Writing Sample: Conclusion to Academic Research Paper

Writing Sample: Conclusion to Academic Research Paper

Topic: The Cinema of Terrence Malick

Audience: Film and Media Scholars

Intended Reaction: Inform

This study was careful to avoid the many available and persuasive rabbit trails which present themselves in Malick’s films and beckon the film analyst to deviate towards. These rabbit trails can and should be traversed by film analysts who wish to explore the subtle and overt aspects of metaphysical and theological inquires that appear in Malick’s films. A reprieve for the film philosophers could be in the study of Kierkegaard’s philosophy as it relates to Malick’s films as Malick studied Kierkegaard during his Rhodes scholarship in Oxford. Kierkegaard conceptualized that indirect communication can be a powerful way to communicate truth. A Kierkegaardian scholar wrote that “we can define indirect communication (as a method) as a series of specific communication techniques (dialogue, Socratic midwifery, double reflection, teleological deception, and as I will argue — the peculiar use of biblical quotations), the (secret) aim of which is to communicate that which is not communicable directly: the essential truth” (Pons 45). Malick’s more recent films which place a stronger emphasis on the “unconscious moments” would be better suited for developing a system of poetics which could work in conjunction with forms of indirect communication.

An article by Christopher Barnett engaged the theological aspects of Malick’s films by arguing that Malick’s inclusion of images of nature in his films is a way of “manifesting” the spirit of God (13). Malick’s inclusion of Christian theology is apparent in all of his films, albeit the most directly presented in To the Wonder. A comprehensive study of the specific uses and appearance of Biblical quotations and parallels would be a valuable contribution to the scholarly dialogue. The study addressed the presence of Christian theology and images in Malick’s films, but stopped short of making a declarative statement about Malick’s faith. In pondering the future of art and how it intersects with religion it is most likely that “the religion of the future will be a religion of full experiencing. All reality is aesthetic…Art and religion do not solve our practical problems: the only enable us to see the world truly” (Falck 170). This would not be a new concept for Malick as he seems aware that his films are his way of showing the viewer how to truly see the world.

In engaging the question of the relationship between truth and art, John F. Kennedy, honoring poet Robert Frost, remarked that “If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth.” Malick told a friend that his reason for leaving academic teaching was that he was tired of philosophy and did not consider himself an effective instructor. What Malick must have understood at the time was that his desire to teach others the truth of things would be more effectively expressed through cinema. In this regard, Malick never stopped teaching, he simply exchanged the classroom for a film camera.

In March of 2016 Malick released his seventh feature film, Knight of Cups (2016) starring Christian Bale who had worked with Malick on The New World. The film is based on the image found on a tarot card of a knight holding a large cup; this image signifies his search for something to fill the cup. If the card is held upside down, the knight is still searching but cannot fill the cup with contents as he is holding it upside down. In Knight of Cups Malick continues to utilize an experimental approach which seeks to capture the unconscious moments in the events of the life of the main character. This film is also loosely based on Malick’s experience as a script doctor before he made Badlands and during his period of hiatus when took meetings and worked on various film projects with few coming to fruition. Knight of Cups is easier to engage with than The Tree of Life and less emotionally downbeat than To the Wonder. The Malick Intrigue, in this film, is a dreamlike consideration of watching an individual experience things while trying to discern meaning about their role in his life. The voice-over narration extends the inner thoughts of the main character in typical Malick fashion. This film is a fine example of Malick’s desire to continue his own transformation as a filmmaker who is eager and willing to use his own cinematic familiarity as well as introduce new and unexpected visual explorations.

A further exploration of the visual trajectory that Malick has used in The Tree of Life, To the Wonder, and Knight of Cups forms a loose trilogy of experimental cinema. Further research should focus on the intricacies of this experimental style and its constant toying with the genre contract. A fascinating component to a study such as this could also take into consideration the recurring images of houses and the role of the home in Malick’s films as houses and homes play important roles in the experimental trilogy.

In A. E. Housman’s poem the Terence who was chastised for writing somber and thought-provoking poetry which was less than cheery is telling his chastiser the story of King Mithridates. Mithridates dies old and proud, having developed an immunity to the poisons which his adversaries used against him. In a similar fashion by offering thoughtful, somber, and provocative meditations on film Terrence Malick the filmmaker transcends beyond the adversities of the passage of time and the fickle nature of the entertainment industry. Malick challenges our cultural assumptions and conventions through the film-viewing experience.

I know for a fact that I am not alone when I ask, with the utmost politeness and humility: Terrence, please keep making films.