Searching for transcendence: an exploration of spirituality in the films of Andrei Tarkovsky and Terrence Malick
| dc.contributor.advisor | Rijsdijk, Ian-Malcolm | |
| dc.contributor.author | Nkukwana, Oyisa Amahle | |
| dc.date.accessioned | 2025-09-15T14:25:12Z | |
| dc.date.available | 2025-09-15T14:25:12Z | |
| dc.date.issued | 2025 | |
| dc.date.updated | 2025-09-15T14:22:36Z | |
| dc.description.abstract | The objective of this dissertation is to discuss how spirituality is explored in the films Mirror (1975, dir. Andrei Tarkovsky) and A Hidden Life (2019, dir. Terrence Malick) through the application of the concept of transcendence. This dissertation approaches transcendence from a spiritual framework (removed from religion and theology) as opposed to the philosophical treatment it tends to receive in other literature. Recent discussions surrounding transcendence in film have been concerned with a films philosophical content, narrative content and aesthetic style and while these have merit, they tend to ignore the unique aspect of cinema that allows one to feel that sensation while viewing. As such, this dissertation identifies mood as the distinctive quality of cinema that allows it to be a medium for transcendence. In order to understand how this may be achieved, I arrive at three conditions of transcendence in film; point of view, the revelation as opposed to opposition and externalising the internal. To illustrate how these conditions function in a film of transcendence, I apply them to Russian director Andrei Tarkovsky's film Mirror (1975) as well as American director Terrence Malick's A Hidden Life (2019) as they are known to have spiritual engagement with the medium, albeit approached differently. By analysing Mirror and A Hidden Life, this exploration seeks to highlight transcendence's subjectivity and, paradoxically, its universality. I conclude my exploration by summarizing my findings and proposing that future studies be done to test the validity of these conditions. | |
| dc.identifier.apacitation | Nkukwana, O. A. (2025). <i>Searching for transcendence: an exploration of spirituality in the films of Andrei Tarkovsky and Terrence Malick</i>. (). Universiy of Cape Town ,Faculty of Humanities ,Centre for Film and Media Studies. Retrieved from http://hdl.handle.net/11427/41816 | en_ZA |
| dc.identifier.chicagocitation | Nkukwana, Oyisa Amahle. <i>"Searching for transcendence: an exploration of spirituality in the films of Andrei Tarkovsky and Terrence Malick."</i> ., Universiy of Cape Town ,Faculty of Humanities ,Centre for Film and Media Studies, 2025. http://hdl.handle.net/11427/41816 | en_ZA |
| dc.identifier.citation | Nkukwana, O.A. 2025. Searching for transcendence: an exploration of spirituality in the films of Andrei Tarkovsky and Terrence Malick. . Universiy of Cape Town ,Faculty of Humanities ,Centre for Film and Media Studies. http://hdl.handle.net/11427/41816 | en_ZA |
| dc.identifier.ris | TY - Thesis / Dissertation AU - Nkukwana, Oyisa Amahle AB - The objective of this dissertation is to discuss how spirituality is explored in the films Mirror (1975, dir. Andrei Tarkovsky) and A Hidden Life (2019, dir. Terrence Malick) through the application of the concept of transcendence. This dissertation approaches transcendence from a spiritual framework (removed from religion and theology) as opposed to the philosophical treatment it tends to receive in other literature. Recent discussions surrounding transcendence in film have been concerned with a films philosophical content, narrative content and aesthetic style and while these have merit, they tend to ignore the unique aspect of cinema that allows one to feel that sensation while viewing. As such, this dissertation identifies mood as the distinctive quality of cinema that allows it to be a medium for transcendence. In order to understand how this may be achieved, I arrive at three conditions of transcendence in film; point of view, the revelation as opposed to opposition and externalising the internal. To illustrate how these conditions function in a film of transcendence, I apply them to Russian director Andrei Tarkovsky's film Mirror (1975) as well as American director Terrence Malick's A Hidden Life (2019) as they are known to have spiritual engagement with the medium, albeit approached differently. By analysing Mirror and A Hidden Life, this exploration seeks to highlight transcendence's subjectivity and, paradoxically, its universality. I conclude my exploration by summarizing my findings and proposing that future studies be done to test the validity of these conditions. DA - 2025 DB - OpenUCT DP - University of Cape Town KW - transcendence KW - spiritual framework KW - religion KW - theology LK - https://open.uct.ac.za PB - Universiy of Cape Town PY - 2025 T1 - Searching for transcendence: an exploration of spirituality in the films of Andrei Tarkovsky and Terrence Malick TI - Searching for transcendence: an exploration of spirituality in the films of Andrei Tarkovsky and Terrence Malick UR - http://hdl.handle.net/11427/41816 ER - | en_ZA |
| dc.identifier.uri | http://hdl.handle.net/11427/41816 | |
| dc.identifier.vancouvercitation | Nkukwana OA. Searching for transcendence: an exploration of spirituality in the films of Andrei Tarkovsky and Terrence Malick. []. Universiy of Cape Town ,Faculty of Humanities ,Centre for Film and Media Studies, 2025 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/41816 | en_ZA |
| dc.language.iso | en | |
| dc.language.rfc3066 | eng | |
| dc.publisher.department | Centre for Film and Media Studies | |
| dc.publisher.faculty | Faculty of Humanities | |
| dc.publisher.institution | Universiy of Cape Town | |
| dc.subject | transcendence | |
| dc.subject | spiritual framework | |
| dc.subject | religion | |
| dc.subject | theology | |
| dc.title | Searching for transcendence: an exploration of spirituality in the films of Andrei Tarkovsky and Terrence Malick | |
| dc.type | Thesis / Dissertation | |
| dc.type.qualificationlevel | Masters | |
| dc.type.qualificationlevel | MA |