Table of Contents

Introduction Stuart Kendall and Thomas Deane Tucker Voicing Meaning: On Terrence Malick's Characters Steven Rybin Terrence Malick's Histories of Violence John Bleasdale Rührender Achtung: Terrence Malick's Cinematic Neo-Modernity Thomas Wall Worlding the West: An Ontopology of Badlands Thomas Deane Tucker Fields of Vision: Human Presence in the Plain Landscape of Badlands and Days of Heaven Matthew Evertson The Belvedere and the Bunkhouse: space and place in Days of Heaven Ian Rijsdijk The Tragic Indiscernibility of Days of Heaven Stuart Kendall Darkness from Light: Dialectics and The Thin Red Line Russell Manning Song of the Earth: Cinematic Romanticism in Malick's The New World Robert Sinnerbrink Whereof One Cannot Speak: Terrence Malick's The New World Elizabeth Walden Bibliography Notes on Contributors Index

Promotional Information

Discusses Malick's films as individual objects, as a corpus, within contemporary film studies, and within a wider cultural discussion.

About the Author

Thomas Deane Tucker is Professor of Humanities at Chadron State College. He is the author of Derridada: Duchamp as Readymade Deconstruction. Stuart Kendall teaches Critical Studies at the California College of the Arts. He is the author of Georges Bataille and The Ends of Art and Design.

Reviews

[A] robust invocation and endorsement of the relation between filmmaking and philosophy … The book is well written and well informed. Summing Up: Recommended. Upper-division undergraduates through faculty.
*CHOICE*

The volume succeeds as an example of multitudinous approach to the philosophy of film, and broadly speaks to readers interested in the relationship between cinema and philosophy as well as the films of Terrence Malick. [...] [It] presents original investigation of a filmmaker whose work has clearly intrigued, yet often also baffled audiences.
*Cinema Journal*

Terrence Malick: Film and Philosophy provides a wonderfully stimulating range of approaches to Malick's films, unlocking the philosophical depths of the most thoughtful auteur of recent decades. The collection engages Malick's cinematic oeuvre with the works of Heidegger and Cavell as might be expected, but also provocatively deploys Deleuze, Hegel, Marx, Schiller, Derrida and Merleau-Ponty alongside esteemed film theorists like Sobchack and Branigan. As such, this book is at the cutting edge of recent developments in film-philosophy, and is essential reading for anyone interested in the subject. It is also a superb exploration of Malick's most important films as writer and director, from Badlands to The New World. --Dr David Martin-Jones, Senior Lecturer in Film Studies, University of St Andrews, UK