By Aaron Baker
A significant other to Martin Scorsese is a complete choice of unique essays assessing the profession of 1 of America’s such a lot well-known modern filmmakers.
- Contains contributions from widespread students in North the US and Europe that use quite a few analytic approaches
- Offers clean interpretations of a few of Scorsese’s such a lot influential motion pictures, together with Mean Streets, Taxi Driver, Raging Bull, Goodfellas, Gangs of recent York, and Hugo
- Considers Scorsese's position in the heritage of yank and international cinema; his paintings with regards to auteur idea; using renowned tune and diverse subject matters corresponding to violence, ethnicity, faith, sexuality, gender, and race in his motion pictures, and more
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Additional resources for A Companion to Martin Scorsese
There is a strong contemporary strain through the references in Schrader’s script to the would-be political assassin Arthur Bremer along with the film’s implicit use of the social movements of the 1960s: feminism, the sexual revolution, civil rights, and the counterculture. References are made to such New Wave favorites as Diary of a Country Priest (Robert Bresson, 1950) and The Searchers (previously referenced by Scorsese in earlier films), with a score conducted by Bernard Herrmann, famous for his work with Welles and Hitchcock.
2000) A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman, Fincher. 3rd edn. New York: Oxford University Press. Kouvaros, G. : John Cassavetes and Cinema at the Breaking Point. Minneapolis, MN: University of Minnesota. B. (1985) A Certain Tendency of the Hollywood Cinema 1930–1980. Princeton, NJ: Princeton University Press. Riley, R. (2003) Film, Faith, and Cultural Conflict: The Case of Martin Scorsese’s “The Last Temptation of Christ”. London: Praeger. Schickel, R. (1973) A closed circle.
18 Marc Raymond widescreen), so that the 1950s can be seen as a Golden Age aesthetically if not commercially. And as Hollywood was in decline and closing theaters, the arthouse cinema circuit was just beginning, with New York as the epicenter (see Wilinsky, 2001). Even local television, often considered the enemy of film, added to Scorsese’s education by replaying old Hollywood films and, more importantly, films from the Italian Neorealism movement. As Scorsese explains in his 1999 documentary, My Voyage to Italy, his large extended family would often watch these rather terrible prints of such classics as Paisan (Roberto Rosselini, 1946) and La Terra Trema (Luchino Visconti, 1947) on local Italian television, and despite the poor quality the impact was still felt.
A Companion to Martin Scorsese by Aaron Baker