By Aaron Baker
A spouse to Martin Scorsese is a finished number of unique essays assessing the profession of 1 of America’s so much trendy modern filmmakers.
- Contains contributions from well-known students in North the USA and Europe that use a number of analytic approaches
- Offers clean interpretations of a few of Scorsese’s so much 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 global cinema; his paintings relating to auteur concept; using renowned tune and numerous topics reminiscent of violence, ethnicity, faith, sexuality, gender, and race in his motion pictures, and more
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Extra resources for A Companion to Martin Scorsese
Across the United States in the 1960s, more and more children were attending university, including many who came from working-class backgrounds. At the same time, film programs were opening and expanding rapidly, as the 1960s explosion of world cinema created widespread demand in what was now considered the most important art form of the twentieth century. Scorsese entered New York University (NYU) in 1962 and eventually moved into the Film department, completing his master’s degree in 1966. He made two acclaimed short films, What’s a Nice Girl Like You Doing in a Place Like This?
Jackson, MI: University of Mississippi. Bordwell, D. (2006) The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley, CA: University of California Press. Bourdieu, P. (1993) The Field of Cultural Production. Edited and Introduced by Randal Johnson. New York: Columbia University Press. Carney, R. (2001) Cassavetes on Cassavetes. New York: Faber and Faber. Casillo, R. (2006) Gangster Priest: The Italian American Cinema of Martin Scorsese. Toronto: University of Toronto Press. Ebert, R.
The reference to Raymond Chandler in the title is merely one of many allusions the film makes to American popular culture, especially Hollywood cinema, as an attempt by Scorsese to locate Mean Streets within a filmmaking tradition. The characters in the film may be from a culturally specific group, but this culture has now been transformed by its connection with the world of mass entertainment represented by Hollywood cinema. Scorsese’s own comments on the film stress these twin influences: “[A]t the same time as giving this accurate picture of Italian-Americans, I was trying to make a kind of homage to the Warner Brothers [sic] gangster films” (Thompson and Christie, 1996: 43–45).