Cinema and Philosophy

Jean-Luc Godard a emprunté à la philosophie avant d'être à son tour objet d'études et de colloques. Il s'agit ici de considérer la cinématographie de Jean-Luc Godard comme discours philosophique propre et de comprendre son mode opératoire. Cette proposition est exposée selon quatre approches qui travaillent sur les réalisations du cinéaste, y repèrent l'expression philosophique, en développent la réalité et argumentent ses conditions de possibilité.

Finire dentro un vortice e farsene risucchiare, ci sembra una disgrazia, come inciampare su un sasso o ricevere una tegola in testa. Invece è un evento molto quotidiano, non facciamo che incontrare vortici, anche noi siamo vortici. Il vortice allaccia momentaneamente l'uno all'altro flussi che fino a quel momento si ignoravano. Dentro un vortice i flussi si rincorrono, si stringono, si sciolgono. La teoria della complessità ha scoperto nel vortice uno dei comportamenti fondamentali della materia fisica ma il vortice è una struttura energetica che riconosciamo anche nella società e nella vita dello spirito. Per studiare l'articolazione vorticosa dell'esperienza diventa utile ripercorrere con un nuovo sguardo alcune tappe filosofiche, letterarie e artistiche: il binomio volumen-rivoluzione di Sade, la sensazione in Merleau-Ponty, la visione mescalinica di Henri Michaux, gli ideogrammi poetici di Ezra Pound, il cinema zenoniano dei fratelli Safdie. Una corrente fatta di mulinelli attraversa i corpi e le idee, le azioni e le esitazioni, gli slanci e le ricadute, è capace di formare e distruggere mondi, stringere e sciogliere i nodi di cui è fatta l'esperienza, ogni esperienza.

This chapter is an invitation to consider cinematic space through a new analytical view – which actually is not only a ‘view’, but a carnal perception that deeply implies the spectator’s body. The focus of this paper is a notion I call the "space-image" (Gaudin, 2015), which echoes Gilles Deleuze’s well-known concepts “movement-image” and “time-image” (Deleuze, 1983, 1985). As the movement-image and the time-image, the space-image refers to a space that is not just a content or background of the image, but is at the same time a major philosophical issue and a fundamental plastic material of cinema. This concept is useful to study the poetics of space in the works of a few contemporary auteur filmmakers, such as Gus Van Sant, Jia Zhang-ke or Philippe Grandrieux, whose films call for a new paradigm of cinematic space. The space-image highlights the fact that before showing and staging an imaginary space "behind the screen", every film is first a spatial phenomenon in itself. Thus, space should also be considered as a primary plastic power inscribed within the moving image. This phenomenological approach is substantially different from classical approaches to space in film analysis.

El presente artículo argumenta que Melancholia (Lars von Trier, 2011) puede constituir una ocasión privilegiada para pensar seriamente en la muerte en los términos que Søren Kierkegaard propone en "Junto a una tumba", generando en el espectador el mismo efecto que el discurso pretende producir en el lector.

Dans le chant XIX de l'Odyssée d'Homère, Penelope décrit à Ulysse, alors qu'il est de retour à Ithaque grimé en vieillard, l'origine « réelle » des rêves. Elle raconte qu'en effet les songes s'invitent dans le monde par le biais de deux portes, l'une de corne et l'autre d'ivoire et elle ajoute ; « Ceux qui sortent de l'ivoire bien travaillé trompent par de vaines paroles qui ne s'accomplissent pas; mais ceux qui sortent par la porte de corne polie disent la vérité aux hommes qui les voient ». Les grecs anciens n'étaient pas capables de distinguer la substance mentale du rêve, et attribuaient aux dieux l'origine des images fugaces qui troublaient leur sommeil. Cette origine divine déterminait largement le rêve et sa signification pour les grecs anciens puisqu'ils pensaient fortement que les rêves étaient des expériences authentiques, très comparables à la vie éveillée, et dont l'expérience pouvait selon les cas se voir validée ou non dans la mesure où les rêves consistent soit d'images vaines, soit d'images vraies. L'approche psychanalytique plus moderne a montré que les rêves sont très étroitement liés à notre inconscient, et qu'ils représentent ainsi l'information qui concerne notre très particulier état d'être ; Ils incarnent les occasions stressantes en devenant cauchemars d'angoisse, ils éveillent nos souvenirs cachés, nos peurs et nos espoirs. Parfois ils montrent ainsi nos désirs forts et on peut cependant supposer qu'il existe une corrélation entre les rêves et les souhaitables réalités alternés. Dans ce sens, les paroles didactiques de Penelope ne sont pas une devinette mais la réalité brute; certes, il arrive que les rêves correspondent aux scenarios qui peuvent potentiellement être réalisés, mais d'autrefois ils s'opposent simplement à une réalité difficile, cahoteuse et parfois terrifiante. On dirait d'une manière arbitraire que le cinéma est en effet consacré à la réalisation des rêves. Au début, une série d'images cohérentes ou pas évolue dans la tête du rêveur, c'est à dire du cinéaste, et quand le film est réalisé, il nous donne l'accès à un monde diffèrent et particulier où on peut finalement partager son rêve. Quand les réalités alternées qui sont présentées dans un film contiennent des personnages-rêveurs, l'expérience totale comporte une essence plus métaphysique et spirituelle; on devient les observateurs des images-rêves qui se forment en schématisant des cercles intégrés les uns dans les autres. On pourrait dire qu'une image-rêve dans un film est si impressionnante parce qu'elle ouvre à nos yeux une subjectivité qui restait jusqu'à maintenant cachée, inconnue. Cette subjectivité nouvelle est réussie dans la mesure où elle met en jeu des éléments optiques-sonores qui sont effectivement virtuels, des sentiments de déjà-vu, des situations-rêveries, de fantasmes ou des figures et des incarnations du passé. Plus les « troubles de la mémoire » et les « échecs de la reconnaissance » sont incarnés par des images, plus nous sommes invités à envisager cette subjectivité comme une réalité à part entière. Gilles Deleuze souligne que c'est le cinéma européen qui présenta très tôt un ensemble de phénomènes psychiques comme l'amnésie, l'hypnose, l'hallucination, le délire, les visions morbides, et surtout le cauchemar et le rêve. Le penseur explique que les cinéastes européens y ont vu un moyen de rompre avec le cinéma américain qui favorise soit une narration plutôt linéaire soit une conception générale trop objective. Par opposition à son pendant américain, le cinéma européen essayait de créer « un mystère de temps, d'unir l'image, la pensée et la caméra dans une même subjectivité automatique ». Deleuze utilise la phrase « panorama temporel » pour décrire la nouvelle situation qui a été mise en surface par le cinéma européen, c'est-à-dire un ensemble d' « images flottantes qui défilent avec une

L’espace constitue un enjeu majeur des réflexions esthétiques et philosophiques sur le cinéma, autour duquel s’articule toute l’histoire des formes filmiques.
Comment les films représentent-ils l’espace ? Comment l’organisent-ils par la mise en scène, le montage et le rapport image-son ? Quel(s) espace(s) vivons-nous au cinéma ? Comment influencent-ils notre façon de percevoir le monde et d’y penser notre situation ?
Pour répondre à ces questions, l’ouvrage définit l’espace cinématographique comme une puissance dynamique de l’image en mouvement, dotée d’un fort impact sensoriel sur ses spectateurs. Cette approche cinéplastique et rythmique de l’espace trouve son aboutissement dans un concept original : l’image-espace.
L’ouvrage s’appuie sur l’analyse de nombreux films, et notamment sur le travail de réalisateurs tels que Buster Keaton, Orson Welles, Michelangelo Antonioni, Andreï Tarkovski, Gus Van Sant, ou encore Jia Zhang-Ke. Il se révèle particulièrement fécond pour comprendre les grandes évolutions du cinéma contemporain.

In Azul Profundo Sebastian Wiedemann plunges into the transorganic space of Blue, a cinematic state of complete communion with the depths of Nature’s cosmological memory. Blue as guideline into a cinema of receptive profusion and total connection with one's intrinsic sensorial capacities. Deep Blue as cinematic wild experience and experiment of thinking, as a radical adventure into the potential of an unexpected speculative scenario where the verb to blue gain uncountable affective tonalities. How to conjugate the blue, how to blueing the world in infinite directions and senses is the lure of this performative film as a vitalist and minor gesture.

This article scrutinizes Michael Crichton’s movie Westworld (1973), its sequel Futureworld (1976), and the spin-off series Beyond Westworld (1980), as well as the critical literature that deals with them. I examine whether Crichton’s movie, its sequel, and the 1980s series contain and convey a consistent technophobic message according to the definition of “technophobia” advanced in Daniel Dinello’s 2005 monograph. I advance a proposal to develop further the concept of technophobia in order to offer a more satisfactory and unified interpretation of the narratives at stake.

Keywords: Westworld, Futureworld, Beyond Westworld, Michael Crichton, androids, technology, technophobia, Daniel Dinello, hubris.

Que los métodos didácticos con los que hemos sido educados necesitan hoy ser revisados, es un hecho. Que el empleo de medios audiovisuales y tecnológicos en el aula requiere, además de una puesta en marcha inmediata y general, una reflexión crítica, también. En las siguientes líneas planteamos una Innovación Docente que, desde ese análisis de la construcción visual de los saberes, aúne filosofía, docencia y cine.
De este modo, proponemos un acercamiento vivencial, más que memorístico, al pensamiento de Friedrich Nietzsche, estableciendo como principal objetivo llevar la práctica filosófica a los alumnos de 2º de Bachillerato a través del cine.

En quoi le cinéma est-il de la philosophie ? À cette question, le grand philosophe Stanley Cavell répond en étudiant sept films qui, tous sortis dans les années 1930-1940, inventent un genre nouveau : celui de la « comédie du remariage ». Il ne s'agit plus, comme dans la comédie classique, d'unir un jeune homme et une jeune fille et de les conduire au bonheur malgré des difficultés extérieures, mais de ré-unir deux personnes après une séparation, dans la recherche d'un bonheur nouveau et différent, en dépit d'obstacles intérieurs. Cavell examine les raisons et les conséquences philosophiques de ce schéma du remariage au cinéma : la naissance d'une femme nouvelle (idéalement incarnée par des actrices comme Katharine Hepburn, Rosalind Russell, Irene Dunne, Barbara Stanwyck ou Claudette Colbert), la réflexion sur les relations de couple, sur l'égalité des sexes, sur la nécessité en amour d'une mort et d'une renaissance. Entre philosophie et cinéma, mêlant Kant et Frank Capra, Emerson et Cary Grant, Nietzsche et Leo McCarey, Shakespeare, Ibsen, Freud et Howard Hawks, Cavell nous donne un regard différent sur ces films et leur descendance. Se dessine alors le véritable sujet du cinéma hollywoodien, à la fois culture populaire et oeuvre de pensée.

Here in section 61 he will take up the question of an authentic being towards death: here he states at the outset: “authentic Being-towards-death is anticipation” (page H302 first line). In the very next sentence he introduces the theme of resoluteness as the way in which Dasein’s authentic potentiality for being has been exhibited in its “existentiell attestation”.  The question being raised by Heidegger here is how to bring together these two phenomena: anticipation and resoluteness. In these lecture notes, I use Kurosawa's film "Ikiru" to flesh out Heidegger's elusive terms.

monografia sul cinema di David Lynch inteso come sperimentazione di forme e di immagini. un percorso attraverso le forme lynchiane, i corpi i soggetti, i mondi, le stanze e le strade: il tutto condotto in un dialogo costante con le forme pittoriche che appartengono all'arte di Cézanne e di Bacon, di Holbein e di Hopper, di Klee e di Duchamp, fino a scoprire il cinema come grande dispositivo, macchina del sentire.

Ce livre est né du désir d'explorer en quoi consistent les trois énigmes majeures de 2001 l'odyssée de l'espace (de Stanley Kubrick) : le monolithe et la naissance de l'humanité, le langage et la technique, les modifications des formes de la sensibilité lors de l'épisode final. L'auteur met en évidence, dans une approche qui articule analyse précise de séquences et réflexion philosophique, le caractère central de la question du temps dans 2001 (l'odyssée de l'espace devient une odyssée du temps) ainsi que les dimensions artistiques d'un film défini comme passage sensible d'idées.

This article argues that "Melancholia" (Lars von Trier, 2011) can be a special occasion to think seriously about death in the terms proposed by Søren Kierkegaard in "At a Graveside", generating in the viewer the same effect that the discourse intends to produce to the reader, which is help us to live our lives more properly.

This paper defends that "Melancholia" has a philosophical and artistic value which is founded on the use of cinematographic language to communicate, in an apocalyptic context, the experience of anxiety. And because of that, can help us to understand our ambivalent attitude towards death, which not only does it terrify us but it also attracts us. In other words, I believe that "Melancholia" not only makes us experience the fear that would be provoked by the certainty of imminent annihilation, but at the same time awakens our desire to look into the abyss.

Bergson’u vitalist, spritualist bir filozof olarak gören akım-
lardan farklı olarak Deleuze, Bergson’un virtüelite kavra-
mından hareketle yeni bir materyalist ontoloji türetmiştir.
Bu dönüşümü serimlemek için burada öncelikle Bergson’un
felsefesi ana hatlarıyla, kısaca izah edilmektedir. Bu, müm-
kün olduğunca Deleuze’ün müdahâlesi parantezine alına-
rak, bir Bergson okuması olacaktır. Ardından Deleuze’ün
kendi Bergson monografileri incelenmekte ve nihayetinde
Deleuze’ün Bergson’un imaj kavramından hareketle geliş-
tirdiği sinema felsefesi açıklanmaktadır. Deleuze, Bergson’u
virtüel hâlinden çıkarıp, geçmişin bir katmanından anın
ihtiyaçlarına göre güncellemiştir. Lakin her güncelleme bir
farklılaşmadır.

The issue of space offers a fertile starting point for exploring and deepening a power of film so far neglected by classical theory. Following the books of Gilles Deleuze (L’image-mouvement et L’image-temps), it seems that one of the major current tasks of film aesthetics could be to think an “image-espace cinema”: a cinema that would make the space not just a background, a pattern or an actant, but at the same time, an important existential issue and a critical material of its own plastic composition. This requires developing new theoretical tools, that would less depend on the pictorial or theatrical categories, as on the “grammar” specific to the classical narrative and editing, and more closely linked to the basic powers — cineplastic and rhythmic — of moving pictures. This new paradigm entails that filmic space has no permanent substance: it is never given as a stable object, a fixed form. On the contrary, space is the subject of constant shaping, circulating through the images of the film.

«Μα είναι δυνατόν οι αδελφοί Wachowski να τα σκέφτηκαν όλα αυτά;». Εδώ ακριβώς βρίσκεται το θαυμαστό του πράγματος: ότι όχι μόνο τα «σκέφτηκαν», αλλά ότι κατάφεραν επιπλέον να ενσωματώσουν τη σκέψη τους σε μία έξοχη περιπέτεια επιστημονικής φαντασίας, θεμελιώνοντας, πάνω σε μεταμοντέρνο έδαφος αυτήν τη φορά, κυρίαρχες νεωτερικές αφηγήσεις: το Μεσσιανισμό, τον Έρωτα, την Ελπίδα, το Θέαμα, τη Μηχανή.

Το παρόν βιβλίο επιχειρεί να αναδείξει με συστηματικό τρόπο αυτές τις αφηγήσεις. Παράλληλα, ευελπιστεί να προσφέρει στον αναγνώστη μια οπτική ευαισθητοποίησης, η οποία θα του επιτρέψει να παρακολουθήσει την τριλογία The Matrix για δεύτερη φορά, να εγκύψει με περισσότερη αναστοχαστική διάθεση στους ανεξάντλητους συμβολισμούς της – μα πάνω απ’ όλα, να διαισθανθεί τη διαρκή πολιτική της επικαιρότητα και την ανυπέρβλητη θεωρητική της σημασία.

Bu çalışma, Gilles Deleuze’ün “hareket-imge ve zaman-imge”2 kavramları doğrultusunda “Alejandro González Iñárritu”nun “Ölüm Üçlemesi”nden3 (Death Trilogy) biri olan “21 Gram” (2003)  lminin nitel bir analizini yapma denemesidir. Düşünce ile sanat paralelliğinin kurulabilmesi için önce Gilles Deleuze ve Felix Guatarri’nin “düşüncenin tecelli ediş biçimleri” olarak gördüğü sanat, bilim ve felsefe ilişkisinden kısaca bahsedilmiştir. Ardından hareket-imge ve zaman-imge kavramlarına kısaca değinilmiştir. Buradan hareketle, hareket-imge ve zaman-imge öğelerinin modern sinema içerisindeki girift yapısını anlayabilmek amacıyla, David Jones’un bir çalışmasında4 kullandığı “melez-imge” kavramı ile yola çıkılmıştır. Innaritu  lmlerinin anlatı yapısı düşünüldüğünde bu kavramlar doğrultusunda bir incelemeyi yapmak uygun görünmektedir. Dolayısıyla “21 Gram”  lminin bu kavramlar çerçevesinde felsefe ile paralellikleri gösterilmeye çalışılmıştır. Gilles Deleuze’ün sinema ile ilgili kavramları bize oldukça ufuk açıcı bağlantılar sunmaktadır. Bu çalışmanın amacı bu bağlantılardan bazıları üzerinde bir düşünme pratiği yapmayı denemektir.

This study focuses on, one of the leading film director of the New Iranian Cinema, Majid Majidi's intensive usage of the various meanings he attributes to nature and, in turn, the types of effect these meanings have on his cinematographic representations. The study suggests that the director treats nature as if it is a conscious being that contributes to the production of the meaning, thus reveals a new form of relationship between cinema and nature. conducts a semiotic analysis based on the views of authors such as Roland Barthes, Christian Metz, and Peter Wollen. In this context, it aims to determine the contributions of the elements of nature to the atmosphere of the scenes, progress of the story and the inner journeys of the characters in these films. Additionally, the study questions the obvious and metaphorical meanings implied by the elements in the director's narratives which is based on allegories. The findings are discussed in relation to the contexts of the director's film making technique and the sources that give the meaning to the framework. Özet Bu çalışma Yeni İran Sinemasının önemli yönetmenlerinden olan ve filmlerinde doğayı çeşitli biçimlerde yoğun bir biçimde kullanan Majid Majidi'nin, anlatılarında doğaya yüklediği anlamları ve bu unsurların anlatıya ne tür katkılar yaptığı sorularına yoğunlaşmaktadır. Çalışma, yönetmenin doğayı anlamın üretilmesine katkı sağlayan bilinçli bir varlıkmış gibi işlediği böylece sinema ve doğa arasında yeni bir ilişki biçimi ortaya koyduğu iddiasına dayanmaktadır. Peter Wollen gibi yazarların görüşlerini temel alan göstergebilimsel bir analiz yapılmıştır. Bu çerçevede örneklemi oluşturan filmlerde yer bulan doğaya ait unsurların filmin atmosferine, öykünün akışına, karakterlerin içsel yolculuklarına yaptığı katkılar belirlenmeye çalışılmıştır. Ayrıca yönetmenin alegorilere dayanan anlatımı içerisinde bu unsurların imlediği görünen ve metaforik anlamların neler olabileceği sorgulanmıştır. Elde edilen bulgular, yönetmenin sinema üslubuna ve filmlerde ortaya koyduğu anlam çerçevesine kaynaklık eden bağlamlarla ilişkili biçimde tartışılmaktadır.

Béla Tarr and Laszlo Krasznahorkai are two significant figures who made substantial contributions to Hungarian postmodernist cinema and literature which operate as a reflection of Hungarian historical background. Both adopt a pessimistic attitude towards human existence as a consequence of sharing the same cultural, social, and political history. Thus, their cooperation is compatible to constitute alienated and isolated characters, including depressive narratives. Therefore, psychoanalytical and philosophical reading will be convenient for the analysis of three cooperative works of Béla Tarr and Laszlo Krasznahorkai. In this sense, this article will be intended to criticize the philosophy of solipsism which leads human beings to confusion and even madness. It will analyze the predominant reasons for 'problem of other minds' as well as its close relations to human psychology concerning schizophrenia, depression, and existential anxiety. Damnation (Kárhozat, 1987), Satantango (Sátántangó, 1994), and Werckmeister Harmonies (Werckmeister Harmóniák, 2000) will be incorporated in this article as particular subjects, which will be argued by referencing Ludwig Wittgenstein's theory of solipsism and the private language along with Martin Heidegger's theory of being and time.

Key Words: solipsism; the private language; being and time; Béla Tarr; cinema and philosophy

Tese - Doutorado em Educação (Praticas Artísticas, Aprendizagem e Filosofia).

Orientador: Antonio Carlos Rodrigues de Amorim //

This research-creation Project, as one thesis less, aims to experiment the field of education as an indisciplinary, problematizing, and interval occasion for thought, capable of welcoming an emerging ecology of practices that gains consistency from sensitive propositions arising from artistic, philosophical, and pedagogical practices from which more than human learning unfolds as emanations of difference. In turn, this project is situated in the context of living in a world in ruins and devastation, where extinction does not stop being present, whether as annihilation or exclusion of modes of existence already actualized or modes of existence still in the process of being born and instituted and that are suddenly aborted or denied in the form of atrophy and depotentialization of the processes of creation. This problematic field between education and environmental humanities, which does not ignore the ongoing ecological collapse, imposes to assume the perspective of a vitalism as an experimental and speculative pragmatism, where we face the question of how to defend the emergence and hatching of the living (of modes of existence). A creative challenge that asks us to embark on an adventure of thought that must invent and take care of its own conditions of possibility; the most prosperous ones, to defend its own existence that under the risk of sinking cannot afford to be indifferent to the practices with which it has intimacy and can affirm itself. In this case, cinematic practices, that do not stop unfolding between conceptualities and pedagogical gestures of care and cure. The adventure of thought that in turn is a scenario and speculative fabulation answers to the name of Deep Blue; a whole ecology that insists on asking itself how to give birth to, how to affirm the point of view of creation through the most diverse means, making everyone become another means. In this sense, it would not be enough to affirm an ecology of practices that could be said to be only personal, without seeking a reactivation of the creative power in other bodies, as a common disposition and channeling of the perseverance of life itself. Thus, every creative process is deeply singular, but also deeply collective; it is always a pedagogical exercise of profusion of more than human learning, whether it happens in human bodies or not, but which are always called surfaces as sliding and expressive materialities for life. In this way, the more we dive into the Deep Blue, we realize that this ecology of cinematic modes of experience as more than human learning is an opening for us to conjugate the human differently, making it humusities and/or in-between-humanities, at the same time in which learning takes place of the images themselves and that makes them what is always to come.

Tabelle di misurazione, cronometro e calcolatrice sono i protagonisti di una vera e propria inchiesta cinematografica dedicata ai film di Antoinioni. Partendo da ricerche sperimentali sul "bodily language", l'autrice seziona i gesti dei personaggi, ne misura gli sguardi e scrutina le traiettorie dei loro corpi nello spazio, i seguendo le tracce di una presunta incomunicabilità insita nella poetica del regista. Ne risulta u na diagnosi meno infausta rispetto a quella cui  ci ha abituati la critica. A risaltare positivamente è soprattutto la figura femminile, che con la sua sensibilità inquieta e febbrile oppone resistenza all'opacità dei sensi e alla stagnazione dei rapporti che incombono sull'universi meccanizzato e de-antropomorfizzato dell'uomo. E' alla donna che il regista affida lo slancio poetico del suo sguardo, che dietro la telecamera ammicca provocatoriamente allo spettatore obbligandolo a dd entrare nello spazio scenic. Tabelle e appendici illustrano al lettore i parametri di una psicologia sperimentale applicati nel testo, suggerendo un approccio al linguaggio cinematografico del tutto inedito e passibile di ulteriori sviluppi.

En este experimento de pragmatismo especulativo, deseamos llevar el cine más allá de sus límites, a ese umbral en que se hace inmanente con la vida misma y donde aquello que hemos llamado modos de experiencia cinematográficos puede emerger. Una torsión en el pensamiento profundamente situada que se alía con el delirio instaurando a su vez la filo-ficción o fabulación especulativa Azul profundo, donde el vector y agencia cineasta nos pueden dejar intuir una posible kinosofia. En esta aventura pensaremos con las filosofías de la diferencia y del proceso, pero también con gestos como el de la apnea en presencia de pulpos, medusas y aguas vivas.

[TR] Yaşamın hatlarının, doğal ve yapay sınırlılıklar içerisinde, ritüelistik bir görüntü arz eden ölüm anına dek an be an yeniden keşfedildiği; çatışmanın insan varoluşundaki görünümlerinin etkili bir sinema dili ile çarpıcı bir anlatıya dönüştürüldüğü Terrence Malick’in sinematografisinde tarihsel-olanın işlenişi, insan-doğa ve ben-öteki ilişkilerinin -felsefi hatları minvalinde- özgün bir serencamını sunar. “Aşk”, “büyü”, “ölüm”, “savaş”, “yitim”, “sonsuzluk” gibi kavramlar ekseninde ortaya konulan bu tarih temalı anlatılar, insan açısından temel ontolojik sorunsallar arasında gösterilebilecek olan benliğin temellendirilmesi hususunda sinema dili ile pekiştirilmiş tartışmalar barındırır. Karşılaşılan öteki karşısında benliğin yeniden kurulumuna ve bu suretle kültürel belirlenimciliğin sorgulanmasına ilişkin bu anlatılar, Malick’in tarih temalı sinema filmlerinin temel dinamiklerindendir. Çalışmamızda, II. Dünya Savaşı yıllarında, ABD ordusuna bağlı kuvvetlerin Pasifik Cephesi’ndeki çatışmalarının ortasında kalmış, savaşla iç içe yaşamakta olan bireylere mercek tutan The Thin Red Line [İnce Kırmızı Hat] (1998) ve Kuzey Amerika topraklarındaki kolonizasyon faaliyetlerinin başlangıcına tekabül eden bir tarihsel evrede belirginleşen kültürel farklılık ve ötekilik hususunu işleyen The New World [Yeni Dünya] (2005) sinema filmleri, bahsini etmiş olduğumuz hususları tartışma olanağı tanıyan sinematografik özellikleri hasebiyle mercek altına alınacaktır. Yürütülecek soruşturmalar boyunca tarih felsefesi, benlik sorunsalı, benliğin kurulumu, kültürel belirlenimcilik, doğa-insan ilişkisi, savaşın insan üzerindeki etkileri minvalinde ortaya konulmuş felsefi yaklaşımlara dayalı değerlendirmeler, ilgili sorunsallar ile ilişkisinde hem bir anlatı/tartışma zemini hem de ana tema olarak ele alacağımız tarih nosyonu ekseninde sunulacaktır.

[EN] The lines of life which are to discover again and again till the death which has ritualistic faces convert to an effective narration in Terrence Malick's cinematography. All the narrations in Malick's movies about historical include and examine relations between human and nature and own and other. These historical-themed narratives, which are put forward on the axis of concepts such as "love", "magic", "death", "war", "loss", "eternity", contain discussions reinforced with the language of cinema based on the self, which can be shown among the problematic issues based on humanity. These narratives on the reconstruction of the self in the face of the other encountered, and thus the questioning of cultural determinism are among the basic dynamics of the history-themed movies of Malick. In our study, we will examine and argue the topics such like issue of selfdom, constructing of selfdom, cultural determinism, relations between man and nature through Malick's The Thin Red Line (1998) and The New World (2005) movies. Throughout the investigations to we carry out, we will evaluate the philosophy of history, the problem of the self, the establishment of the self, cultural determinism, the relationship between nature and human, based on related philosophical approaches.