The Paradigmatic Shift in the Critical Reception of Terrence Malick's Badlands and the Emergence of a Heideggerian Cinema
2010; Taylor & Francis; Volume: 27; Issue: 4 Linguagem: Inglês
10.1080/10509200802350331
ISSN1543-5326
Autores Tópico(s)Ethics, Aesthetics, and Art
ResumoClick to increase image sizeClick to decrease image size John Rhym is a graduate student in Cinema Studies at New York University. Notes 1. Vincent Canby, “Badlands,” New York Times, 15 October 1973. 2. Vincent Canby, “Badlands,” New York Times, 15 October 1973. 3. Stephen Farber, “Movie Crazy,” The Hudson Review, (Summer 1974), 256. 4. Marsha Kinder, “The Return of the Outlaw Couple,” Film Quarterly, (Summer 1974), 2–10. 5. Ibid., 10. 6. Ibid., 3. 7. Jack Sargeant, “Killer Couples: From Nebraska to Route 666,” Lost Highways, Jack Sargeant and Stephanie Watson, eds., (Washington DC: Creation Books, 1999), 148. 8. Katie Mills, The Road Story and the Rebel: Moving through Film, Fiction, and Television, (Carbondale: Southern Illinois University Press, 2006), 146. 9. Ibid. 10. Timothy Corrigan, A Cinema Without Walls: Movies and Culture After Vietnam, (New Brunswick: Rutgers University Press, 1991), 151–153. 11. Martin Heidegger, Being and Time, trans. John Macquarrie and Edward Robinson, (San Francisco: Harper & Row Publishers, 1962), 91–93. 12. Ibid., 106. 13. Hannah Patterson, “Two Characters in Search of a Direction: Motivation and the Construction of Identity in Badlands,” The Cinema of Terrence Malick: Poetic Visions of America, Hannah Patterson, ed., (London: Wallflower Press, 2003), 26. 14. Morrison and Schur, 18. 15. Ibid., 20. 16. Robert Sinnerbrink, “A Heideggerian Cinema?: On Terrence Malick's The Thin Red Line,” Film-Philosophy 36 (December 2006), http://www.film-philosophy.com/2006v10n3/sinnerbrink.pdf Accessed 9 November 2007. 17. Sinnerbrink 36. 18. My crude dichotomization of recent trends in scholarly work on Malick's films is based on Division I (Being-in-the-world) and Division II (Dasein's temporality) of Being and Time. Nonetheless, there seems to be a dichotomization already present in the major research texts that I have addressed and will continue to address, namely a split between those scholars who apply Heidegger's early writings and those who apply Heidegger's later writings—after the so-called “turn” in his thinking—to Malick's films. 19. Heidegger, 294–299. 20. Ibid. 21. Kaja Silverman, “All Things Shining,” Loss: The Politics of Mourning, David L. Eng and David Kazanjian, eds., (Berkeley: University of California Press, 2003), 333–335. 22. Marc Furstenau and Leslie MacAvoy, “Terrence Malick's Heideggerian Cinema: War and the Question of Being in The Thin Red Line,” The Cinema of Terrence Malick: Poetic Visions of America, Hannah Patterson, ed. (London: Wallflower Press, 2003), 183–184. 23. Simon Critchley, “Calm: On Terrence Malick's The Thin Red Line,” Film as Philosophy: Essays in Cinema after Wittgenstein and Cavell, Rupert Read and Jerry Goodenough, eds., (New York: Palgrave Macmillan, 2005), 142. 24. Vivian Sobchack, The Address of the Eye: A Phenomenology of Film Experience, (Princeton: Princeton University Press, 1992). 25. Allan Casebier, Film and Phenomenology: Toward a Realist Theory of Cinematic Representation, (Cambridge: Cambridge University Press, 1991). 26. Stanley Cavell, The World Viewed: Reflections on the Ontology of Film, (Cambridge: Harvard University Press, 1979), xiv-xvi. 27. Ibid. 28. Vincent Canby, “Badlands,” New York Times, 15 October 1973. 29. William Johnson, review of Badlands, by Terrence Malick, Film Quarterly, (Spring 1974), 43. 30. Kinder, 5. 31. Pauline Kael, review of Badlands, by Terrence Malick, New Yorker, (18 March 1974), 130. 32. Heidegger, 186; and Kael, 130. 33. Stanley Kauffmann, “Badlands,” Living Images: Film Comment and Criticism, (New York: Harper and Row Publishers, 1975), 272. 34. Ibid., 273. 35. Robert C. Allen and Douglas Gomery, Film History: Theory and Practice, (Boston: McGraw Hill Inc, 1985), 26–27. 36. For a detailed study on “post-1968” film theory, see Robert Lapsley and Michael Westlake, Film Theory: An Introduction, (Manchester: Manchester University Press, 1988). 37. For a brief but insightful analysis on the Continental/Analytic divide in philosophy see Simon Critchley, Continental Philosophy: A Very Short Introduction, (Oxford: Oxford University Press, 2001), 32–53. Critchley argues that the “Continental philosophy” label was constructed out of the increasing professionalization of philosophy. 38. John Searle, “Contemporary Philosophy in the United States,” The Blackwell Companion to Philosophy, Nicholas Bunnin and E.P. Tsui-James, eds., (Oxford: Blackwell Publishers Ltd, 2003), 1. 39. Hugh J. Silverman, “Continental Philosophy on the American Scene: An Autobiographical Statement,” Portraits of American Continental Philosophers, James R. Watson, ed., (Bloomington: Indiana University Press, 1999), 191–194. 40. Beverly Walker, “Malick on Badlands,” Sight and Sound, (Spring 1975), 82–83. 41. Gilbert Ryle, review of Sein und Zeit, by Martin Heidegger, Mind, (July 1929), 355–370. 42. Ibid., 369. 43. Critchley, “Calm: On Terrence Malick's The Thin Red Line,” 138. 44. Terrence Malick, “Translator's Introduction” to The Essence of Reasons, by Martin Heidegger, (Evanston: Northwestern University Press, 1969), xiv-xv. 45. Ibid. 46. Ibid., xv. 47. A.J. Ayer, “The Claims of Philosophy,” The Meaning and Life and Other Essays, (London: Weidenfeld and Nicolson Ltd, 1990), 2–3. 48. Bertrand Russell, Wisdom of the West, (New York: Doubleday & Company, 1959), 303. 49. Rudolph Carnap, “The Elimination of Metaphysics through Logical Analysis of Language,” trans. Arthur Pap, Logical Positivism, A.J. Ayer, ed., (Glencoe: The Free Press, 1959), 69–72. 50. Ibid., 76. 51. George Steiner, Martin Heidegger, (Chicago: University of Chicago Press, 1991), 2. 52. Charles B. Guignon, “Introduction” to The Cambridge Companion to Heidegger, Charles B. Guignon, ed., (Cambridge: Cambridge University Press, 1993), 1. 53. Ibid. 54. Ibid., 2. 55. Ibid. 56. Martha Linden, “Directed by Terrence Malick,” White Arrow, (1975), Margaret Herrick Library, Academy of Motion Picture Arts and Sciences. Found in Morison and Schur, 97.
Referência(s)