Marina, die Liebende, im Off von ihrem Glück Liebesgeschichte. Statt mit Handlungen hantiert er die nur anfangs unbeschwert wirkt, am Ende schwärmt und im On mädchenhaft kreatür- lieber mit sprechenden Bildern, expressiven vor allem rastlos, haltlos. Dabei haben Marina lich um den Geliebten herumschwirrt, Gesten. Klischees sind bei einem solchen und Neil doch gleich zu Beginn die Stufen herumhüpft, lächelnd, lachend, scheinbar Kinovisionär keine unerwünschten zum Wunder erklommen. Zum «Wunder ausgelassen. Dann zieht die Französin mit ihrer Nebenprodukte, sondern Rohmaterial. Ausdrucksstarke, des Abendlandes», wie der Klosterberg Tochter zu Neil in die Vereinigten Staaten. symbolmächtige, stummfilmartige Mont-Saint-Michel an der Küste Nordfrankreichs Ihr gemeinsames Haus in einer Kleinstadt Bilder verbindet er zum Mosaik einer genannt wird. Und damit natürlich in Oklahoma bleibt bis zum Schluss halbleer, urmenschlichen Sinnsuche, bei der das flüchtige zum Wunder ihrer Liebe. «Du hast mich provisorisch, die Liebe in den Umzugskartons Glück zwar aufflackert, sich aber nicht aus dem Schatten geführt», wispert Marina stecken. Trotzdem flattert Marina festhalten lässt. Wie zuletzt mit tree of aus dem Off, «du hast mich vom Boden noch eine ganze Weile weiter, bis sie sich life wagt sich Malick mit to the wonder aufgelesen» und noch reichlich mehr solcher schliesslich mehr windet als dreht. Stattdessen weit über die narrativen Grenzen herkömmlichen Poesiealbumslyrik. Spätestens da wird das vollführt an Neils Seite plötzlich eine Hollywoodkinos hinaus. Nur kommt Wagnis deutlich, das Terrence Malick mit andere ihre Pirouetten: Jane, eine alte Jugendliebe, er diesmal nirgends an. Die Klischees seinem neuen, hochambitionierten Werk amerikanisch-blond, leicht zu verselbständigen sich. Junge, moderne Frauen unternimmt. unterscheiden von der leidenschaftlichen scheinen sich in der Nähe des dauergriesgrämigen Der Mut, mit dem Malicks Drehbuch dunkelhaarigen Marina. Einmal balanciert Jane auf Neils zwanghaft in Schmetterlingsmädchen alles ignoriert, was man in einem Filmseminar einem Zuggleis. Da ist sie glücklich. verwandeln zu wollen. Das ewig an goldenen Dramaturgieregeln so Auch Jane und Neil erreichen gemeinsam Weibliche kreiselt mit ausgebreiteten Armen beigebracht bekommt, ist bewundernswert. wunderbare Höhen. Statt auf den Mont- so lange feenhaft durch die Szenerien, bis Gesprochen - oder eigentlich eher: geraunt - Saint-Michel klettern sie auf das Dach ihres einem fast schwindlig wird. Zwischendurch wird fast nur im Off. Selten finden Bild und Autos; irgendwo im weiten Weideland, filmt die Kamera zum wer weiss wievielten Ton zu einem "normalen" Dialog zusammen. umgeben von einer Bisonherde, in die sich die Mal von unten durch eine Baumkrone den Ungleich öfter bewegen die Protagonisten Kamera nur in ehrfurchtsvoller Stille hineintraut. Himmel. tonlos ihre Lippen, während dazu Hanan In diesem epiphanischen Augenblick Es ist ein schmaler Grat zwischen Townshends sphärisch-melancholische Klänge überträgt sich das Staunen des Liebespaares. Esoterik und Metaphysik, Magie und Kitsch. wahlweise schwelgen oder dräuen und Ein kostbarer Kinomoment. Doch ein paar Terrence Malick, der zuvor in fast vierzig die verschiedenen Figuren ihre Gedanken, Schnitte später legt Neil, der noch immer Jahren fünf Filme gedreht hat, legt mit to Erinnerungen, Eindrücke, manchmal auch quälend lethargisch und abweisend the wonder nun nach weniger als zwei Gesprächsfetzen auf Englisch, Französisch, dreinschaut, Jane einen Strick um die Handgelenke. Jahren seinen sechsten vor. Vielleicht hätte Spanisch, Italienisch mehr hauchen als Eine nur schwer zu missdeutende er sich mehr Zeit lassen sollen. Wer aber aussprechen. Eine Handlung gibt es zwar, aber Symbolik. Kurz danach ist die Affäre beendet. das Kino liebt, muss sich eigentlich noch viel sie wird von der wuchtigen Präsenz der Marina kehrt zu Neil zurück; diesmal mehr solche Autorenfilme und Regisseure Bilder, einer bizarren Melange aus romantischen allerdings ohne Tochter. Neil und Marina wünschen, die den Mut haben, aufs Ganze zu Kinogemälden, Postkartenkitsch und heiraten, werden aber trotzdem nie mehr gehen; auch auf die Gefahr hin, damit komplett naturalistischen Milieustudien, in den so recht glücklich. Sie sucht einen Priester zu scheitern. das Hintergrund gedrängt. Man muss Geschehen auf, Pater Quintana, der selbst auf der Suche Stefan Volk aus dieser furchtlosen Collage von Szenen nach einer verlorenen Liebe ist. Angesichts und Stilen erst rekonstruieren, es zwischen des sozialen Elends, das ihm in einer R, B: Terrence Malick; K: Emmanuel Lubezki; S: A.J. Edwards, Keith Fraase, Shane Hazen, Christopher Roldan, den in dokumentarischer Härte fotografierten Sozialsiedlung mit albtraumhafter David-Lynch- Mark Yoshikawa; M: Hanan Townshend. D (R): Ben Afßeck Elendsgesichtern und den sich im Gegenlicht Aura tagtäglich begegnet, zweifelt er an Gott. (Neil), Olga Kurylenko (Marina), Rachel McAdams (Jane), erhaben ausbreitenden Landschaften Und dank Javier Bardems kraftvollem Spiel JavierBardem (Pater Quintana). P: Brothers K, Redbud. USA zusammensuchen. könnte man ihm das auch beinahe abneh¬ 2012.112 Min. CH-V: Elite; D-V: StudioCanal Portraits de 20 grands cinéastes suisses Porträts von 20 grossen Schweizer Filmschaffenden Ritratti di 20 grandi cineasti svizzeri SRG SSR Purtrets da 20 grands cineasts svizzers Portraits of 20 major Swiss film-makers www.srgssr.ch À découvrir dans CINEMAsuisse, la série tv Entdecken Sie CINEMAsuisse, die gesamte complète de la SSR en coffret DVD. Fernsehreihe der SRG als DVD-Kollektion. Prix : 49 francs Preis: 49 Franken Commandes : [email protected] Bestellungen: [email protected] RTR RTS SRF.
Load more

Recommended publications
  • Comparative Analysis on Faith-Based Filmmaking Sean O'connor Cedarville University, [email protected]
    Cedarville University DigitalCommons@Cedarville Communication Faculty Publications Department of Communication 12-11-2015 The rT ee of Life and Courageous: Comparative Analysis on Faith-Based Filmmaking Sean O'Connor Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/ media_and_applied_communications_publications Recommended Citation O'Connor, Sean, "The rT ee of Life and Courageous: Comparative Analysis on Faith-Based Filmmaking" (2015). Communication Faculty Publications. 74. https://digitalcommons.cedarville.edu/media_and_applied_communications_publications/74 This Thesis is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Communication Faculty Publications by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. The Tree of Life and Courageous: Comparative Analysis on Faith-Based Filmmaking A Thesis Presented to the Faculty of School of Communication Arts of Asbury University In Partial Fulfillment Of the Requirements for the Degree Master of Arts by Sean O’Connor December 11, 2015 ii © 2015 Sean Michael O’Connor The U.S. Copyright Act of 2009 protects a thesis with the following clause, “original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device”. iii This thesis has been approved for the School of Communication Arts Dr. Don Simmons, Ph.D., Thesis Advisor Dr. Jim Owens, Ph.D., Dean of School of Communication Arts iv ACKNOWLEDGEMENTS As I reflect on all of those who have encouraged and supported me in the last year as I have pursued my graduate studies, I would first of all like to thank my family.
    [Show full text]
  • 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.
    [Show full text]
  • A French Impressionist Critical Approach to Terrence Malick's
    Life in Movement: A French Impressionist Critical Approach to Terrence Malick’s Films By Matthew Sellers Johnson A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements of the degree Master of Arts in Film Victoria University of Wellington 2021 i ii Abstract Terrence Malick’s films from Badlands (1973) to The Tree of Life (2011) have generally received critical praise, as well as being the focus of detailed scholarly work. By contrast, his more recent films, what Robert Sinnerbrink refers to as the “Weightless trilogy” with To the Wonder (2012), Knight of Cups (2015) and Song to Song (2017), have been widely criticised and have been largely neglected academically. This thesis endeavours to situate the aesthetic features of these three films within a conceptual framework based in French Impressionist film theory and criticism. I will argue the ways in which these three films use natural light, gestures, close- ups, kinetic images and complex editing in relation to Germaine Dulac’s notions of pure cinema and Jean Epstein’s concept of photogénie. Moreover, these ideas can also be applied to films such as Days of Heaven (1978), The Thin Red Line (1998) and The Tree of Life. Thus, it is my contention that despite the significant changes to his filmmaking style evident in the Weightless trilogy, he remains a highly poetic director interested in the interior lives of his characters and the rhythms of life. iii Acknowledgements The following thesis would not be possible without the academic and personal support of the following people. First and foremost, I would like to thank Dr.
    [Show full text]
  • Production Designer Jack Fisk to Be the Focus of a Fifteen-Film ‘See It Big!’ Retrospective
    FOR IMMEDIATE RELEASE PRODUCTION DESIGNER JACK FISK TO BE THE FOCUS OF A FIFTEEN-FILM ‘SEE IT BIG!’ RETROSPECTIVE Series will include Fisk’s collaborations with Terrence Malick, Brian De Palma, Paul Thomas Anderson, and more March 11–April 1, 2016 at Museum of the Moving Image Astoria, Queens, New York, March 1, 2016—Since the early 1970s, Jack Fisk has been a secret weapon for some of America’s most celebrated auteurs, having served as production designer (and earlier, as art director) on all of Terrence Malick’s films, and with memorable collaborations with David Lynch, Paul Thomas Anderson, and Brian De Palma. Nominated for a second Academy Award for The Revenant, and with the release of Malick’s new film Knight of Cups, Museum of the Moving Image will celebrate the artistry of Jack Fisk, master of the immersive 360-degree set, with a fifteen-film retrospective. The screening series See It Big! Jack Fisk runs March 11 through April 1, 2016, and includes all of Fisk’s films with the directors mentioned above: all of Malick’s features, Lynch’s Mulholland Drive and The Straight Story, De Palma’s Carrie and Phantom of the Paradise, and Anderson’s There Will Be Blood. The Museum will also show early B- movie fantasias Messiah of Evil and Darktown Strutters, Stanley Donen’s arch- affectionate retro musical Movie Movie, and Fisk’s directorial debut, Raggedy Man (starring Sissy Spacek, Fisk’s partner since they met on the set of Badlands in 1973). Most titles will be shown in 35mm. See below for schedule and descriptions.
    [Show full text]
  • Museum of the Moving Image Presents Comprehensive Terrence Malick Retrospective
    FOR IMMEDIATE RELEASE MUSEUM OF THE MOVING IMAGE PRESENTS COMPREHENSIVE TERRENCE MALICK RETROSPECTIVE Moments of Grace: The Collected Terrence Malick includes all of his features, some alternate versions, and a preview screening of his new film A Hidden Life November 15–December 8, 2019 Astoria, New York, November 12, 2019—In celebration of Terrence Malick’s new film, the deeply spiritual, achingly ethical, and politically resonant A Hidden Life, Museum of the Moving Image presents the comprehensive retrospective Moments of Grace: The Collected Terrence Malick, from November 15 through December 8. The films in the series span a period of nearly 50 years, opening with Malick’s 1970s breakthroughs Badlands (1973) and Days of Heaven (1978), through his career-revival masterworks The Thin Red Line (1998) and The New World (2005), and continuing with his 21st- century films—from Cannes Palme d’Or winner The Tree of Life (2011); the trio of To the Wonder (2012), Knight of Cups (2015), and Song to Song (2017); and sole documentary project Voyage of Time (2016)—through to this year’s A Hidden Life. Two of these films will be presented in alternate versions—Voyage of Time and The New World—a testament to Malick’s ambitious and exploratory approach to editing. In addition to Malick’s own feature films, the series includes Pocket Money (1972), an ambling buddy comedy with Lee Marvin and Paul Newman, which he wrote (but did not direct), and Thy Kingdom Come (2018), the documentary featurette shot on the set of To the Wonder by photographer Eugene Richards.
    [Show full text]
  • BAM and Wordless Music Present Terrence Malick's Voyage of Time
    BAM and Wordless Music present Terrence Malick’s Voyage of Time with live music, Nov 16 & 17 The “extraordinary visual symphony” (The New York Times) will be accompanied by a full orchestra and chorus Bloomberg Philanthropies is the Season Sponsor Voyage of Time Directed by Terrence Malick Wordless Music Orchestra Presented in association with Wordless Music BAM Howard Gilman Opera House (30 Lafayette Ave) Nov 16 & 17 at 7:30pm Tickets start at $35 Oct 24, 2018/Brooklyn, NY—BAM and Wordless Music present Terrence Malick’s Voyage of Time with a live orchestral and choral performance of its powerful score. A “vast and visually overwhelming nature documentary” (The New Yorker) that was 30 years in the making, Voyage of Time is both a stunning visual fantasia and science documentary, capturing and envisioning the life cycle of the universe. It is an expansion of the “birth of the universe” segment from Malick’s acclaimed 2011 film The Tree of Life. The cosmic visual theme is accompanied by some of the most transcendental music in the Western canon—Bach’s Mass in B Minor, Haydn’s The Creation, Beethoven’s Symphony No. 9, Mahler’s Symphony No. 2 (“Resurrection”), and Poulenc’s Gloria. The live orchestra and chorus, with a narration by actor Lily James, will deliver their full sonic impact. In Terrence Malick’s film career, which spans almost half a century, he has made many acclaimed and groundbreaking movies including: Badlands (1973), winner of the Cannes Film Festival award for Best Director; Days of Heaven (1978); The Thin Red Line (1998), Oscar- nominated for Best Director and Best Screenplay; The New World (2005); The Tree of Life (2011), Oscar-nominated for Best Director and winner of the Palm d’Or at the Cannes Film Festival; To the Wonder (2012), King of Cups (2015); Voyage of Time (2016); and Song to Song (2017).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Faith and Spirituality in Masters of World Cinema, Volume III
    Faith and Spirituality in Masters of World Cinema, Volume III Faith and Spirituality in Masters of World Cinema, Volume III Edited by Kenneth R. Morefield and Nicholas S. Olson Faith and Spirituality in Masters of World Cinema, Volume III Edited by Kenneth R. Morefield and Nicholas S. Olson This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Kenneth R. Morefield, Nicholas S. Olson and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7116-8 ISBN (13): 978-1-4438-7116-7 TABLE OF CONTENTS Foreword ................................................................................................... vii Matt Zoller Seitz Introduction .............................................................................................. xiii “What is Inside is Also Outside”: What Makes Movie(s) Material? Nicholas S. Olson Chapter One ................................................................................................. 1 Three Spiritual Paths in the Films of Frank Borzage Doug Cummings Chapter Two .............................................................................................. 17 Of
    [Show full text]
  • Terrence Malick Beyond Nature and Grace: Song to Song and the Experience of Forgiveness Elisa Zocchi University of Münster, [email protected]
    Journal of Religion & Film Volume 22 Article 3 Issue 2 October 2018 10-1-2018 Terrence Malick Beyond Nature and Grace: Song to Song and the Experience of Forgiveness Elisa Zocchi University of Münster, [email protected] Recommended Citation Zocchi, Elisa (2018) "Terrence Malick Beyond Nature and Grace: Song to Song and the Experience of Forgiveness," Journal of Religion & Film: Vol. 22 : Iss. 2 , Article 3. Available at: https://digitalcommons.unomaha.edu/jrf/vol22/iss2/3 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Terrence Malick Beyond Nature and Grace: Song to Song and the Experience of Forgiveness Abstract In The Tree of Life Terrence Malick poses the question of the relation between the order of grace and the order of nature in the cosmos and in human existence, a question presented through the relation of mother and father in the O'Brien family. The aim of this article is to analyze this issue and to present the role of glory in The rT ee of Life as the transfiguration of nature operated by grace. Specifically, the example of forgiveness as one strand of this glory seems to be an helpful tool to understand the movie. Forgiveness, already present in The rT ee of Life, becomes particularly important then in Song to Song. I will present this movie as an exemplar analysis of the human soul and of the capacity of forgiveness to draw the soul close to the eternal, as already happening in The rT ee of Life.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, IRVINE Feature Film and Dance Film
    UNIVERSITY OF CALIFORNIA, IRVINE Feature Film and Dance Film: A Match Made in Movement THESIS submitted in partial satisfaction of the requirements for the degree of MASTER OF FINE ARTS in Dance by Alexandra Thomsen Thesis Committee: Professor John Crawford, Chair Professor Mary Corey Professor Alan Terricciano 2017 © 2017 Alexandra Thomsen TABLE OF CONTENTS ACKNOWLEDGEMENTS iii ABSTRACT iv CHAPTER 1: Introduction 1 CHAPTER 2: Sources and Influences 3 CHAPTER 3: Film Techniques and Signature Style 9 CHAPTER 4: The Process of Creation 29 CHAPTER 5: Conclusion 37 REFERENCES 40 "ii ACKNOWLEDGEMENTS I would like to extend my most sincere appreciation to Professor John Crawford, my thesis chair. Thank you for your patience and calm demeanor in navigating my innumerable questions and concerns throughout this thesis writing process. I am grateful for the guidance you provided in leading me to pertinent resources and helping me to stay on course. Your mentorship has been invaluable. To Professor Mary Corey and Professor Alan Terricciano, my committee members, thank you for agreeing to be on this committee and assisting me with the final touches that polished this thesis. You were influential in helping my writing reach its full potential. Professor Jennifer Fisher, thank you for your initial insights which helped me to pinpoint and delimit my thesis topic. I would also like to acknowledge those who offered a great amount of moral support to me during this endeavor: Professor Loretta Livingston, I am in awe of your wisdom, grace, strength, and kindness. Thank you for your encouragement and unwavering support. Brandon Wolfe, thank you for knowing what I needed even when I did not.
    [Show full text]
  • Terrence Malick Pdf, Epub, Ebook
    TERRENCE MALICK PDF, EPUB, EBOOK Lloyd Michaels | 144 pages | 01 Nov 2008 | University of Illinois Press | 9780252075759 | English | Baltimore, United States Terrence Malick PDF Book The same interest in the universe and how we fit in it that Malick beautifully demonstrated in The Tree of Life is showcased to a lesser degree in his documentary on the history of the natural world. Bergkamp says: Reply April 17, at pm. Steven Flores says: Reply April 17, at pm. With Badlands , Terrence Malick created an instant American classic. However, other critics weren't so kind, many of whom complained about the emotionally empty story and shallow character work. Edit Did You Know? The movie is loosely based on the killers Charles Starkweather and Caril Ann Fugate, and the difficult subject matter combined with the luscious and lyrical photography results in a waking, yet oddly beautiful, nightmare. A Hidden Life My friend, believe it or not, I live in Mexico. The Thin Red Line is perhaps Malick's most well known work. Comments 37 Terrence Malick Movies Ranked. Trademark Emphasis on non-verbal communication and body language in his actors' performances Nickname sparky Star Sign Sagittarius. It is the depiction of the evils of nature. Hidden categories: All articles with unsourced statements Articles with unsourced statements from May Amazing Grace To a certain extent, all his films deal, to one degree or another, with the notion of the corruption of Eden, and Hidden Life is as literal as Thin Red Line and New World in this respect. For Malick, this is a very conventional style to employ, especially insofar as his VOs have been getting more and more abstract as his films have gone on.
    [Show full text]