Theology and the Films of Terrence Malick

This is a book review of Christopher B. Barnett and Clark J. Elliston, eds., Theology and the Films of Terrence Malick

A Hidden Life

This is a film review of A Hidden Life (2019), directed by Terrence Malick

To the Wonder

This is a film review of To the Wonder (2012), directed by Terrence Malick

Pablo Alzola Cerero (2020). El cine de Terrence Malick. La esperanza de llegar a casa

Review by Chantal Poch from the book by Pablo Alzola Cerero (2020). El cine de Terrence Malick. La esperanza de llegar a casa.  Reseña de Chantal Poch del libro de Pablo Alzola Cerero (2020). El cine de Terrence Malick. La esperanza de llegar a casa

The God-Camera of Theology and Memory in Terrence Malick’s The Tree of Life

Terrence Malick’s film The Tree of Life presents a personal and emotionally-laden memory play that is visually and symbolically “framed” by theological and biblical contexts that are both explicit and implicit. This paper explores how the film’s constantly moving camera and elliptical editing help to establish a trope for depicting how God moves in the lives of the characters. Through non-traditional film production and presentation techniques, Malick manifests a theme of “God as ultimate artist” who participates with us in the restoration of what is broken, and who makes “all things new”

Terrence Malick. Woody Allen. Jacques Tati. Benito Zambrano

La madriguera (1999). Terrence Malick. Woody Allen. Jacques Tati. Benito Zambrano. Ediciones de intervención cultural S.L. http://hdl.handle.net/10251/41761.Importación Masiva58581

Análisis de la pélicula El árbol de la vida, de Terrence Malick (2011)

El árbol de la vida es el quinto largometraje del director estadounidense Terrence Malick, estrenada en Cannes 2011. En este trabajo se analiza el carácter trascendente del film y su relación con el autor francés Robert Bresson, con el que comparte toda una serie de inquietudes y estilo. Además, se revisa la película desde una óptica cristiana, donde Malick nos muestra el origen del universo y el más allá, a la par que las relaciones interfamiliares de una familia tejana en los años 50. Asimismo, el film es una mirada íntima y catártica a la infancia y origen del propio director. De vocación poética, la película se sirve de una serie de recursos formales para conseguir su singular estética, en los que cabría destacar: la iluminación de Emmanuel Lubezki, el diseño de producción de Jack Fisk y el simbólico uso de la música unido a un preciso montaje. Palabras clave: Terrence Malick, El árbol de la vida, película, trascendente, poética.AbstractThe Tree of Life is the fifth feature film by the American director Terrence Malick, which was premiered at Cannes 2011. This work analyzes the transcendent nature of the film and the relationship between Malick and the French author Robert Bresson, with whom he shares a whole series of concerns and style. In addition, the film is reviewed from a Christian perspective, where Malick shows us the origin of the universe and the afterlife, as well as the inter-family relationships of a Texas family in the 1950s. Likewise, the film is an intimate and cathartic look to the childhood and origin of the director himself. With a poetic vocation, the film uses a series of formal resources to achieve its singular aesthetic, in which it is worth highlighting: the lighting by Emmanuel Lubezki, the production design by Jack Fisk and the symbolic use of music combined with a precise montage.Keywords: Terrence Malick, The tree of life, film, transcendent, poetic.<br /

Terrence Malick - En auteurteoretisk analys

En auteurteoretisk analys av Terrence Malicks filmer. Uppsatsen fokuserar på det stilistiska såväl som det tematiska i Terrence Malicks filmer

Spirit(uality) in the Films of Terrence Malick

This paper will argue that Terrence Malick is a theological filmmaker, even though scholars have preferred to emphasize his indebtedness to Martin Heidegger. It will proceed by way of Malick’s use of wind imagery. First, it will show that the wind motif recalls theological notions about God as spirit. Second, it will illustrate how Malick employs wind imagery, revealing a sensitivity to the wind’s evocation of God’s presence and absence. Third, it will argue that Malick’s cinematic restraint identifies the practice of detachment [Gelassenheit] as the link between his theological and Heideggerian interests

“Strangers and pilgrims”: The migrant archetype in the cinema of Terrence Malick

The migrant archetype is a prevailing motif of the cinema directed by Terrence Malick to date: most of his main characters share the condition of being displaced or nomadic people. This article is focused on analysing six films –belonging to different periods of Malick’s filmography– in which this condition is significantly emphasized: Days of Heaven (1978), The Thin Red Line (1998), The New World (2005), The Tree of Life (2011), To the Wonder (2012) and Knight of Cups (2015). The aim of this study is to reflect upon the central role of the migrant archetype in the works of Malick, showing to what extent the essential features of this archetype are inherited from United States mythology. In the end, this connection between film and myth is due to a common ground: on one hand, the thought of Henry David Thoreau and Ralph Waldo Emerson about the idea of America, revisited in the last decades by the philosopher Stanley Cavell; on the other, the legend of the first New England settlers, in which the biblical theme of exodus and the figure of the pilgrim are fundamental. Thus, I aim to prove how –and explain on what grounds– both in the construction of Malick’s migrant characters and in the mythic representation of the American migrant the same feature stands out: the condition of “stranger and pilgrim”.El arquetipo del migrante es un motivo recurrente del cine dirigido por Terrence Malick hasta la fecha: gran parte de sus personajes protagonistas comparten la condición de desplazados o migrantes. Este artículo se centra en analizar seis películas –pertenecientes a diferentes etapas de la filmografía de Malick– donde esta condición sobresale de modo significativo: Días del cielo (Days of Heaven, 1978), La delgada línea roja (The Thin Red Line, 1998), El nuevo mundo (The New World, 2005), El árbol de la vida (The Tree of Life, 2011), To the Wonder (2012) y Knight of Cups (2015). El objetivo de este estudio es reflexionar sobre el papel central que desempeña el arquetipo del migrante en la obra de Malick, mostrando en qué medida los rasgos esenciales de este arquetipo son heredados de la mitología estadounidense. En el fondo, esta vinculación entre cine y mito responde a un sustrato común: por un lado, el pensamiento de Henry David Thoreau y Ralph Waldo Emerson en torno a la idea de América, recuperado en las últimas décadas por el filósofo Stanley Cavell; por otro, la leyenda de los primeros colonos de Nueva Inglaterra, donde el tema bíblico del éxodo y la figura del peregrino son fundamentales. Así, se pretende probar cómo –y explicar por qué motivo– tanto en la construcción de los personajes migrantes de Malick como en la representación mítica del migrante americano sobresale un mismo rasgo: la condición de “peregrino y extraño”