By Aaron Baker
A spouse to Martin Scorsese is a finished number of unique essays assessing the occupation of 1 of America’s such a lot well-known modern filmmakers.
- Contains contributions from admired students in North the US and Europe that use numerous analytic approaches
- Offers clean interpretations of a few of Scorsese’s such a lot influential movies, together with Mean Streets, Taxi Driver, Raging Bull, Goodfellas, Gangs of latest York, and Hugo
- Considers Scorsese's position in the background of yankee and global cinema; his paintings in terms of auteur concept; using well known song and numerous subject matters comparable to violence, ethnicity, faith, sexuality, gender, and race in his motion pictures, and more
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Additional info for A Companion to Martin Scorsese
Filmmaker Paul Schrader, the screenwriter of Taxi Driver and other Scorsese films, has been the most vocal in his distinction between modernist and postmodernist approaches. Roger Ebert describes the difference as follows: “The existentialist hero wonders if life is worth living. The ironic hero is greatly amused by people who wonder about things like that. And there you have the difference between the work of Paul Schrader and Quentin Tarantino” (Ebert, 1997). In the same article, Schrader describes his understanding of the ironic or postmodern view of art: “Everything in the ironic world has quotation marks around it.
All three can be seen as complementary to the fiction films of the period (Thompson and Christie, 1996: 78). Italianamerican is often discussed in relation to Mean Streets, reinforcing both the autobiographical and anthropological nature of Scorsese’s first Hollywood film. American Boy has a direct relation to Taxi Driver in that Steven Prince plays the character of the gun dealer in that film. Furthermore, both films can be linked thematically in their exploration of marginal, disturbed figures.
I)t is Douglas Sirk who should be honored as a truly worthy women’s director” (Kay and Peary, 1975: 7). The comparison here to Sirk is no doubt negative, but it nevertheless shows how, within academic film journals, Hollywood was no longer seen as beneath serious consideration. If Sirk can be taken seriously, then theoretically at least, so could a film such as Alice Doesn’t Live Here Anymore. The problem the film has from this perspective is not its Hollywood conventions. Rather, it is the lack of deliberate artifice to render those conventions critically.
A Companion to Martin Scorsese by Aaron Baker