During his near half-century of sporadic output (nine feature films and one documentary), Terrence Malick has provoked both awe and ridicule. His early films Badlands (USA, 1973) and Days of Heaven (USA, 1978) sit comfortably in the New Hollywood canon and, following his prodigal return to filmmaking following a two-decade absence, both The Thin Red Line (USA, 1998) and The Tree of Life (USA, 2011) have generated countless pages of analysis (often from film-philosophy practitioners). The rest of his post–millennium work has been less attractive to scholars, reviewers and audiences. However, as Robert Sinnerbrink demonstrates, all of Malick's work has been shrouded in ambivalence – even his 1970s sacred cows, in which Pauline Kael flags up many of the Malick tropes/clichés that have become entrenched over the years (Kael 1982, p. 137). Nonetheless, Terrence Malick: Filmmaker and Philosopher holds all of these films up to the light in order to show us not only these vacillating critical receptions, but also the tensions within the Malick appreciation community. Vying for prominence as the “correct” methodology for appraisal of these films are a variety of philosophical frameworks and, over and over, Sinnerbrink returns to the appropriateness of reading Malick through a Heideggerian lens (Malick having translated and studied Martin Heidegger previous to his turn to filmmaking). Beyond the Heideggerian approach, throughout the book, Sinnerbrink poses the great film-philosophy question: can a film do philosophy? Just like much of Malick's work, this question may either cause you to rub your hands with glee, or otherwise fight the urge to throw your computer out of the window. Sinnerbrink's sincere approach to these questions results in a book that not only contains thoughtful original readings of Malick's oeuvre, but which is also an encyclopaedic survey of the critical literature written about him. Running through the book is another, surprising, yet inviting, autobiographical strand, which traces Sinnerbrink's development as a writer, a philosopher and a filmgoer through his encounters with Malick's cinema.

中文翻译：

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罗伯特·辛纳布林克 (2019) 泰伦斯·马利克：电影制片人和哲学家

在他近半个世纪的零星作品（九部故事片和一部纪录片）中，泰伦斯·马利克引起了敬畏和嘲笑。他的早期电影《荒地》（美国，1973 年）和《天堂之日》（美国，1978 年）在新好莱坞经典中安然无恙，并且在他缺席两年后重新回归电影制作后，《细细的红线》（美国，1998 年）和生命之树（美国，2011 年）产生了无数页的分析（通常来自电影哲学从业者）。他在千禧年后的其余作品对学者、评论家和观众的吸引力不大。然而，正如罗伯特·辛纳布林克 (Robert Sinnerbrink) 所展示的，马利克的所有作品都笼罩在矛盾之中——即使是他 1970 年代的神圣奶牛，其中宝琳·凯尔 (Pauline Kael) 标出了多年来根深蒂固的许多马利克比喻/陈词滥调 (Kael 1982, p. 137 ）。尽管如此，泰伦斯·马利克：电影制作人和哲学家为了向我们展示这些摇摆不定的批评招待会，以及马利克欣赏社区内部的紧张局势，我们将所有这些电影都公之于众。各种哲学框架都在争夺评价这些电影的“正确”方法论的突出地位，并且，辛纳布林克一遍又一遍地回到通过海德格尔的视角来阅读马利克的适当性（马利克在轮到他之前翻译和研究了马丁·海德格尔）到电影制作）。除了海德格尔的方法之外，在整本书中，辛纳布林克提出了一个伟大的电影哲学问题：电影可以做哲学吗？就像 Malick 的大部分工作一样，这个问题可能会让你高兴得搓手，或者对抗将电脑扔出窗外的冲动。罪孽边缘' 对这些问题的真诚态度导致这本书不仅包含对马利克全部作品的深思熟虑的原始读物，而且还是对关于他的批评文献的百科全书式调查。贯穿全书的是另一条令人惊讶但又引人入胜的自传体，它通过与马利克的电影相遇来追溯辛纳布林克作为作家、哲学家和电影观众的发展。