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• W150431463 abstract "IntroductionThough Terrence Malick's diverse cinematic career spans a number of decades, his work over last fifteen years or so has manifested a noticeable interest in religious ideas and themes. For instance, The Thin Red Line (1998) utilizes Guadalcanal Campaign of World War II as a backdrop for ruminations on eternity, sacrifice and theodicy. Similarly, The New World (2005) explores nature of love and ever-present tension between creation, creator and creature. And yet, it is The Tree of Life (2011) that most clearly exhibits a desire to engage theological issues, particularly from within traditions of Judaism and Christianity. Its title is taken from Genesis 3:22-referring to source of immortality from which Adam and Eve are forbidden to eat after disobeying God-and it opens with a quote that sets stage for film's many questions: Where were you when I laid foundations of earth?.../When morning stars sang together, and all sons of shouted for joy? (Job 38:4,7).1From outset, then, a theological reading of The Tree of Life is demanded, and film as such does nothing to dispel this approach. It juxtaposes a story about loss of a child-and conflicting feelings and memories that accompany such an event-with, quite literally, recreations of origin and evolution of life on earth. Never one to shy away from ambitious themes, Malick here seems to be doing nothing short of probing meaning of life.However, if The Tree of Life would appear to cement Malick as a theological filmmaker, it is nevertheless case that Malick's connection to philosophy of Martin Heidegger-an avowed, if not exactly straightforward, atheist-has received more scholarly attention. After all, Malick studied Heidegger at both Harvard and Oxford, and he even published a translation of Heidegger's Vom Wesen des Grundes. And though Malick later abandoned his academic pursuits, critics have argued that his art manifests his philosophical commitments, so much so that The Thin Red Line has been dubbed Heideggerian cinema.2But must these approaches be mutually exclusive? Indeed, that might seem to be case, if one were to set about Malick's films dogmatically, in other words, as illustrations of religious teachings on creation, fall, love and so forth. Such an approach might yield some noteworthy points of connection, but would risk reducing Malick's art to a mere vehicle for catechesis.3 That is not sort of reading I want to offer here. Rather than expand on what Malick's films say about divine, I want to focus on how they struggle, beautifully, to manifest God. I will do so by considering one of more noticeable aspects of Malick's movies, namely, his interest in nature and, above all, his consistent use of wind imagery. Specifically, I will argue that Malick's copious shots of wind stirring trees, grass, curtains and so on not only recall certain ideas about as spirit, but also hint at ever mysterious nature of divine. In this way, Malick's films represent a kind of spirituality-one that not only allows for exchange with thought of Heidegger, but perhaps even stands as ne plus ultra of Malick's cinematic vision.God as Spirit in Bible and in TheologyThe problem of how to manifest divine is an ancient one, and, to be sure, it receives more than a little attention in both Judaism and Christianity. On one hand, a number of biblical writings describe in physical terms. For instance, book of Genesis depicts as walking in garden in cool of day (Genesis 3:8), and Moses was said to have spoken to LORD face to face, as a man speaks to his friend (Exodus 33:11). Moreover, this condescension of divine to human is taken up and advanced in Christianity, which insists that Jesus of Nazareth is the image of invisible God (Colossians 1:15), deity incarnatus. …" @default.
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• W150431463 date "2013-04-01" @default.
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• W150431463 title "Spirit(uality) in the Films of Terrence Malick" @default.
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