A Companion to Martin Scorsese by Aaron Baker

By Aaron Baker

A better half to Martin Scorsese is a finished choice of unique essays assessing the occupation of 1 of America’s so much well-liked modern filmmakers.

  • Contains contributions from well-liked students in North the United States and Europe that use various analytic approaches
  • Offers clean interpretations of a few of Scorsese’s so much influential movies, together with Mean Streets, Taxi Driver, Raging Bull, Goodfellas, Gangs of recent York, and Hugo
  • Considers Scorsese's position in the background of yank and international cinema; his paintings in terms of auteur thought; using well known tune and numerous issues similar to violence, ethnicity, faith, sexuality, gender, and race in his movies, and more

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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. You don’t actually kill somebody; you ‘kill’ them. ” It is this postmodern irony that would be so often accused of nihilism in the following decade. This accusation of nihilism would extend beyond the journalistic realm detailed by Sconce.

Although the exploitation market was the contemporary equivalent of the Classical Hollywood “B” film that Scorsese so admired, it was not the place, according to Cassavetes, in which serious, personal work could be accomplished. “Personal” work for Cassavetes meant stories about people, not about film technique, as in auteurism. As previously discussed, Cassavetes’s first film, Shadows, had an early version that was more experimental in technique that he eventually abandoned for a second version that was more focused on the characters and How Scorsese Became Scorsese 23 their relationships.

The driving force behind the film was Ellen Burstyn, who was coming off a major hit, The Exorcist (William Friedkin, 1973). Burstyn had a script written by Robert Getchell and she and Warner Bros. were looking for a director. As Scorsese describes the situation, “because I was receiving a lot of scripts now, Sandy Weintraub read it first and said it was really interesting. I thought it was a good idea too, dealing with women for a change” (Thompson and Christie, 1996: 49). At one level, the film was a calculated move on Scorsese’s part, as he has admitted.

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