A significant other to Martin Scorsese is a entire choice of unique essays assessing the profession of 1 of America’s such a lot well known modern filmmakers.
Contains contributions from favourite students in North the United States and Europe that use numerous analytic approaches
Offers clean interpretations of a few of Scorsese’s such a lot influential motion pictures, together with suggest Streets, Taxi motive force, Raging Bull, Goodfellas, Gangs of latest York, and Hugo
Considers Scorsese's position in the heritage of yankee and international cinema; his paintings with regards to auteur concept; using well known tune and diverse subject matters similar to violence, ethnicity, faith, sexuality, gender, and race in his movies, and extra
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Extra resources for A Companion to Martin Scorsese (Wiley-Blackwell Companions to Film Directors)
Although these works are about celebrating the American and Italian masters that came before him, they are centered and organized around Scorsese himself. A Personal Journey is explicitly designed as a film class with Scorsese as instructor, right down to the use of a chalkboard motif in the visuals. My Voyage to Italy is more casual and personal in its presentation, but nevertheless concludes with Scorsese stating: “I saw these movies, I didn’t read about them or learn about them in school, and they had a powerful effect on me, and you should see them.
The key is that in an increasingly postmodern age, Scorsese was seen as holding onto his modernist credentials, which has allowed his continued prestige compared to the next postmodern generation of directors, such as the Coen brothers and Quentin Tarantino. How Scorsese Became Scorsese 33 Most of the artistic debates of the last couple of decades have centered on this divide, with the use of pastiche as the key dividing point. With the widespread critical and commercial success of Pulp Fiction (Quentin Tarantino, 1994), this postmodernist pastiche reached the mainstream of film journalism.
In order to sell The Last Temptation of Christ as a serious prestige picture rather than just another for-profit commodity, Universal had to make sure that Scorsese’s reputation as a great auteur was secure. Moreover, Scorsese benefited from the protests against The Last Temptation of Christ by receiving widespread critical support, with even those reviewers who weren’t enthusiastic about the film wanting to endorse his right to free expression. The solidarity critics felt with Scorsese ideologically meant that criticism of the film needed to be muted or ignored, at least at the initial stages (see Riley, 2003: 83–84).
A Companion to Martin Scorsese (Wiley-Blackwell Companions to Film Directors)