The World Map by Diogo Ribeiro (1529) labels the Americas as MUNDUS NOVUS. It traces most of South America and the east coast of North America.

The New World is one of the names used for the Western Hemisphere, specifically the Americas and sometimes Oceania (Australasia). The term originated in the early 16th century, shortly after America was discovered by European explorers, expanding the geographical horizon of the people of the European Middle Ages, who had thought of the world as consisting of Europe, Asia, and Africa only: collectively now referred to as the Old World. The Americas were also referred to as the "fourth part of the world".

Name origin[link]

Allegory of the New World: Amerigo Vespucci awakens the sleeping America

The term was first coined by the Florentine explorer Amerigo Vespucci, in a letter written to his patron Lorenzo di Pier Francesco de' Medici in the Spring of 1503, and published (in Latin) in 1503-04 under the title Mundus Novus. Vespucci's letter contains arguably the first explicit articulation in print of the hypothesis that the lands discovered by European navigators to the west were not the edges of Asia, but rather an entirely different continent, a "New World".^[1]

Vespucci probably came to this realization in June of 1502, during a famous chance meeting between two different expeditions at the watering stop of "Bezeguiche" (the Bay of Dakar, Senegal) - his own outgoing expedition, on its way to chart the coast of newly-discovered Brazil, and the vanguard ships of the Second Portuguese India armada of Pedro Alvares Cabral, returning home from India. Having already visited the Americas in prior years, Vespucci probably found it difficult to reconcile what he had already seen in the West Indies, with what the returning sailors told him of the East Indies. Vespucci wrote a preliminary letter to Lorenzo, while anchored at Bezeguiche, which he sent back with the Portuguese fleet - at this point only expressing a certain puzzlement about his conversations.^[2] Vespucci was finally persuaded when he proceeded on his mapping expedition through 1501-02, covering the huge stretch of coast of eastern Brazil. After returning from Brazil, in the Spring of 1503, Amerigo Vespucci composed the Mundus Novus letter in Lisbon to Lorenzo in Florence, with its famous opening paragraph:^[3]

In passed days I wrote very fully to you of my return from new countries, which have been found and explored with the ships, at the cost and by the command of this Most Serene King of Portugal; and it is lawful to call it a new world, because none of these countries were known to our ancestors and all who hear about them they will be entirely new. For the opinion of the ancients was, that the greater part of the world beyond the equinoctial line to the south was not land, but only sea, which they have called the Atlantic; and even if they have affirmed that any continent is there, they have given many reasons for denying it is inhabited. But this opinion is false, and entirely opposed to the truth. My last voyage has proved it, for I have found a continent in that southern part; full of animals and more populous than our Europe, or Asia, or Africa, and even more temperate and pleasant than any other region known to us.

Vespucci's letter was a European publishing sensation, immediately (and repeatedly) reprinted in several other countries.^[4]

The Spanish scholar Peter Martyr d'Anghiera used the term "New World"^[5] with some twenty editions over the next four years.

In 1524, the term was also used by Giovanni da Verrazzano in a record of his voyage that year along the Atlantic coast of land that is now part of the United States and Canada.^[6]

Usage and definition[link]

The terms "Old World" vs. "New World" are primarily meaningful in historical context and for the purpose of distinguishing the world's major ecozones. One can speak of the "New World" in a historical context, e.g., when discussing the voyages of Christopher Columbus, the Spanish conquest of Yucatán and other events of the colonial period; additionally, the term "New World" is sometimes used in a biological context, when one speaks of Old World (Palearctic, Afrotropic) and New World species (Nearctic, Neotropic).

Criticism of term[link]

The term has been criticized as being Eurocentric, patronizing and also for taking an apologetic tone with regard to colonialism.^[7]

See also[link]

• Models of migration to the New World
• Paleo-Indians
• Indigenous peoples of the Americas

References[link]

v t e Regions of the World Africa Northern Middle East Sub-Saharan Central Southern Western Eastern Oceania Australasia Australia Zealandia Melanesia Micronesia Polynesia America North Northern Middle Central Caribbean South Southern Northern Western Guianan States Anglo Latin (Hispanic) Polar regions Arctic Antarctic Asia Central Eastern Northeastern Northern Southeastern Mainland Maritime Southern Indian subcontinent Western Middle East Oceans World Arctic Atlantic Indian Pacific Southern Europe Central Eastern Northern Southeastern Middle East Southern Western Seas List of seas Related Continents of the world List of seas Physical Earth

Markus Schulz
Markus Schulz in the USA, 2007
Background information
Birth name	Markus Schulz
Also known as	Dakota, Himmel
Born	1975 (age 36–37)
Origin	Eschwege, Germany
Genres	Trance
Years active	1990–present
Labels	Coldharbour Recordings, Armada Music, Ultra Records
Website	http://www.markusschulz.com

Markus Schulz is a German trance music DJ and producer who resides in Miami, Florida, United States. He is best known for his weekly radio show titled Global DJ Broadcast that airs on Digitally Imported radio, After Hours FM and other online stations.^[1] He is also the founder of the EDM label Coldharbour Recordings.^[2]

Producing[link]

Schulz has released six mix compilations and three artist albums under his own name. He has also released productions and albums, Thoughts Become Things and Thoughts Become Things II, under the alias Dakota. Through his work with remixing tracks, he has had the opportunity to work with such artists as: Depeche Mode, Madonna, Everything but the Girl, Jewel, OceanLab, Gabriel & Dresden, Télépopmusik, Fat Boy Slim, Miro, Book of Love, Blue Amazon, and PQM.^[1] His remixes of "Intuition" and "Stand" by Jewel both hit #1 on the Billboard club chart.^[3]

Performing[link]

Markus performing at Mayday, 2010 in Poland.

When not in the studio working on new mixes, Schulz maintains an extensive international touring schedule. He originally held a seven-year residency at The Works in Phoenix, Arizona, where he developed his style. Since then, he has performed at clubs all over the world and has DJ'ed at some of the largest festivals and events, including: Electric Daisy Carnival, Electric Zoo, Monster Massive, Together As One, Ultra Music Festival, Amsterdam Dance Event, Nature One, Dance Valley, Love Parade, Global Gathering, ETD Pop, Trance Energy 2010, Bang Music Festival, Future Music Festival, Bal en Blanc,^[1] at the Episodes 250, 300, 350, 400, 450, 500, and 550 of A State of Trance and at Summafieldayze on the Gold Coast in Australia.

On October 28, 2010, DJ Magazine announced the results of their annual Top 100 DJ Poll, placing Schulz at #8 DJ in the world.^[4] As of the 2011 poll, he is #9 in the ranking.^[5]

Discography[link]

Albums[link]

• Without You Near (2005, Armada Music)^[6]
• Progression (2007, Armada Music)^[7]
• Progression Progressed - The Remixes (2008, Armada Music)
• Dakota - Thoughts Become Things (2009, Armada Music)^[6]
• Do You Dream? (2010, Armada Music)^[8]
• Do You Dream? - The Remixes (2011, Armada Music)
• Markus Schulz presents Dakota – Thoughts Become Things II (1 July 2011, Armada Music)^[9]
• Markus Schulz presents Dakota – Thoughts Become Things II (The Remixes) (13 January 2012, Armada Music)^[10]

Compilations[link]

• Coldharbour Sessions (2004, Armada Music)^[6]
• Miami '05 (2005, Moist Music)^[6]
• Ibiza '06 (2006, Moist Music)^[11][12]
• Amsterdam '08 (2008, Armada Music)^[6]
• Toronto '09 (2009, Armada Music)^[6]
• Armada At Ibibza - Summer 2008
• Las Vegas '10 (2010, Armada Music)^[6]
• Prague '11 (2011, Armada Music)^[6]
• Los Angeles '12 (2012, Armada Music)^[6]

Singles[link]

Remixes[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Markus Schulz

• Official Website
• Markus Schulz Facebook Page
• Markus Schulz MySpace Page
• Markus Schulz Twitter Page
• Markus Schulz YouTube Page
• [1]

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Derek Gleeson
Background information
Origin	Dublin, Ireland.
Genres	Orchestral/Contemporary
Occupations	Conductor/Composer
Instruments	Piano, Timpani & Percussion
Website	http://www.derekgleeson.com

Derek Gleeson: Irish/American dual Citizen. Music Director, Conductor, Composer, Music Producer, Timpanist, Percussionist, Pianist and Educator. Born in Dublin, February 28, 1964.

Music Director & Conductor of the Dublin Philharmonic Orchestra.^[1] (1997–Present). Conductor at the Anna Livia Dublin International Opera Festival. (Founded by Bernadette Greevy). Composer of the Irish Film and Television Awards (IFTAs) (2005–Present).^[2] Director of Ceoil Productions Ireland/Screen Training Ireland's^[3] film scoring program.(1996–Present). Composer of musical scores for Film and Television^[4] and of symphonic music for the concert hall.(1997–Present)

DPO Conductor Derek Gleeson

Music education[link]

Music Director & Conductor Derek Gleeson

(1970–1984) Gleeson studied Piano, Music Theory/Composition, Timpani and Percussion at both the College of Music, Dublin, and the Royal Irish Academy of Music, additional private timpani studies with Martin Metrustry, principal timpanist of the RTE Symphony Orchestra (now the: RTE National Symphony Orchestra), and with Alan Cumberland, principal timpanist (at the time,) of the London Philharmonic Orchestra. Later,(1981–1984) Gleeson attended the Royal Academy of Music, London.

(1984–1988) Continued further studies in Conducting in London with Harry Newstone^[5] at the Guildhall School of Music and Drama, and with Karl Oesterreicher^[6] at the Hochschule für Musik und darstellende Kunst, Wien, (University of Music and Performing Arts, Vienna)

(1990–1994) Gleeson studied Film Scoring at UCLA (the University of California at Los Angeles), with Don Brandon Ray and Robert Drasnin.

(2000–2004) Opera Conducting studies continued in Easter Europe with Valeri Vachev and Milen Nachev, a protege of Ilya Musin.^[7]

Early musical life[link]

Gleeson's early musical life was an eclectic one. At age twelve, he was Timpanist of the Irish Youth Orchestra, (IYO). (Now the National Youth Orchestra of Ireland).^[8] At age fifteen, as a Percussionist and Timpanist, he joined the European Community Youth Orchestra (ECYO) (now the European Union Youth Orchestra, EUYO)^[9] where he had the opportunity to work under the great conducting masters of the day, including Herbert Von Karajan, Claudio Abbado, Leonard Bernstein, Sir Georg Solti and Daniel Barenboim, whilst performing, amongst others, at the Salzburg Festival, the Edinburgh Festival, Lucerne Festival as well as at the BBC Proms at the Royal Albert Hall. In parallel, he was also a member of "EuroJazz"^[10] The European Community Youth Jazz Orchestra and NYJO, The National Youth Jazz Orchestra of Great Britain,^[11] with whom he featured as Vibraphone soloist in the CD release of Paul Hart's Concerto for Classical Guitar and Jazz Orchestra, written for Guitarist John Williams, released on CBS Records.

At 15 years old, as freelance timpanist and percussionist, Gleeson began working with the RTE Concert Orchestra and the RTE Symphony Orchestra while still attending High School. Between 1979 and 1989 he performed as a freelance orchestral player with many of the prominent British Orchestras, and the Chamber Orchestra of Europe.^[12] In 1984 he was a prize winner in the Shell/London Symphony Orchestra Music Scholarship. During this period he also worked as a Studio Session Musician, principally as a Keyboardist and Piano player for pop/rock and commercial recording sessions.

Whilst living and studying conducting in Vienna at the Hochschule für Musik und darstellende Kunst, Wien(University of Music and Performing Arts, Vienna) Gleeson sang second bass with Gunther Theuring's,^[13] Wiener Jeunesse-Chor,^[14] with whom he performed with the Wiener Philharmoniker^[15] at the Musikverein.^[16] (Gleeson also studied Voice periodically with the famed Irish vocal teacher Veronica Dunne at the College of Music, Dublin. Now called, the DIT-Conservatory of Music & Drama,^[17] Dublin)

In 1989, Gleeson "won" a U.S. Green Card (NP-5 Visa) in the U.S. Donnelly Visa lottery and moved to Los Angeles where he attended UCLA, studying Film Scoring and Composition.

Conducting[link]

Dublin Philharmonic Orchestra

In December 1989, Gleeson moved to Los Angeles, left the world of the freelance orchestral musician, and directed his time exclusively to Conducting and Composition.

Amongst others, Gleeson has conducted: The Dublin Philharmonic Orchestra; The London Philharmonic Orchestra; The RTÉ Concert Orchestra (RTÉ = Raidió Teilifís Éireann; Ireland's national broadcaster); The National Symphony Orchestra of Ireland; Orchestra da Camera Fiorentina, (Italy); The Bohuslav Martinů Philharmonic, (Czech); The Karlovy Vary Symphony Orchestra, (Czech); RTL Orchestra, (Luxembourg); The NOS Nederlandse Omroep Stichting Orchestra, (Holland); The Danish Radio Concert Orchestra (Denmark); Orchestra of the Sadlers Wells Royal Ballet, (England); Bulgarian National Radio Symphony Orchestra, (Bulgaria); Philharmonia Bulgarica; The Vratza Philharmonic Orchestra, (Bulgaria); The Los Angeles Composers Guild Chamber Orchestra; The Ruckert Chamber Orchestra, (Ireland); and the Tehran Symphony Orchestra, (Iran). Opera repertoire includes: Verdi's La Traviata, Il Trovatore, Rigoletto and Un Ballo in Maschera. Mozart's, La Nozze di Figaro, Don Giovanni and Magic Flute. Bizet's Carmen. Tchaikovsky's Eugene Onegin.

Anna Livia Dublin International Opera Festival "Conductor Derek Gleeson kept perfect pace and never overwhelmed the action...I doubt there has been a better Rigoletto in Dublin. The President of Ireland led a prolonged standing ovation, and deservedly so" The Sunday Business Post, September '08

"His Mahler's Fifth Symphony was glorious" The Irish Times

"Thanks to the authority & dynamism of the young and talented conductor Derek Gleson, the orchestra excelled itself," The Irish Times.

To great acclaim, Derek Gleeson conducted the premier CD recording of Tchaikovsky's Ode to Joy,^[18] The original Romeo and Juliet Fantasy Overture and Prokofiev's Zdravitsa (Prokofiev) with the London Philharmonic Orchestra and Choir. (Carlton Classics/IMP Masters)^[19]

"Performances are entirely convincing, polished and stylsh under Irish conductor Gleeson's able leadership." In Tune Magazine

"Derek Gleeson conducted with spirit....striking detail...A must for anyone who loves Russian music" Classic CD Magazine

In 2009, Gleeson and the Dublin Philharmonic Orchestra made the largest orchestral tour of the U.S.A. that year, to over 49 cities, under the auspices of Columbia Artists Management, Inc.^[20]

In 2010, Gleeson and the DPO toured China, performing at the Shanghai Grand Theatre's World Expo Program,^[21] and two concerts opening the Beijing Summer Festival "Roam about the Classics"^[22] from the National Centre for the Performing Arts (NCPA) at the Opera House, televised throughout China to over 400 million people.

Composition[link]

Gleeson composed Film Scores for the feature films The White Pony^[23] (Director Brian Kelly); Irish Whiskey^[24] (Director Jon Stevens); Moving Target^[25] (Director Paul Ziller); The Doorway^[26] (Director Michael Druxman); Kitchen^[27] (Director Kieron J Walsh) and additional music on The Suicide Club^[28] (Director Rachel Samuels).

In addition to composing music for film, Gleeson is Director of Ceoil Productions Ireland/Screen Training Ireland's Film Scoring Program. He served as composer advisor to Moonstone^{[disambiguation needed ]} International and as Music Jury Chairman and Composer of the Irish Film & Television Awards (IFTAs)

References[link]

External links[link]

• Derek Gleeson at Allmusic
• Derek Gleeson at the Internet Movie Database
• Music Director Website

With Friends Like These... is a 1998 film by Philip Frank Messina. It stars Robert Costanzo, Jon Tenney, David Strathairn and Adam Arkin, and features a cameo by Bill Murray.

Summary[link]

In the film, four small-time two-bit character actors (Costanzo, Tenney, Strathairn and Arkin), all close friends, are competing for same important part in the next Martin Scorsese mob film.

Cast[link]

• Adam Arkin - Steve Hersh
• David Strathairn - Armand Minetti
• Jon Tenney - Dorian Mastandrea
• Robert Costanzo - Johnny DiMartino
• Amy Madigan - Hannah DiMartino
• Laura San Giacomo - Joanne Hersh
• Elle Macpherson - Samantha Mastandrea
• Lauren Tom - Yolanda Chin
• Beverly D'Angelo - Theresa Carpenter
• Ashley Peldon - Marissa DiMartino
• Allison Bertolino - Dana DiMartino
• Bill Murray - Maurice Melnick
• Frederika Kesten - Catrice
• Carmine Costanzo - Nino DiMartino
• Heather Stephens - Babette
• Martin Scorsese - Himself

External links[link]

• With Friends Like These... at the Internet Movie Database.
• With Friends Like These... at AllRovi

This film article about a 1990s comedy is a stub. You can help Wikipedia by expanding it. v t e

Terrence Frederick Malick (born November 30, 1943) is an American film director, screenwriter, and producer. In a career spanning over four decades, Malick has directed five feature films.

Malick has received consistent regard for his work. Malick was nominated for Academy Awards for Best Director for The Thin Red Line and The Tree of Life and Best Adapted Screenplay for The Thin Red Line, as well as winning the Golden Bear at the 49th Berlin International Film Festival for The Thin Red Line and the Palme d'Or at the 64th Cannes Film Festival for The Tree of Life.

Early life[link]

Terrence Malick was born in Ottawa, Illinois^[1][2][3] or Waco, Texas,^[4][5] the son of Irene (née Thompson) and Emil A. Malick, a geologist.^[6][7] His paternal grandparents were Assyrian Christian Lebanese immigrants.^[8][9] Waco is one of the settings of his film The Tree of Life.^[10] Malick attended St. Stephen's Episcopal School in Austin, Texas while his family lived in Bartlesville, Oklahoma.^[1] Malick had two younger brothers: Chris and Larry. Larry Malick was a guitarist who went to study in Spain with Segovia in the late 1960s. In 1968, Larry intentionally broke his own hands due to pressure over his musical studies. Emil went to Spain to help Larry, but Larry died shortly after, apparently committing suicide.^[11]

Malick studied philosophy at Harvard University, graduating summa cum laude and Phi Beta Kappa in 1965. He went on to Magdalen College, Oxford as a Rhodes Scholar but left without earning a doctorate. In 1969, Northwestern University Press published Malick's translation of Heidegger's Vom Wesen des Grundes as The Essence of Reasons. Returning to the United States, Malick taught philosophy at the Massachusetts Institute of Technology while freelancing as a journalist. He wrote articles for Newsweek, The New Yorker, and Life.^[5]

Film career[link]

Malick's start in film began after earning an MFA from the AFI Conservatory in 1969, directing Lanton Mills. At the AFI, he established contacts with people such as Jack Nicholson, longtime collaborator Jack Fisk, and agent Mike Medavoy, who procured for Malick freelance work revising scripts. He is credited with the screenplay for Pocket Money (1972), and he wrote early drafts of Great Balls of Fire! (1989) and Dirty Harry (1971).^[12]

After one of his screenplays, Deadhead Miles, was made into what Paramount Pictures felt to be an unreleasable film, Malick decided to direct his own scripts.^[13] His first work was Badlands (1973), an independent film starring Martin Sheen and Sissy Spacek as a young couple on a crime spree in the 1950s. After a troubled production, Badlands drew raves at its premiere at the New York Film Festival, leading to Warner Bros. Pictures buying distribution rights for three times its budget.^[13]

Paramount Pictures produced Malick's second film, Days of Heaven (1978), about a love triangle that develops in the farm country of the Texas Panhandle in the early 20th century. The film spent two years in post-production, during which Malick and his crew experimented with unconventional editing and voice-over techniques.^[14] Days of Heaven went on to win the Academy Award for Best Cinematography, as well as the prize for Best Director at the 1979 Cannes Film Festival.

Following the release of Days of Heaven, Malick began developing a project for Paramount, titled Q, that explored the origins of life on earth. During pre-production, he suddenly moved to Paris and disappeared from public view.^[16] During this time, he wrote a number of screenplays, including The English Speaker, about Josef Breuer's analysis of Anna O.; adaptations of Walker Percy's The Moviegoer and Larry McMurtry's The Desert Rose;^[16] a script about Jerry Lee Lewis; and a stage adaptation of Sansho the Bailiff that was to be directed by Andrzej Wajda, in addition to continuing work on the Q script.^[17] Malick's work on Q eventually became the basis for his 2011 film The Tree of Life.^[18]

Twenty years after Days of Heaven, Malick returned to film directing in 1998 with The Thin Red Line, a loose adaptation of the James Jones World War II novel of the same name, for which he gathered a large ensemble of famous stars. The film was nominated for seven Academy Awards, won the Golden Bear at the 49th Berlin International Film Festival,^[19] and received critical acclaim.^[20]

After learning of Malick's work on an article about Che Guevara during the 1960s, Steven Soderbergh offered Malick the chance to write and direct a film about Guevara that he had been developing with Benicio del Toro. Malick accepted and produced a screenplay focused on Guevara's failed revolution in Bolivia.^[21] After a year and a half, the financing had not come together entirely, and Malick was given the opportunity to direct The New World,^[22] a script he had begun developing in the 1970s.^[23] Consequently, he left the Guevara project in March 2004.^[22] Soderbergh went on to direct Che.

The New World, which featured a romantic interpretation of the story of John Smith and Pocahontas, was released in 2005. Over one million feet of film was shot for the film, and three different cuts of varying length were released. It was nominated for the Academy Award for Best Cinematography, but received generally mixed reviews during its theatrical run,^[24] though it has since been hailed as one of the best films of the decade.^[25][26][27]

Malick's fifth feature, The Tree of Life, was filmed in Smithville, Texas, and elsewhere during 2008. Starring Brad Pitt and Sean Penn, it is a family drama spanning multiple time periods and focuses on an individual's reconciling love, mercy and beauty with the existence of sickness, suffering and death. It premiered at the 2011 Cannes Film Festival^[28] where it won the Palme d'Or. It has also been awarded FIPRESCI's Big Prize for the Best Film of the Year. At the 84th Academy Awards, it was nominated for three awards including the Academy Award for Best Picture, Best Director for Malick and Best Cinematography for Emmanuel Lubezki. A limited theatrical release in the United States began on May 27, 2011.

Malick's sixth feature, titled To the Wonder. ^[29], was shot predominately in Bartlesville, Oklahoma, and a few scenes were filmed in Pawhuska, Oklahoma. Filming in Pawhuska took place in two locations, a Catholic church and the Triangle Building, a three-sided, three-story building, while locations in Bartlesville included a Native American Festival outside the Bartlesville Community Center, the water treatment facility located outside of the neighborhood of Oak Park, off Sunset Blvd., a full frontal nude scene was filmed during the late hours at the Frontier Public Pool, numerous house scenes were shot in the historic downtown area, the new upper-class neighborhood located off of Madison Blvd. behind the mall, at a house in the new housing addition located north of Adams Golf Course and a scene filmed outside of town at Hughes Ranch. Other details about the film are being closely guarded, with no plot information as yet announced. The film will star Ben Affleck, Rachel McAdams, Olga Kurylenko, Javier Bardem and Rachel Weisz.^[30]

On November 1, 2011, Filmnation Entertainment announced international sales for Malick's next two projects: Lawless and Knight of Cups. Lawless will star Ryan Gosling, with a supporting cast including Christian Bale, Cate Blanchett, Rooney Mara and Haley Bennett. Knight of Cups will star Bale, and will also feature Blanchett, along with Isabel Lucas. The films will be shot back-to-back in 2012.^[31] Production designer Jack Fisk has indicated a June start date.^[32]

During the weekend of September 16, 2011, Malick was photographed and caught on film while on set for one of the first times ever, while he and a small crew were following Christian Bale and Haley Bennett around the Austin City Limits Music Festival as part of preliminary shooting for Lawless.^[33][34] He was also seen directing Ryan Gosling and Rooney Mara at the Fun Fun Fun Fest on the weekend on November 4, 2011.^[34][35]

Personal life[link]

Malick is famously protective of his private life.^[36] His contracts stipulate that his likeness may not be used for promotional purposes, and he routinely declines requests for interviews.^[16][37]

From 1970 to 1976 Malick was married to Jill Jakes.^[38] He later married Alexandra W.B. Malick, who starred as Queen Anne in The New World. He is currently married to Eckie Wallace.^[39]

Malick resides in Austin, Texas.^[40]

Filmography[link]

Bibliography[link]

• Biskind, Peter. Easy Riders / Raging Bulls, London: Bloomsbury, 1998.
• Biskind, Peter. 'The Runaway Genius', Vanity Fair, 460, December 1998, 116–125.
• Cavell, Stanley. The World Viewed: Reflections on the Ontology of Film, Enlarged Edition, Cambridge, MA: Harvard University Press, 1979.
• Chion, Michel. The Voice in Cinema, translated by Claudia Gorbman, New York & Chichester: Columbia University Press, 1999.
• Ciment, Michel. 'Entretien avec Terrence Malick', Positif, 170, June 1975, 30–34.
• Cook, G. Richardson. 'The Filming of Badlands: An Interview with Terry Malick', Filmmakers Newsletter, 7:8, June 1974, 30–32.
• Crofts, Charlotte. 'From the "Hegemony of the Eye" to the "Hierarchy of Perception": The Reconfiguration of Sound and Image in Terrence Malick's Days of Heaven', Journal of Media Practice, 2:1, 2001, 19–29.
• Denson, G. Roger. 'Terrence Malick's "The Tree of Life" Plays Garden of Eden to the Family of Man", Huffington Post, 6 June 2011.
• Docherty, Cameron. 'Maverick Back from the Badlands', The Sunday Times, Culture, 7 June 1998, 4.
• Donougho, Martin. 'West of Eden: Terrence Malick's Days of Heaven', Postscript: Essays in Film and the Humanities, 5:1, Fall 1985, 17–30.
• Ebert, Roger. Review of Days of Heaven, Chicago Sun-Times Inc.
• Fox, Terry Curtis. 'The Last Ray of Light', Film Comment, 14:5, September/October 1978, 27–28.
• Fuller, Graham. 'Exile on Main Street', The Observer, 13 December 1998, 5.
• Hartl, John. 'Badlands Director Ending his Long Absence', Seattle Times, 8 March 1998.
• Henderson, Brian. 'Exploring Badlands'. Wide Angle: A Quarterly Journal of Film Theory, Criticism and Practice, 5:4, 1983, 38–51.
• Keyser, Les. Hollywood in the Seventies, London: Tantivy Press, 1981.
• Malick, Terrence. Interview the morning after Badlands premiered at the New York Film Festival, American Film Institute Report, 4:4, Winter 1973, 48.
• Malick, Terrence. Days of Heaven, Registered with the Writers Guild of America, 14 April 1976; revised 2 June 1976.
• Monaco, James. "Badlands", Take One, 4:1, September/October 1972, 32.
• Newman, Kim. "Whatever Happened to Whatsisname?", Empire, February 1994, 88–89.
• Riley, Brooks. "Interview with Nestor Almendros", Film Comment, 14:5, September/October 1978, 28–31.
• Telotte, J. P. "Badlands and the Souvenir Drive", Western Humanities Review, 40:2, Summer 1986, 101–14.
• Walker, Beverly. "Malick on Badlands", Sight and Sound, 44:2, Spring 1975, 82–3.
• Wondra, Janet. "A Gaze Unbecoming: Schooling the Child for Femininity in Days of Heaven", Wide Angle, 16:4, October 1994, 5–22.

References[link]

External links[link]

• Terrence Malick at the Internet Movie Database
• Terrence Malick at AllRovi
• Works by or about Terrence Malick in libraries (WorldCat catalog)
• Dossier about Terrence Malick, La furia umana, n°10 texts: English, Spanish, French, Italian by Joe McElhaney, Alain Bergala, Carlos Losilla, Jean-Cristophe Ferrari, Alessandro Cappabianca, and others; edited by Toni D'Angela