Skip to main content Accessibility help
×
Hostname: page-component-7479d7b7d-k7p5g Total loading time: 0 Render date: 2024-07-12T07:57:21.685Z Has data issue: false hasContentIssue false

14 - Filming the spiritual landscape of James Jones's The Thin Red Line

Published online by Cambridge University Press:  12 January 2010

R. Barton Palmer
Affiliation:
Calhoun Professor of Literature, also directs the Film Study Graduate Program, Clemson University
R. Barton Palmer
Affiliation:
Clemson University, South Carolina
Get access

Summary

One of their number

On January 1, 1943, as a member of F Company, 27th Infantry Regiment of the 25th Infantry Division, Army private James Jones (1921–1977) landed on the island of Guadalcanal, which had been successfully invaded and partially occupied by the 1st Marine Division some months before. The Marines had suffered nearly 2,400 casualties in the bitter fight to take this outpost in the Solomons, from which the Japanese controlled the sea-lanes into northern Australia. The remaining Marine effectives were almost all suffering from malaria and other tropical diseases when they were withdrawn from a jungle battlefield that offered an obstacle almost as hostile to American arms as the enemy. The task facing the 25th (along with the Americal Division and units of the 2nd Marines) was to secure the rest of the island, whose airbase could then be used to project American power further into the ring of island fortresses that marked the forward advance of the Japanese offensive in the South Pacific.

The American command did not know at the time that the Japanese, hard pressed on land and in the surrounding waters, had determined to evacuate the majority of their troops, leaving behind only selected units, composed of men suffering desperately from disease and lack of food. These would fight a bitter rearguard action to the death in order to shield their retreating comrades.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2007

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Andrew, Dudley J., “The Well-Worn Muse: Adaptation in Film History and Theory,” in Conger, S. M. and Welsch, J. R.., eds., Narrative Strategies (Macomb, IL: West Illinois University Press, 1980).Google Scholar
Brokaw, Tom, The Greatest Generation (New York: Random House, 1998).Google Scholar
Carter, Steven R., James Jones: An American Orientalist Master (Urbana, IL: University of Illinois Press, 1998).Google Scholar
Chion, Michel, The Thin Red Line (London: BFI, 2004).Google Scholar
Dower, John W., War Without Mercy: Race & Power in the Pacific War (New York: Pantheon, 1986).Google Scholar
Flanagan, Martin, “‘Everything a Lie’: The Critical and Commercial Reception of Terrence Malick's The Thin Red Line,” in Patterson, Hannah, ed., The Cinema of Terrence Malick: Poetic Visions of America (London: Wallflower Press, 2004), pp. 123–136.Google Scholar
Fursteneau, Marc, and Leslie MacAvoy, “Terrence Malick's Heideggerian Cinema: War and the Question of Being in The Thin Red Line,” in Patterson, Hannah, ed., The Cinema of Terrence Malick: Poetic Visions of America (Wallflower Press), pp. 173–185.
Fussell, Paul, Wartime: Understanding and Behavior in the Second World War (New York: Oxford University Press, 1989).Google Scholar
Garrett, George, James Jones (New York: Harcourt Brace Jovanovich, 1984).Google Scholar
Heidegger, Martin, Poetry, Language, Thought, trans. Albert Hofstadter (New York: Harper & Row, 1971).Google Scholar
Jones, James, The Thin Red Line (New York: Bantam, 1962).Google Scholar
Jones, James, WWII: A Chronicle of Soldiering (New York: Ballantine, 1975).CrossRefGoogle Scholar
Jones, Peter G., War and the Novelist (Columbia, MO: University of Missouri Press, 1978).Google Scholar
Kipling, Rudyard, Tommy (London: A. Grosset & Co., 1899).Google Scholar
MacCabe, Colin, “Bayonets in Paradise,” Sight and Sound 9:2 (1999), pp. 11–14.Google Scholar
Mailer, Norman, Cannibals and Christians (New York: Dial Press, 1966).Google Scholar
Orr, John, The Contemporary Cinema (Edinburgh: Edinburgh University Press, 1998).Google Scholar
Silberman, Robert, “Terrence Malick, Landscape, and ‘This War at the Heart of Nature,’” in Patterson, Hannah, ed., The Cinema of Terrence Malick: Poetic Visions of America (Wallflower Press, 2004), pp. 160–177.
Stam, Robert, “Beyond Fidelity: The Dialogics of Adaptation,” in Naremore, James, ed., Film Adaptation (New Brunswick, NJ: Rutgers University Press, 2000), pp. 54–76.Google Scholar
Weil, Simone, “The Iliad, Poem of Might,” in Panichas, A., ed., The Simone Weil Reader (Mt. Kisco, NY: Moyer Bell, 1977).Google Scholar
Whalen, Tom, “‘Maybe All Men Got One Big Soul’: The Hoax Within the Metaphysics of Terrence Malick's The Thin Red Line,” Literature/Film Quarterly 27:3 (1999), pp. 162–166.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×