contents

Acknowledgements
Notes on contributors
Introduction: Poetic Visions of America- Hannah Patterson

1 All Things Shining: The Struggle for Wholeness, Redemption and Transcendence in the Films of Terrence Malick
Ron Mottram

THROUGH THE BADLANDS INTO DAYS OF HEAVEN: MALICK’S FILMMAKING IN THE 1970s
2 Two Characters in Search of a Direction: Motivation and the
Construction of Identity in Badlands- Hannah Patterson
3 The Highway Kind: Badlands, Youth, Space and the Road- Neil Campbell
4 Days of Heaven and the Myth of the West- Joan McGettigan
5 Terrence Malick and Arthur Penn: The Western Re-Myth- John Orr
6 ‘Enjoying the Scenery’: Landscape and the Fetishisation of Nature in Badlands and Days of Heaven- Ben McCann
7 Innocents Abroad: The Young Woman’s Voice in Badlands and Days of Heaven, with an Afterword on The New World- Anne Latto
8 Listening to the Aquarium: The Symbolic Use of Music in Days of Heaven- Richard Power
9 Sound as Music in the Films of Terrence Malick- James Wierzbicki

NEGOTIATING THE THIN RED LINE
10 ‘Everything a Lie’: The Critical and Commercial Reception of Terrence Malick’s The Thin Red Line- Martin Flanagan
11 The Greatest Generation Steps Over The Thin Red Line- John Streamas
12 The Other World of War: Terrence Malick’s Adaptation of The Thin Red Line- Stacey Peebles
13 Terrence Malick, Landscape and ‘What is this war in the heart of nature?’- Robert Silberman
14 Terrence Malick’s Heideggerian Cinema: War and the Question of Being in The Thin Red Line- Marc Furstenau and Leslie MacAvoy

DISCOVERING THE NEW WORLD
15 Praising The New World- Mark Cousins
16 Making Worlds, Making Pictures: Terrence Malick’s The New World- James Morrison
17 Approaching The New World- Adrian Martin

Filmography
Bibliography
Index