A review of the movie
Grounding the confrontation in the film between the languages of Greek and German is the encounter between the interrogator and the interrogated, between a member of the de-Nazification committee and Heidegger, between worldly politics and originary politics. This mock interchange is brilliantly conceived and enacted by Hong to reveal the abysmal disconnection between the worldly politics of Western Europe and Heidegger’s ontology.
It is suggestive that Heidegger, one of Malick’s formative influences, claims reality in any sense should be thought of in terms of emergence and withdrawal, after the Presocratics, rather than static presence. As a certain aspect appears, certain other aspects retreat into the background (or more exactly, in order for a certain aspect to appear, certain other aspects must retreat into the background, as with the Necker cube or duck-rabbit picture.
...The Passenger is concerned with the critique of journalism and the media. This critique in turn is closely linked to the idea of "the passenger" — a link that may be traced to Martin Heidegger's discussion of the inauthentic, public mode of being he calls "the 'They.'" Introducing this term in Being and Time, Heidegger unites the two themes that give The Passenger its two alternate titles: "In utilizing public means of transport and in making use of information services like the newspaper, every Other is like the next."
Under Heidegger’s beliefs, characters such as Jof and his wife Mia who avoid facing death would never experience “authentic existence.” Heidegger views this in a negative light as Jof and his family would not enjoy the freedoms from social conventions that come from acknowledging death. However, Bergman’s presentation of these sequences seems to indicate that he does not share the same view. By closing The Seventh Seal with Mia’s casual denial of Jof’s haunting vision, Bergman adds an uplifting mood to the movie.
[F]rom a Heideggerian standpoint, it is highly significant that Thomas follows the couple into a clearing rather than watches them in a small city square, and that this is the point where the open and receptive mode of vision registered by the camera at the beginning of the scenes in the park comes to an end. At the most literal level, the clearing in the park is where Thomas can get the best light. But the changed setting also corresponds to what Heidegger referred to as the "lichtung," or forest clearing, his metaphor for the opening where Being reveals itself by coming into the light[.]
For all the care to avoid invoking a philosophical meta-text, or departing from our immersion in the cinematic Sache, we find ourselves talking of the way things presence, their luminous appearance, their revealing of a world that we do not master or control, that reveals the mystery of finitude and the calm releasement towards time, death, and the mystery of Being/Nature. Hermeneutic banana skin or not, it seems difficult to avoid talk about Malick's cinematic 'letting be' without invoking, at least implicitly, the Heideggerian thought of Gelassenheit,
According to Heidegger, Dasein is constantly engaged in the process of remembering the past, experiencing the present, and projecting the future. Chance is adept at two of these -- remembering the past and experiencing the present. At no point whatever does he project the future.
from Senses of Cinema
Malick's understanding of cinema seems to be influenced by Heidegger's contention that it is a cardinal symptom of modernity (which he claims has its deepest roots in Greek thinking) to apprehend reality as something to be differentiated from how it appears to a subjective consciousness, and that the reality is understood at the most fundamental level as something to be mastered.
Any philosophical reading of film has to be a reading *of* film, of what Heidegger would call *der Sache selbst*, the thing itself. A philosophical reading of film should not be concerned with ideas about the thing, but with the thing itself, the cinematic *Sache*.
Special Issue on Wilhelm S. Wurzer
_Film-Philosophy_, vol. 9 nos 6-11, February 2005
Filming may also be regarded as philosophy's expressionist turn, which Heidegger articulates in his esoteric texts of the 30s and 40s. His turn to *Enowning* (*Ereignis*) marks a thinking away from ourselves (a transcendental *Seinsdenken*) to a new consideration of *being-historical*.
Terry Gilliam’s introduction to Heidegger’s Being and Time starring Bruce Willis as the prophet of authenticity.
Cole’s predicament of being trapped in time graphically depicts Heidegger’s key concept that our Beings are grounded in time. Plato’s ethereal, timeless souls don’t fit in this scheme of things; it is meaningless to speak of our Beings outside of time.
on The Thin Red Line
Philosophy is at its end and movies are replacing it.
It seemed helpful to start with a generalized overview of my project and spread out from there.
I will use the philosopher Martin Heidegger's sketch of the end of philosophy, and the filmmaker Wim Wenders as an example of how movies are replacing philosophy. To travel this route, I will use an eight-fold path.
1) This introduction.
2) Introduce Martin Heidegger.
3) Introduce Wim Wenders.
4) Intertwine Heidegger and Wenders.
5) Define Metaphysics.
6) Overcome Metaphysics.
7) The Task of dwelling.
8) The capability of films to embodying this dwelling