TAILIEUCHUNG - A Heideggerian Cinema?: On Terrence Malick's The Thin Red Line

There are many other examples of gender bias on screen and they are not limited to a particular era of films. For eg: in war movies across time, women have been relegated to lovers who keep waiting endlessly for men fighting war. The courtesan, a subject of examination in many Hindi films (Devdas, Umrao Jaan, Pakeezah, Chameli), is a character that evokes sympathy from the hero. The hero will fall for her; bit will never marry her because the purity of the institution of marriage does not allow this union. Even if the marriage happens, the ground for. | Film-Philosophy December 2006 A Heideggerian Cinema On Terrence Malick s The Thin Red Line Robert Sinnerbrink Macquarie University Sydney Australia In his 1979 foreword to The World Viewed Stanley Cavell remarks on the curious relationship between Heidegger and cinema 1979 ix-xxv . Cavell is inspired to do so by Terrence Malick s Days of Heaven 1978 a film that not only presents us with images of preternatural beauty but also acknowledges the self-referential character of the cinematic image Cavell 1979 xiv ff . For Cavell Malick s films have a formal radiance that suggest something of Heidegger s thinking of the relationship between Being and beings the radiant self-showing of things in luminous appearance 1979 xv . Days of Heaven does indeed have a metaphysical vision of the world but one feels that one has never quite seen the scene of human existence-call it the arena between earth or days and heaven-quite realized this way on film before Cavell 1979 xiv-xv . As Cavell observes however the relationship between Heidegger s philosophy and Malick s films seems to challenge both philosophers and film-theorists. The film-theorists struggle to show how Heidegger is relevant to the experience of cinema while the philosophers grapple with the question of cinema and aesthetics precisely because film puts into question traditional concepts of visual art as Walter Benjamin showed long ago Cavell 1979 xvi-xvii . In what follows I take up Cavell s invitation to think about the relationship between Heidegger and film by considering Malick s 1998 masterpiece The Thin Red Line. The question I shall explore is whether we should describe The Thin Red Line as Heideggerian Cinema . Along the way I discuss two different approaches to the film a Heideggerian approach that reads the film as exemplifying Heideggerian themes Furstenau and MacEvoy 2003 and a film as philosophy approach Simon Critchley 2005 Sinnerbrink Robert 2006 A Heideggerian Cinema On Terence Malick s The Thin .

• Sân khấu điện ảnh
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