By Aaron Baker
A significant other to Martin Scorsese is a accomplished number of unique essays assessing the profession of 1 of America’s such a lot well-liked modern filmmakers.
- Contains contributions from sought after students in North the United States and Europe that use various analytic approaches
- Offers clean interpretations of a few of Scorsese’s such a lot 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 yankee and global cinema; his paintings in terms of auteur concept; using well known tune and diverse topics akin to violence, ethnicity, faith, sexuality, gender, and race in his motion pictures, and more
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Additional resources for A Companion to Martin Scorsese
But Hollywood is more than a place. It symbolizes something much more, and what it symbolizes is neither simply embraced nor rejected by Scorsese. Rather, it is a concept and idea that Scorsese has and continues to negotiate. Thus far, the negotiation has been very successful, and his reputation as the iconic New Hollywood director seems to be very secure as he moves toward the twilight of his career. S. (1982) Art Worlds. Berkeley, CA: University of California Press. Biskind, P. (1991/1999) Slouching toward Hollywood.
The resulting six-minute short was not only Scorsese’s most experimental work but also his most overtly political. The differences between this film and Scorsese’s earlier shorts can be related to their differing institutional contexts. Scorsese did not produce The Big Shave within the academic institution, and the film differs dramatically from those earlier shorts. ” The film won the Prix L’Age d’Or at the Festival of Experimental Cinema in Belgium, and belongs to what Pierre Bourdieu refers to as a field of restricted production (see Bourdieu, 1993), a field Scorsese would abandon when he chose a career in Hollywood.
Universal realized that the film would be controversial and that Christian groups would protest what they saw as a blasphemous portrayal of Jesus. While it may not be unusual for a studio to use a director’s star power to promote a film, in this case it was an absolute necessity. 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.