More than twenty years on from its from its initial release, Terrence Malick's 1998 epic, The Thin Red Line, still makes for captivating and challenging viewing.¹ Adapted from James Jones's 1962 novel of the same name, The Thin Red Line signalled Malick's return to fully-realized filmmaking after a two-decade hiatus, and proved to be the inaugural work in a tonal triptych which also included The New World (2005) and The Tree of Life (2011).² While The Thin Red Line proved more divisive upon its initial release than Malick's previous works (Flannigan, 2007, pp. 125–126), it continues to provide fertile ground for scholarly debate and discussion, particularly for critics interested in the relationship between cinema, warfare, philosophy, and depictions of nature. In this article, I propose two interlocking terms, “receptivity” and “simultaneity” – drawn from the fields of American Transcendentalism and second order systems theory – as key tools for assessing the ecological stakes of Malick's film. In so doing, I argue that The Thin Red Line is indicative of a distinct mode of poetic receptivity which positions Malick as an Emersonian figure for the digital age and sees the director and his team working in concert with the possibilities and limitations of filmmaking as a medium. Malick's work approaches the mutually confounding and illuminating relationship between cognition, cinematic technicity, and environment – how we encounter, represent, capture, and know – not as a cause for lamentation, but “as a source of creation” (Wolfe, 2010, p. 295) uniquely suited to interwoven depictions of warfare and nonhuman life. Accordingly, The Thin Red Line not only constitutes an example of cinematic poesis, but of ecological cinematic poesis.

中文翻译：

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接受性，同时性：作为生态电影诗意的细红线

泰伦斯·马利克 1998 年的史诗《细细的红线》自首次发行以来已有 20 多年的历史，仍然令人着迷且具有挑战性。¹改编自詹姆斯·琼斯 1962 年的同名小说，《细细的红线》标志着马利克在中断了 20 年之后回归了完全实现的电影制作，并被证明是色调三联画的首部作品，其中还包括《新世界》（2005 ) 和生命之树(2011)。²而细红线与 Malick 以前的作品相比，它在最初发行时被证明更具分裂性（弗兰尼根，2007 年，第 125-126 页），它继续为学术辩论和讨论提供肥沃的土壤，特别是对于那些对电影、战争、哲学和自然的描绘。在本文中，我提出了两个相互关联的术语，“接受性”和“同时性”——来自美国超验主义和二阶系统理论领域——作为评估马利克电影生态风险的关键工具。在这样做的过程中，我认为《细细的红线》表明了一种独特的诗歌模式接受性将马利克定位为数字时代的爱默生人物，并看到导演和他的团队与电影制作作为一种媒介的可能性和局限性协同工作。马利克的作品探讨了认知、电影技术和环境之间相互混淆和启发性的关系——我们如何遇到、表现、捕捉和了解——不是作为哀叹的原因，而是“作为创造的源泉”（Wolfe, 2010, p . 295) 独特地适合于对战争和非人类生活的交织描述。因此，《细红线》不仅是电影诗意的典范，也是生态电影诗意的典范。