chapter  1
INTRODUCTION
Pages 10

It is surprising, given Malick’s elevated standing in the pantheon of modern directors, that there are to date few critical studies of his work. Two critical monographs have appeared thus far (Morrison and Schur 2003; Chion 2004), the latter restricting itself to The Thin Red Line. Another general monograph is forthcoming (Martin 2008). There is, in addition, an extended treatment of The Thin Red Line in a chapter of a book (Bersani and Dutoit 2004), and a comparative assessment with other directors such as David Lynch and Robert Altman in a chapter of a book on con-

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(Patterson, ed., 2003; expanded edition 2007).