Th. doct.--Lett.--Paris-Sorbonne, 1993. / Texte de deux oeuvres de Malick Sy en arabe et trad. française en regard. Bibliogr. et index à la fin de chaque vol.

My dissertation, "The Princess Production: Locating Pocahontas in Time and Place," critically evaluates the succession of representations of Pocahontas since her death in 1617. Pocahontas has become the prototypical "Indian Princess," through which the indigenous "other" is mapped onto Eurocentric constructions of gender and race, and subsequently transformed into the object of desire to be colonized. Chapter One begins with an introduction to the Pocahontas myth, and continues with an overview of the representation of Native Americans in cinema. Given that Native Americans have been the subject of the romanticization of the passing frontier, then the image of Pocahontas, standing in for the gendered "virgin" frontier, has been problematically used to represent American nationhood. In the second chapter, I investigate the commodification of the image of Pocahontas, by way of a critical assessment of Disney's Pocahontas (1995). Due to its extreme popularity and plethora of commercial tie-ins, this animated film was able to cement mainstream attitudes of Native Americans and especially of indigenous women. Critical discussion, however, was ameliorated through "politically correct" associations of Indians with ecological balance and moral purity versus European decadence. I analyze the symbolic association of Pocahontas with nature in Chapter Three, particularly in Terence Malick's recent film The New World (2005), where this association is most blatant. Malick has been heavily influenced by such philosophers as Martin Heidegger, and his resulting romantic and pantheistic vision clouds gender difference and racial antagonism. The image of Pocahontas in The New World, therefore, simply becomes a signifier for the grand impersonal workings of Nature. Finally, in Chapter Four, I discuss attempts by indigenous writers and groups to reappropriate Pocahontas for Native Americans, and I conclude that this is of strategic importance for transforming Indian identity. Since the image of Pocahontas has played such a large role in the shaping of mainstream attitudes and government policy toward Native Americans, then retrieving it from its colonial legacy will go a long way toward preserving Indian culture and identity in the future.

Thesis (Ph.D.)--Ohio University, June, 2009. / Release of full electronic text on OhioLINK has been delayed until June 1, 2014. Includes bibliographical references (leaves 470-483)

Thesis (Ph.D.)--Ohio University, June, 2009. / Title from PDF t.p. Release of full electronic text on OhioLINK has been delayed until June 1, 2014. Includes bibliographical references (leaves 470-483)

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2015. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2016-02-29T15:53:35Z No. of bitstreams: 1 2015_GuilhermeLobaoQueiroz.pdf: 1864695 bytes, checksum: 608c7b10d236ce799e6f42dfeb111f1e (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-02-29T21:11:28Z (GMT) No. of bitstreams: 1 2015_GuilhermeLobaoQueiroz.pdf: 1864695 bytes, checksum: 608c7b10d236ce799e6f42dfeb111f1e (MD5) / Made available in DSpace on 2016-02-29T21:11:28Z (GMT). No. of bitstreams: 1 2015_GuilhermeLobaoQueiroz.pdf: 1864695 bytes, checksum: 608c7b10d236ce799e6f42dfeb111f1e (MD5) / Pegadas de dinossauro: uma expedição teopoética pelo cinema de Terrence Malick propõe investigar consonâncias e dissonâncias da realização cinematográfica do diretor norte-americano em relação a aspectos de uma poética que persegue o divino. Mediada pela poesia, a dissertação busca empreender uma jornada em busca de vestígios estéticos que conferem à obra de Malick um caráter estilístico singular. Por meio de análises dos planos, das paisagens, do uso da luz natural ao limite, da trilha sonora, da voz over, da moral religiosa, do afeto, das trevas, da vida, da natureza e da graça presentes em cada um dos seis filmes do diretor (considerando apenas os que estrearam em circuito comercial até julho de 2015), desenharemos uma cartografia teopoética à luz do conceito do teólogo alemão Karl-Josef Kuschel, porém assumindo como espinha dorsal diálogos com a fenomenologia dos devaneios de Gaston Bachelard, de onde pretendemos desvendar o instante teopoético em Malick. / Dinosaur trails: a theopoetic expedition throughout Terrence Malick films concerns the consonances and disonances of the american director’s work in relation to aspects of the poethics of the divine. Mediated by poetry, the present dissertation engages a journey in order to find aesthetics traces which give Malick’s cinematography an unique stylistic feature. Throughout analisys of framing, landscapes, natural light at the limit, soundtrack, voice over, religious moral, affection, darkness, life, nature and grace in each one of his six full-lenght movies (considering only the theatrical releases dated ‘til July of 2015), we will delineate a theopoetic cartography illuminated by the concept of german theologist Karl-Josef Kuschel, taking on, as backbone, a close dilaogue with Gaston Bachelards’s reverie phenomelogy.

Modern understandings of nostalgia sharply distinguish it from memory and often construe its relationship to the past as reactionary, fanciful, or retrograde. This dissertation reconsiders that valuation by engaging the formative sources that contribute to philosophical understandings of nostalgia and provide resources for thinking it otherwise. It reexamines time and memory in continental philosophy and U.S. cinema to argue that nostalgia does important work often overlooked in present conceptions, work that repositions relations with the past to generative, animating effect. The project analyzes the temporal issues nostalgia elicits, highlights its affective contours, and repositions its power to mediate and rework memory. It maintains that the role nostalgia plays in human experience is more propulsive than regressive, making it more attuned to time’s tensions and demands than previously thought. Chapter one narrates the history of nostalgia, beginning with the work of Johannes Hofer. Origins in medical nosology establish a diagnostic frame of reference that grounds nostalgia’s reception as pathology while also revealing its persistent instabilities. Martin Heidegger and, especially, Jacques Derrida bring the temporal vectors of those instabilities into sharper focus. Chapter two shows how Heidegger’s work provides a useful understanding of time and moods, but ultimately remains tethered to a nostalgia for presence (nostos). Chapter three brings Derrida’s thinking on time and the trace into conversation with psychoanalysis to isolate a more capacious approach, one that indulges nostalgic desire but also frustrates it (algos). The remaining chapters turn to film and develop an understanding of the moving image based on its ability to capture passing time, the eminent object of modern nostalgic experience. Chapter four engages critical literature on the uses of nostalgia in film and reconsiders George Lucas’s American Graffiti (1973), a pivotal work often reproached by critics and scholars. Chapter five advances a close reading of Terrence Malick’s The Tree of Life (2011) and his estranged relationship with philosophy. That relationship informs his work and often takes nostalgic recollection as an orienting concern. The film in question situates nostalgia as a propulsive screen affect that facilitates the work of mourning in the wake of loss and discontinuity. The dissertation concludes by sketching out horizons for future research and turning to insights contained in Augustine’s Confessions that further illustrate the form of nostalgia explored throughout.

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Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal / Qu’est-ce que la poésie cinématographique? Telle est la question primordiale de ce mémoire de maitrise, qui tentera d’y répondre en analysant les oeuvres du cinéaste américain Terrence Malick. Inscrivant par divers moyens cette question dans les réalités de son cinéma, nous déboucherons forcément sur la réponse suivante : il y a poésie cinématographique chaque fois que les formes de la représentation sont ouvertes par une modalité de l’expression ; il y a poésie cinématographique chaque fois que le sensible n’est plus manifestation de l’intelligible, mais la matière et le mode de sa production dans le temps ou plutôt dans le devenir. Décrire cette poésie, ce ne sera possible qu’en décrivant l’expérience que nous avons du régime de sensations des images et des figures propres au cinéma de Malick. Il s’agit de faire venir le monde en présence en rendant justice aux noyaux de sens enfouis dans le visible, justice rendue par le partage d’une description du sensible. Nous verrons alors que, chez Malick, cette poésie se manifeste par une phénoménologie de la lumière et de la gravitation. Nous verrons également l’importance du sonore dans l’apparaitre de ce monde sensible qui, à travers les voix ouvertes, la matérialisation des bruits et la musique, forme une partition musicale totale faite de métamorphoses et de devenirs. Encore, cette poésie s’approche de la sensibilité des premiers romantiques allemands qui, par leur résistance au langage et à la raison absolue, déhiérarchisent le monde pour le redéfinir. Seront ainsi définis les éléments constitutifs du cinéma de poésie de Malick, soit la manifestation de la lumière et du mouvement, l’invisible habitant le visible (comme un ailleurs qui l’excède), la réinvention du langage, le système chaotique liant l’homme et la nature, ainsi que le monde duel (de l’ombre à la lumière et de la lumière à l’ombre). Ce mémoire propose donc une approche d’inspiration phénoménologique du cinéma de Malick, qui le présente comme « toujours en train de se faire », dans une immédiateté cherchant à penser dans, à travers, mais aussi au-delà du cinéma. / What is cinematic poetry? This is the fundamental question that this master’s thesis will attempt to answer by analyzing the works of American film-director Terrence Malick. By positing this question in different ways within the realities of his films, one will inevitably reach the following conclusions: cinematic poetry occurs where the forms of representation are opened by a modality of expression; cinematic poetry occurs when the sentient is no longer a sign of the intelligible, but of the matter and of the mode of its production over time, that is, in its evolution. Describing this poetry will only be possible by describing one’s experience of the sensation-cluster of images and of figures proper to Malick’s films. This involves making the world come into existence by doing justice to the core of meanings buried in the visible, a justice rendered by the sharing of a description of the sentient. It will be argued that, in Malick, this poetry manifests itself through a phenomenology of light and gravitation. Also shown, the importance of sound in the emergence of the sentient world, which, through open voices, through materialization of noises, and through music, develops into a total musical score consisting of metamorphoses and destinies. Furthermore, this poetry resembles the sensibility of early German romantics who, through their resistance to language and to absolute reason, destroy the hierarchy of the world in order to redefine it. The constituents of Malick’s cinema of poetry, namely the expression of light and movement, the invisible inhabiting the visible (like an elsewhere that exceeds it), the reinvention of language, the chaotic system linking mankind and nature, as well as the dual world (from darkness to light and from light to darkness) will thus be defined. This master’s thesis therefore suggests an approach of Malick’s cinema inspired by phenomenology, which presents it as being “always underway”, in an immediacy seeking to think within, through, but also beyond cinema.

M.A. University of the Witwatersrand, Faculty of Humanities, 2012. / Humanity’s relationship with nature has, in recent years, undoubtedly been one of contention and turmoil, an issue whose drama is gaining popularity in popular culture and, especially, film. In this dissertation I examine how these challenging human-nature relationships play out in Terrence Malick’s The New World, Werner Herzog’s Grizzly Man and Encounters at the End of the World, Sean Penn’s Into the Wild, and the Jon Krakauer book, of the same title, upon which Penn’s film is based. As one’s views on nature (like all else) are mediated through language, using ecocritical principles slanted towards filmic, as opposed to written, texts, I provide a close examination of the ways in which these artists portray the relationship between language and nature, and the impact this has on our cultural and individual identities. I will also show how these primary texts make use of centuries-old Romantic aesthetics in order to humanise nature for moral ends. The primary texts agree that a large part of the problem in the poor relationship between humanity and nature is due to inadequate metaphors with which humanity views the earth. Thus, each artist promotes a certain kind of anthropomorphic understanding of nature which he believes is pivotal in encouraging better interconnections between humanity and nature. As a result, I provide a critique of the kinds of metaphors used by each respective artist, where some metaphors of nature may support or contradict a certain artist’s aims in his portrayal of human-nature relationships.

The goal of this MA thesis is to point out the legitimacy and specificity of voice-over narration as an expressive device in film. Although it is generally underestimated a priori, voice-over has peculiar qualities which, when put to good use, contribute to establish the intended tone of the film. I document the distinctiveness of this narrative device on analyses of films by Woody Allen, Terrence Malick, and the Coen brothers, who are well-known for incorporating voice-over in their narrative styles.