Palme d'Or awarded to Apocalypse Now at the 1979 Cannes Film Festival

The Palme d'Or (English: Golden Palm) is the highest prize awarded at the Cannes Film Festival and is presented to the director of the best feature film of the official competition.^[1] It was introduced in 1955 by the organising committee. From 1939 to 1954, the highest prize was the Grand Prix du Festival International du Film.^[2] From 1964 to 1974, it was replaced once again, by the Grand Prix du Festival.^[3]

History[link]

The Commune of Cannes coat of arms

Through 1954, the Jury of the Festival de Cannes awarded a "Grand Prix of the International Film Festival", with a new design each year from a contemporary artist. At the end of 1954, the Festival's Board of Directors invited several jewellers to submit designs for a palm, in tribute to the coat of arms of the City of Cannes.^[4] The original design by the jeweller Lucienne Lazon had the bevelled lower extremity of the stalk forming a heart, and the pedestal a sculpture in terracotta by the artist Sébastien.

In 1955, the first Palme d'Or was awarded to Delbert Mann for Marty, and it remained the highest award until 1964, when copyright issues with the Palme led the Festival to return to the Grand Prix. In 1975 the Palme d'Or was reintroduced and has since remained the symbol of the Cannes Film Festival, awarded every year to the director of the Best Feature Film of the Official Competition, and presented in a case of pure red Morocco leather lined with white suede.

Since its reintroduction, the prize has been redesigned several times. At the beginning of the 1980s, the rounded shape of the pedestal, bearing the palm, gradually transformed to become pyramidal in 1984. In 1992, Thierry de Bourqueney redesigned the Palme and its pedestal in hand-cut crystal. The current design from 1997 is by Caroline Scheufele at Chopard. A single piece of cut crystal forms a cushion for the 24-carat gold palm, which is hand cast into a wax mould and presented in a case of blue Morocco leather.^[5]

Award winners[link]

Year	Film	Director	Nationality of Director (at time of film's release)
1939	Union Pacific[6]	Cecil B. DeMille	United States*
1946	The Turning Point (Великий перелом / Velikij perelom)	Fridrikh Ermler	Soviet Union*
	Men Without Wings (Muži bez křídel)	František Čáp	Czechoslovakia*
	The Last Chance (Die Letzte Chance)	Leopold Lindtberg	Austria*
	Iris and the Lieutenant (Iris och löjtnantshjärta)	Alf Sjöberg	Sweden*
	Portrait of Maria (María Candelaria (Xochimilco))	Emilio Fernández	Mexico*
	Rome, Open City (Roma, città aperta)	Roberto Rossellini	Italy*
	Neecha Nagar (नी�ा नगर)	Chetan Anand	India*
	Brief Encounter	David Lean	United Kingdom*
	La symphonie pastorale	Jean Delannoy	France*
	The Lost Weekend	Billy Wilder	United States
	The Red Meadows (De røde enge)	Bodil Ipsen and Lau Lauritzen Jr.	Denmark*
	Girl No. 217 (Человек № 217 / Čelovek № 217)	Mikhail Romm	Soviet Union*
1949	The Third Man	Carol Reed	United Kingdom
1951	Miss Julie (Fröken Julie)	Alf Sjöberg	Sweden
	Miracle in Milan (Miracolo a Milano)	Vittorio De Sica	Italy
1952	The Tragedy of Othello: The Moor of Venice	Orson Welles	United States
	Two Cents Worth of Hope (Due soldi di speranza)	Renato Castellani	Italy
1953	The Wages of Fear (Le salaire de la peur)	Henri-Georges Clouzot	France
1954	Gate of Hell (地�門 / Jigokumon)	Teinosuke Kinugasa	Japan*
1955	Marty	Delbert Mann	United States
1956	The Silent World (Le monde du silence)	Jacques-Yves Cousteau and Louis Malle	France
1957	Friendly Persuasion	William Wyler	United States
1958	The Cranes Are Flying (ЛетÑ?Ñ‚ журавли / Letât žuravli)	Mikhail Kalatozov	Soviet Union
1959	Black Orpheus (Orfeu Negro)	Marcel Camus	France
1960	La Dolce Vita	Federico Fellini	Italy
1961	The Long Absence (Une aussi longue absence)	Henri Colpi	France
	Viridiana	Luis Buñuel	Mexico
1962	O Pagador de Promessas	Anselmo Duarte	Brazil*
1963	The Leopard (Il gattopardo)	Luchino Visconti	Italy
1964	The Umbrellas of Cherbourg (Les parapluies de Cherbourg)	Jacques Demy	France
1965	The Knack …and How to Get It	Richard Lester	United Kingdom
1966	A Man and a Woman (Un homme et une femme)	Claude Lelouch	France
	The Birds, the Bees and the Italians (Signore e signori)	Pietro Germi	Italy
1967	Blow-Up	Michelangelo Antonioni	Italy
1969	if....	Lindsay Anderson	United Kingdom
1970	MASH	Robert Altman	United States
1971	The Go-Between	Joseph Losey	United Kingdom
1972	The Working Class Goes to Heaven (La classe operaia va in paradiso)	Elio Petri	Italy
	The Mattei Affair (Il caso Mattei)	Francesco Rosi	Italy
1973	The Hireling	Alan Bridges	United Kingdom
	Scarecrow	Jerry Schatzberg	United States
1974	The Conversation	Francis Ford Coppola	United States
1975	Chronicle of the Years of Fire (Chronique des années de braise)	Mohammed Lakhdar-Hamina	Algeria*
1976	Taxi Driver	Martin Scorsese	United States
1977	Padre Padrone	Paolo and Vittorio Taviani	Italy
1978	The Tree of Wooden Clogs (L'albero degli zoccoli)	Ermanno Olmi	Italy
1979	Apocalypse Now	Francis Ford Coppola	United States
	The Tin Drum (Die Blechtrommel)	Volker Schlöndorff	West Germany*
1980	All That Jazz	Bob Fosse	United States
	Kagemusha (影武者)	Akira Kurosawa	Japan
1981	Man of Iron (Człowiek z żelaza)	Andrzej Wajda	Poland*
1982	Missing	Costa-Gavras	United States
	The Way (Yol)	Yılmaz Güney and Å?erif Gören	Turkey*
1983	The Ballad of Narayama (楢山節考 / Narayama bushikÅ?)	Shohei Imamura	Japan
1984	Paris, Texas §	Wim Wenders	West Germany
1985	When Father Was Away on Business (Otac na službenom putu) §	Emir Kusturica	Yugoslavia*
1986	The Mission	Roland Joffé	United Kingdom
1987	Under the Sun of Satan (Sous le soleil de Satan) §	Maurice Pialat	France
1988	Pelle the Conqueror (Pelle erobreren)	Bille August	Denmark /  Sweden
1989	Sex, Lies, and Videotape	Steven Soderbergh	United States
1990	Wild at Heart	David Lynch	United States
1991	Barton Fink §	Coen brothers	United States
1992	The Best Intentions (Den goda viljan)	Bille August	Denmark /  Sweden
1993	Farewell My Concubine (霸�別姬 / Bàwáng bié jī)	Chen Kaige	China*
	The Piano	Jane Campion	Australia* /  New Zealand*
1994	Pulp Fiction	Quentin Tarantino	United States
1995	Underground (Подземље / Podzemlje)	Emir Kusturica	Yugoslavia*
1996	Secrets & Lies	Mike Leigh	United Kingdom
1997	Taste of Cherry (طعم Ú¯Ù?لاس / Ta'm-e gÄ«lÄ?s)	Abbas Kiarostami	Iran*
	The Eel (ã?†ã?ªã?? / Unagi)	Shohei Imamura	Japan
1998	Eternity and a Day (Μια αιωνιότητα και μια μέÏ?α / Mia aio̱nióti̱ta kai mia méra) §	Theo Angelopoulos	Greece*
1999	Rosetta §	Dardenne brothers	Belgium*
2000	Dancer in the Dark	Lars von Trier	Denmark
2001	The Son's Room (La stanza del figlio)	Nanni Moretti	Italy
2002	The Pianist (Pianista)	Roman Polanski	France /  Poland
2003	Elephant	Gus Van Sant	United States
2004	Fahrenheit 9/11	Michael Moore	United States
2005	L'enfant (The Child)	Dardenne brothers	Belgium
2006	The Wind That Shakes the Barley §	Ken Loach	United Kingdom /  Ireland*
2007	4 Months, 3 Weeks and 2 Days (4 luni, 3 săptămâni şi 2 zile)	Cristian Mungiu	Romania*
2008	The Class (Entre les murs) §	Laurent Cantet	France
2009	The White Ribbon (Das weiße Band, Eine deutsche Kindergeschichte)	Michael Haneke	Austria /  Germany
2010	Uncle Boonmee Who Can Recall His Past Lives (ลุง�ุ�มีระลึ��าติ / Lung Bunmi Raluek Chat)	Apichatpong Weerasethakul	Thailand*
2011	The Tree of Life	Terrence Malick	United States
2012	Love (Amour)	Michael Haneke	Austria /  France

* _{denotes first win}
§ _{denotes unanimous win}

Multiple award winners[link]

• Alf Sjöberg (1946, 1951)
• Francis Ford Coppola (1974, 1979)
• Bille August (1988, 1992)
• Emir Kusturica (1985, 1995)
• Shohei Imamura (1983, 1997)
• Luc and Jean-Pierre Dardenne (1999, 2005)
• Michael Haneke (2009, 2012)

See also[link]

Film portal

• Golden Bear, the highest prize awarded at the Berlin Film Festival
• Golden Lion, the highest prize awarded at the Venice Film Festival

References[link]

External links[link]

• Palme d'Or Winners, 1976 to present, by gross box-office.
• All the Palmes d'Or. Festival-cannes.com.
• Cannes Film Festival. IMDB.

Michael Haneke
Michael Haneke at the 2009 Cannes Film Festival.
Born	(1942-03-23) 23 March 1942 (age 70) Munich, Germany
Nationality	Austrian
Occupation	Filmmaker/Screenwriter
Years active	1974–present
Spouse	Susanne Haneke (1983-present)

Michael Haneke (German pronunciation: [hÉ‘Ë?nÉ›kÉ›]; born 23 March 1942) is a German born Austrian filmaker and screenwriter best known for his bleak and disturbing style. His films often document problems and failures in modern society. Haneke has worked in televisionâ€? theatre and cinema. He is also known for raising social issues in his work.^[1] Besides working as filmmaker he also teaches directing at the Filmacademy Vienna.

At the 2009 Cannes Film Festival, his film The White Ribbon won the Palme d'Or for best film, and at the 67th Golden Globe Awards the film won the Golden Globe Award for Best Foreign Language Film. In 2012, his film, Love, premiered and competed at the 2012 Cannes Film Festival.^[2][3] The film would go on to win the Palme d'Or, making it his second win of the prestigious award in three years and putting him in an elite club of only seven with the likes of Francis Ford Coppola.^[4] He has made films in French, German and in English.

Life and career[link]

Haneke was born in Munich, Germany, the son of the German actor and director Fritz Haneke and the Austrian actress Beatrix von Degenschild. Haneke was raised in the city Wiener Neustadt. He attended the University of Vienna to study philosophy, psychology and drama after failing to achieve success in his early attempts in acting and music. After graduating, he became a film critic and from 1967 to 1970 he worked as editor and dramaturg at the southwestern German television station Südwestfunk. He made his debut as a television director in 1974.

Haneke's feature film debut was 1989's The Seventh Continent, which served to trace out the violent and bold style that would bloom in later years. Three years later, the controversial Benny's Video put Haneke's name on the map. Haneke's greatest success came in 2001 with his most critically successful film, the French The Piano Teacher. It won the prestigious Grand Prize at the 2001 Cannes Film Festival and also won its stars, Benoît Magimel and Isabelle Huppert, the Best Actor and Actress awards. He has worked with Juliette Binoche (Code Unknown in 2000 and Caché in 2005), after she expressed interest in working with him.^[5] Haneke frequently worked with real-life couple Ulrich Mühe and Susanne Lothar - thrice each.

His film, The White Ribbon, premiered at the 2009 Cannes Film Festival. The film is set in 1913 and deals with strange incidents in a small town in Northern Germany, depicting an authoritarian, fascist-like atmosphere, where children are subjected to rigid rules and suffer harsh punishments, and where strange deaths occur. The Cannes Jury presided by Isabelle Huppert and including Asia Argento, Hanif Kureishi and Robin Wright Penn awarded Haneke's film the Palme d'Or for the best feature film. In 2012, his film Love also won the Palme d'Or at Cannes. So Haneke joined just 7 other filmmakers to have won the prestigious award twice: Francis Ford Coppola, ShÅ?hei Imamura, the Dardenne brothers, Alf Sjöberg, Bille August and Emir Kusturica.

Haneke believes that films should offer viewers more space for imagination and self reflection. Films that have too much detail and moral clarity, Haneke argues, are used for mindless consumption by their viewers. It is often difficult for people to ascertain Haneke's philosophy and the exact messages he wishes to illustrate in his works.^[6]

Some of his films feature a stereotypical bourgeois couple named Anna/Anne and Georg/Georges (The Seventh Continent, Benny's Video, Funny Games, Code Unknown, Time of the Wolf, Caché, Funny Games US). The identity of the couple, as well as that of the actors portraying them, always changes from one film to another. Their surname is sometimes given as Laurent. His other films will feature characters with the same names, albeit unmarried and unrelated (such as The White Ribbon).

Stage work[link]

Haneke has directed a number of stage productions in German, which include works by Strindberg, Goethe, and Heinrich von Kleist in Berlin, Munich and Vienna. In 2006 he gave his debut as an opera director, staging Mozart's Don Giovanni for the Opéra National de Paris at Palais Garnier, when the theater's general manager was Gerard Mortier. In 2012, he was to direct Così fan tutte for the New York City Opera.^[7] This production had originally been commissioned by Jürgen Flimm for the Salzburg Festival 2009, but Haneke had to resign due to an illness preventing him from preparing the work. Haneke is now scheduled to realize the production at Madrid's Teatro Real in 2012, which then will be managed by Mortier.^[8]

Quotes[link]

"My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus."

-- From "Film as catharsis".^[9]

"Pornography, it seems to me, is no different from war films or propaganda films in that it tries to make the visceral, horrific, or transgressive elements of life consumable."^[10]

"Film is 24 lies per second at the service of truth, or at the service of the attempt to find the truth."

"My favourite film-maker of the decade is Abbas Kiarostami. He achieves a simplicity that’s so difficult to attain."^[11]

"I do think that our perception of reality is fragmentary, and in 20th-century literature, it’s totally normal to not describe reality as something whole and completely transportable and explicable. That’s been accepted in novels. But genre films always pretend that reality is transportable, which means that it is explicable."^[12]

Filmography[link]

Feature films[link]

• The Seventh Continent (1989)
• Benny's Video (1992)
• 71 Fragments of a Chronology of Chance (1994)
• Funny Games (1997)
• Code Unknown (2000)
• The Piano Teacher (2001) Won the Grand Prix at the 2001 Cannes Film Festival
• Time of the Wolf (2003)
• Caché (2005) (Hidden) Won the Best Director Award at the 2005 Cannes Film Festival
• Funny Games (US remake) (2008)
• The White Ribbon (2009) Won the Palme d'Or at the 2009 Cannes Film Festival^[13] and 2010 the Golden Globe in the category "Best Foreign Language Film".
• Love (2012) Won the Palme d'Or at the 2012 Cannes Film Festival

TV films[link]

• ...Und was Kommt Danach? (1974) (After Liverpool)
• Drei Wege zum See (1976) (Three Paths to the Lake)
• Sperrmüll (1976) (Household Rubbish)
• Lemminge, Teil 1: Arkadien (1979) (Lemmings, Part 1: Arcadia)
• Lemminge, Teil 2: Verletzungen (1979) (Lemmings, Part 2: Injuries)
• Variation (1983)
• Wer war Edgar Allan? (1984) (Who Was Edgar Allen?)
• Fräulein (1985) (Miss)
• Nachruf für einen Mörder (1991) (Obituary for a Murderer)
• Die Rebellion (1992) (The Rebellion)
• Das Schloß (1997) (The Castle)

Short films[link]

• Lumière and Company' (1995) (segment "Michael Haneke/Vienne")

Bibliography[link]

• Catherine Wheatley: Michael Haneke's Cinema: The Ethic of the Image, New York: Berghahn Books, 2009, ISBN 1-84545-722-6 review
• Michael Haneke. Special Issue of Modern Austrian Literature. 43.2, 2010.

References[link]

External links[link]

Media related to Michael Haneke at Wikimedia Commons

• Michael Haneke at the Internet Movie Database
• Michael Haneke's speech at Cannes Festival 2012 Youtube link here

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]