A Companion to Martin Scorsese A Companion to Martin Scorsese“This valuable book brings the exceptional scale of Martin Scorsese's film work into clear view. His achievements are monumental, and the essays collected in this work provide wonderfully detailed and vivid analyses of his oeuvre. A comprehensive study of the most exciting filmmaker working today.”Robert Burgoyne, University of St AndrewsA Companion to Martin Scorsese, Revised Edition is a comprehensive collection of original essays assessing the career of one of America's most prominent contemporary filmmakers. The first reference work of its kind, this book contains contributions from influential scholars in North America and Europe. The essays use a variety of analytic approaches to study numerous aspects of Scorsese's work, from his earliest films to his place within the history of American and world cinema. They consider his work in relation to auteur theory, the genres in which he has worked, his use of popular music, and his recent involvement with film preservation. Several of the essays offer fresh interpretations of some of Scorsese's most influential films, including Mean Streets, Taxi Driver, Raging Bull, GoodFellas, Gangs of New York, Hugo, and The Irishman. Others take a broader approach and discuss the representation of violence, ethnicity, religion, sexuality, gender, race, and other themes across his work. With insights that will interest film scholars as well as movie enthusiasts, this is an important contribution to the scholarship of contemporary American cinema.

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John Wiley and Sons Ltd

John Wiley & Sons Inc

Wiley Blackwell

Wiley-Blackwell companions to film directors, Chichester, West Sussex, 2015

Wiley-Blackwell Companions to Film Directors, 2014

United Kingdom and Ireland, United Kingdom

Chichester, England, 2015

1, 2014-11-10

1, FR, 2014

producers:
iText® 5.1.3 ©2000-2011 1T3XT BVBA

Memory of the World Librarian: Quintus

Memory of the World Librarian: Slowrotation

Cover 1
Wiley Blackwell Companions to Film Directors 4
Title page 5
Copyright page 6
Contents 7
Contributors 10
Introduction: Artistic Solutions to Sociological Problems 15
Part One: The Pious Auteur 29
1: How Scorsese Became Scorsese: A Historiography of New Hollywood’s Most Prestigious Auteur 31
References 50
2: Smuggling Iconoclasm: European Cinema and Scorsese’s Male Antiheroes 52
Notes 65
References 65
3: Italian Films, New York City Television, and the Work of Martin Scorsese 67
Italian Neorealism, an Overview 68
A Neorealist-influenced Filmmaker 72
Italian Films on Television in the United States 74
Scorsese and Film Advocacy 80
Notes 82
References 82
Further Reading 84
4: The Imaginary Museum: Martin Scorsese’s Film History Documentaries 85
The Power of the Clip 86
The Archivist’s Categories 87
Genres and Stories 89
Proficiency and Vision 91
Scorsese, Kazan, and Politics 94
The Museum, the Modern, the Postmodern 95
To Italy 96
The Neorealist Impulse 97
Modernism Revisited 98
Scorsese’s Voyage 99
Politics Resurface 101
Beyond Neorealism 102
Note 104
Reference 104
5: Images of Religion, Ritual, and the Sacred in Martin Scorsese’s Cinema 105
Precursors and Contemporaries 106
Early Stirrings 107
Saints and Sinners 109
Season of the Witch 110
The Morality Car Wash 112
Orpheus Descending, or, Scorsese in Nighttown 113
Hauntology 118
Humility and Pride 123
Not Nihil 124
Notes 124
References 126
Part Two: Social Contexts and Conflicts 129
6: Alice Doesn’t Live Here Anymore and Italianamerican: Gender, Ethnicity, and Imagination 131
Note 145
References 146
7: Mobsters and Bluebloods: Scorsese’s The Age of Innocence in the Perspective of his Italian American Films 147
Mobsters and Bluebloods 151
Transgression and Crisis within the Families 159
Return to Social Solidarity and Hierarchy 166
Variations on the Theme of Violence 174
Innocence, Sacrifice, and Self-Renunciation 182
Notes 184
References 185
Further Reading 186
8: Off-White Masculinity in Martin Scorsese’s Gangster Films 187
Identity Politics, Multiculturalism, and Whiteness 190
GoodFellas: Ethnic Hybridity and the Longing for Identity 195
“Expressive Realism”: Scorsesean Melodrama 202
Conclusion 205
Notes 206
References 207
9: Irish-American Identity in the Films of Martin Scorsese 209
References 226
10: Issues of Race, Ethnicity, and Television Authorship in Martin Scorsese Presents the Blues and Boardwalk Empire 228
Authorship and the Television Career of Martin Scorsese 229
Martin Scorsese Presents The Blues 231
Boardwalk Empire 239
Notes 246
References 248
Part Three: Form and the Filmmaking Process 251
11: Martin Scorsese and the Music Documentary 253
Woodstock 256
The Last Waltz 259
No Direction Home: Bob Dylan and Shine a Light 264
Notes 270
References 271
Further Reading 272
12: Martin Scorsese Rocks 273
It All Started When . . . 275
Mean Streets (1973) 275
GoodFellas (1990) 280
Casino (1996) 282
Conclusions 284
Notes 286
References 287
Songs in Mean Streets 287
Songs in GoodFellas 287
Songs in Casino 288
13: Music as Cultural Signifier of Italian/American Life in Who’s That Knocking at My Door and Mean Streets 291
References 304
14: When Marty Met Bobby: Collaborative Authorship in Mean Streets and Taxi Driver 306
When Marty Met Bobby 309
Triangulated Authorship in Taxi Driver 316
Conclusions 323
Acknowledgments 324
References 324
Further Reading 325
15: Scorsese’s Landscape of Mortality 326
Preamble: Yankee at Home 326
A Painter of Some Distinction 329
“Pull It Off, Lionel! You always Do!” 332
“No One Will Sleep” 337
A Hand Job 342
References 343
Further Reading 344
16: Borderlines: Boundaries and Transgression in the City Films of Martin Scorsese 345
Little Italy 346
Place, Space, and Narrative 348
The City Grid, Logic, and Illogic 350
Mean Streets: The Code of the Streets 352
Taxi Driver: The Travels of a Placeless Person 354
After Hours: Transgression 355
Gangs of New York and the Erasure of Urban History 358
Conclusion 362
Notes 363
References 364
Further Reading 365
Part Four: Major Films 367
17: Mean Streets as Cinema of Independence 369
Mean Streets, Independence, and the Art Film Mode 371
Independence as Thematic Sensibility 375
Mean Streets’ Legacy in “Independent” Cinema 383
Notes 384
References 385
Further Reading 386
18: Taxi Driver and Veteran Trauma 387
Introduction 387
Trauma, Repetition, and Existential Crisis 388
Situating Taxi Driver 390
Success, Failure, and Vietnam 394
Diagnosing Travis Bickle 397
The Trauma of Travis Bickle 399
Violence and Power 401
The Controversial Ending 404
Trauma Beyond Taxi Driver 405
References 406
Further Reading 409
Filmography 409
19: Filming the Fights: Subjectivity and Sensation in Raging Bull 410
Introduction 410
Production History 412
Preproduction 413
Shooting 415
Postproduction 417
The Nine Bouts 419
#1 Jimmy Reeves, Cleveland, 1941 419
#2–3 Sugar Ray Robinson 1 & 2, both Detroit 1943, three weeks apart 421
#4 Montage of Victories and home movies, 1944–1947 422
#5 Tony Janiro, New York City, 1947 423
#6 Billy Fox, New York City, 1947 425
#7 Marcel Cerdan championship fight, Detroit 1949 426
#8 Laurent Dauthuille, title defense, Detriot, 1950 427
#9 Sugar Ray Robinson #3, Chicago, 1951 429
Acknowledgment 432
References 432
Appendix: Nine Boxing Sequences 433
20: The Last Temptation of Christ: Queering the Divine 434
Much Ado about Something 436
Planting Queer Seeds 437
From Novel to Screen: Portraying the Unportrayable 439
Jesus: The Tortured Messiah 440
Jesus in Denial 449
Queering the Divine 452
Notes 453
References 454
21: The Cinematic Seduction of Not a “Good Fella” 456
For Love of the Mob 458
Into “The Life” 460
The Insulated Life 465
“The Life” as We Know It 466
Not a “Good Fella” 470
References 472
22: Hugo and the (Re-)Invention of Martin Scorsese 473
That Other Selznick 475
Scorsese and the Boy in the Clock 479
Watching Hollywood 489
References 492
Index 494
EULA 499
Film & Video,Performing Arts,History & Criticism,Techniques,Photography,Individual Director,Direction & Production,Cinematography & Videography

A Companion to Martin Scorsese is a comprehensive collection of original essays assessing the career of one of America’s most prominent contemporary filmmakers.
Contains contributions from prominent scholars in North America and Europe that use a variety of analytic approaches
Offers fresh interpretations of some of Scorsese’s most influential films, including Mean Streets , Taxi Driver , Raging Bull , Goodfellas , Gangs of New York , and Hugo
Considers Scorsese's place within the history of American and world cinema; his work in relation to auteur theory; the use of popular music and various themes such as violence, ethnicity, religion, sexuality, gender, and race in his films, and more
**
Review
"This valuable book brings the exceptional scale of Martin Scorsese's film work into clear view. His achievements are monumental, and the essays collected in this work provide wonderfully detailed and vivid analyses of his oeuvre. A comprehensive study of the most exciting filmmaker working today."
Robert Burgoyne, University of St Andrews
From the Back Cover
A Companion to Martin Scorsese is a comprehensive collection of original essays assessing the career of one of America’s most prominent contemporary filmmakers. The first reference of its kind, this book contains contributions from influential scholars in North America and Europe. The essays use a variety of analytic approaches to study all aspects of Scorsese’s work, from his earliest films to his place within the history of American and world cinema. They consider his work in relation to auteur theory, the genres in which he has worked, his use of popular music, and his recent involvement with film preservation. Several of the essays offer fresh interpretations of some of Scorsese’s most influential films, including Mean Streets, Taxi Driver, Raging Bull, Goodfellas, Gangs of New York , and Hugo . Others take a broader approach and discuss the representation of violence, ethnicity, religion, sexuality, gender, race, and other themes across his work. With insights that will interest film scholars as well as movie enthusiasts, this is an important contribution to the scholarship of contemporary American cinema.

A Companion to Martin Scorsese A Companion to Martin Scorsese This valuable book brings the exceptional scale of Martin Scorseses film work into clear view. His achievements are monumental, and the essays collected in this work provide wonderfully detailed and vivid analyses of his oeuvre. A comprehensive study of the most exciting filmmaker working today.
Robert Burgoyne , University of St Andrews A Companion to Martin Scorsese, Revised Edition is a comprehensive collection of original essays assessing the career of one of Americas most prominent contemporary filmmakers. The first reference work of its kind, this book contains contributions from influential scholars in North America and Europe. The essays use a variety of analytic approaches to study numerous aspects of Scorseses work, from his earliest films to his place within the history of American and world cinema. They consider his work in relation to auteur theory, the genres in which he has worked, his use of popular music, and his recent involvement with film preservation. Several of the essays offer fresh interpretations of some of Scorseses most influential films, including Mean Streets, Taxi Driver, Raging Bull, GoodFellas, Gangs of New York, Hugo, and The Irishman . Others take a broader approach and discuss the representation of violence, ethnicity, religion, sexuality, gender, race, and other themes across his work. With insights that will interest film scholars as well as movie enthusiasts, this is an important contribution to the scholarship of contemporary American cinema.

2021-02-24