Receptivity, Simultaneity: The Thin Red Line as Ecological Cinematic Poesis

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
Paul-William Burch
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引用次数: 0

Abstract

I adapt Robert Sinnerbrink's notion of cinematic poesis by arguing that Terrence Malick's The Thin Red Line constitutes an example of ecological cinematic poesis: a style of filmmaking that works in concert with the limits and potentialities of the filmmaking as a medium. This cinematic bearing emerges in a new way following Malick's return to Hollywood, where a combination of factors spur the emergence of a radical Emersonian practice of cinematic receptivity. I draw on oral histories, and the film itself, to demonstrate how Malick's creative process consistently tends towards an ethos of poverty. To further pattern and illuminate the ecological stakes of this Emersonian stance, I draw on the complementary framework of second-order systems theory, and in particular, on Niklas Luhmann's concept of simultaneity. In so doing, I outline the layered nature of Malick's cinematic praxis – a doubled Emersonian receptivity which not only invites defamiliarizing depictions of warfare and the nonhuman, but also welcomes, and toys with, the otherness haunting technical images and human cognition. As such, The Thin Red Line, and its immediate counterparts, perform the ecological work of reframing the conditions of wonder, asking us to marvel not at what we have seen, but what we haven’t.
接受性、同时性:作为生态电影诗的细细的红线
我改编了罗伯特·辛纳布林克的电影诗歌概念,认为泰伦斯·马利克的《细细的红线》构成了生态电影诗歌的一个例子:一种电影制作风格,它与作为媒介的电影制作的局限性和潜力相一致。在马利克回到好莱坞之后,这种电影的承受力以一种新的方式出现,在那里,一系列因素的结合刺激了一种激进的爱默生电影接受实践的出现。我利用口述历史和电影本身来展示马力克的创作过程是如何始终如一地倾向于一种贫困的气质。为了进一步塑造和阐明这种爱默生立场的生态利害关系,我借鉴了二阶系统理论的补充框架,特别是Niklas Luhmann的同时性概念。在这样做的过程中,我概述了马利克电影实践的层次性——一种双重的爱默生的接受性,它不仅邀请了对战争和非人类的陌生描述,而且欢迎并玩弄萦绕在技术图像和人类认知中的他者。因此,《细细的红线》和它的同类作品,完成了重新构建奇迹条件的生态工作,要求我们不要对我们所见过的东西感到惊奇,而是对我们还没有看到的东西感到惊奇。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
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