A Companion to Martin Scorsese (Wiley-Blackwell Companions

A spouse to Martin Scorsese is a accomplished number of unique essays assessing the occupation of 1 of America’s such a lot well-known modern filmmakers.
Contains contributions from well-liked students in North the United States 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 suggest Streets, Taxi driving force, Raging Bull, Goodfellas, Gangs of recent York, and Hugo
Considers Scorsese's position in the heritage of yank and international cinema; his paintings on the subject of auteur thought; using renowned tune and diverse subject matters equivalent to violence, ethnicity, faith, sexuality, gender, and race in his motion pictures, and extra

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Extra info for A Companion to Martin Scorsese (Wiley-Blackwell Companions to Film Directors)

Sample text

Chicago Sun-Times (February 9, 1997). Farber, S. (1975) Has Martin Scorsese gone Hollywood? New York Times (March 30, 1975): C1, C13. Geraghty, C. (1976) American cinema in the 70s: Alice Doesn’t Live Here Anymore. Movie, 22: 39–42. How Scorsese Became Scorsese 37 Goldstein, R. and Jacobson, M. (1976/1999) Martin Scorsese tells all: blood and guts turn me on! Village Voice (April 5, 1976); reprinted in Brunette, P. (1999) Martin Scorsese: Interviews. Jackson, MI: University of Mississippi Press.

More than any other filmmaker of his era, Scorsese has been able to sustain the idea that he was making authentically personal films from his own cultural experiences, even while working from within the Hollywood framework. However admired filmmakers like Robert Altman and Stanley Kubrick may be for their unique, modernist film styles, critics do not link their filmmaking back to their personal roots to the same extent. In 1980, following a personal crisis in which he almost died from a drug overdose (see Biskind, 1991/1999), Scorsese made the film widely considered his masterpiece, Raging Bull.

Scorsese’s next films would continue this trajectory. Thus, even commercial failures such as New York, New York (1977) and The King of Comedy (1983) would ultimately become respected works within his filmography, examples of Scorsese’s rebellious genius and ideological radicalism. While working in Hollywood during the 1970s, Scorsese still managed to direct three documentaries: Italianamerican (1974), a profile of Scorsese’s parents, American Boy (1978), a profile of the actor Steven Prince, and The Last Waltz (1978), a concert film and profile of the musical group The Band.

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