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More than perhaps any other major filmmaker, Martin Scorsese has grappled with the idea of the American Dream. His movies are full of working-class strivers hoping for a better life, from the titular waitress and aspiring singer of Alice Doesn't Live Here Anymore to the scrappy Irish immigrants of Gangs of New York. And in films as varied as Casino, The Aviator, and The Wolf of Wall Street, he vividly displays the glamour and power that can come with the fulfillment of that dream, but he also shows how it can turn into a nightmare of violence, corruption, and greed.   This book is the first study of Scorsese's profound ambivalence toward the American Dream, the ways it drives some men and women to aspire to greatness, but leaves others seduced and abandoned. Showing that Scorsese understands the American dream in terms of a tension between provincialism and cosmopolitanism, Jim Cullen offers a new lens through which to view such seemingly atypical Scorsese films as The Age of Innocence, Hugo, and Kundun. Fast-paced, instructive, and resonant, Martin Scorsese and the American Dream illuminates an important dimension of our national life and how a great artist has brought it into focus.

Bringing a wealth of scholarship and insight into Scorsese's work, Casillo's study will captivate readers interested in the director's magisterial artistry, the rich social history of Southern Italy, Italian American ethnicity, and the sociology and history of the Mafia in both Sicily and the United States.

Scorsese and Religion explores and analyzes the religious vision of filmmaker Martin Scorsese’s oeuvre, showing that Scorsese cannot be properly understood without reflecting on the ways that his religious interests are expressed in and through his art.

Scorsese and Religion explores and analyzes the religious vision of filmmaker Martin Scorsese’s oeuvre, showing that Scorsese cannot be properly understood without reflecting on the ways that his religious interests are expressed in and through his art.; Readership: This book will appeal to scholars, students, and non-specialist readers interested in film’s relation to philosophy, theology, and Christian spirituality.

In 1973, early in their careers, Martin Scorsese and Robert De Niro collaborated for the first time. Over the next few decades, they worked together on seven more movies, many of which brought them both acclaim and awards. And while successful director and actor pairings have occurred throughout the history of film, few have fashioned so many works of enduring value as these two artists. In little more than two decades, Scorsese and De Niro produced eight features, including the classics Taxi Driver, Raging Bull, and GoodFellas. In The Films of Martin Scorsese and Robert De Niro, Andrew J. Rausch examines the creative output of this remarkable pair, from their initial offering, Mean Streets, to their most recent film together, Casino. Rausch looks at their relationship as individual artists who worked together to create cinematic magic, as well as the friendship that was forged nearly 40 years ago. Drawing upon interviews and other sources, Rausch goes behind the scenes of their eight films, providing insight and analysis on all their collaborations, including New York, New York, The King of Comedy, and Cape Fear. A rare glimpse into the moviemaking process of these two legends, The Films of Martin Scorsese and Robert De Niro will appeal to both scholars and fans alike.

When Martin Scorsese finally won an Academy Award in 2007, for The Departed, it was widely viewed as the crowning achievement of a remarkable film career. But what it also represented was an acceptance by Hollywood of a man who became a prestigious auteur precisely because of his status as an outsider from New York. For someone with a high-culture reputation like Scorsese's, this middlebrow sign of respectability was not about cultural standing; rather, it was about using and even sacrificing his distinctive outsider status for a greater share of industry authority within the world of Hollywood. In Hollywood's New Yorker, Marc Raymond offers a fresh look at Scorsese's career in relation to the critical and social environment of the past fifty years. He traces Scorsese's career and films through his association with various cultural institutions, from his role as a student and instructor at New York University, to his move to Hollywood and his relationship with the studio system, to his relationship with prestigious institutions like the Museum of Modern Art. This sociological approach to film authorship provides analysis of previously overlooked Scorsese projects, particularly his documentary work, and gives importance to the role his extracurricular activities in the film preservation movement have played in the rise of his reputation. Hollywood's New Yorker places Scorsese and his films firmly within the various time periods of his career and compares the director with his peers, from fellow New Yorkers like Brian De Palma and Woody Allen to New Hollywood movie brats such as Francis Ford Coppola and Steven Spielberg. The result is a complete picture of Scorsese and the post–World War II American film culture he has both shaped and been shaped by.

Bu çalışmanın amacı Scorsese sinemasında şiddet ve postmodern unsurların, film anlatısına ve diline olan yansımalarını incelemektir. Bu bağlamda çalışmanın literatür bölümünde sinemada postmodern anlatıların ne olduğu ve bu anlatıların şiddetle olan ilişkisi üzerine durulmuştur. Bulgular bölümünde nitel bir araştırma deseni olan gömülü teori kullanılarak Scorsese sineması, literatür taramasında verilen kuramsal bilgiler ışığında çözümlenmiştir. Yönetmenin, filmlerinde şiddeti eğlencelik bir unsur olarak sunmadığı, postmodern tutumla hemen yanı başımızda gerçekleşen, sıradan ve gösterişsiz bir olgu olarak karakterlerin amacına hizmet eden yapıda inşa ettiği görülmüştür. Sonuç olarak filmlerin; konu, tür, karakter, hikâye ve olay örgüsü, zaman ve mekân gibi çerçevelerde birbirlerinden farklılık gösterseler dahi şiddet ve postmodernizm bağlamında benzer tema ve motiflerle çevrelendiği tespit edilmiştir.

Academy Award--winning director Martin Scorsese is one of the most significant American filmmakers in the history of cinema. Although best known for his movies about gangsters and violence, such as Mean Streets, Goodfellas, Casino, and Taxi Driver, Scorsese has addressed a much wider range of themes and topics in the four decades of his career. In The Philosophy of Martin Scorsese, an impressive cast of contributors explores the complex themes and philosophical underpinnings of Martin Scorsese's films. The essays concerning Scorsese's films about crime and violence investigate the nature of friendship, the ethics of vigilantism, and the nature of unhappiness. The authors delve deeply into the minds of Scorsese's tortured characters and explore how the men and women he depicts grapple with moral codes and their emotions. Several of the essays explore specific themes in individual films. The authors describe how Scorsese addresses the nuances of social mores and values in The Age of Innocence, the nature of temptation and self-sacrifice in The Last Temptation of Christ and Bringing Out the Dead, and the complexities of innovation and ambition in The Aviator. Other chapters in the collection examine larger philosophical questions. In a world where everything can be interpreted as meaningful, Scorsese at times uses his films to teach audiences about the meaning in life beyond the everyday world depicted in the cinema. For example, his films touching on religious subjects, such as Kundun and The Last Temptation of Christ, allow the director to explore spiritualism and peaceful ways of responding to the chaos in the world.Filled with penetrating insights on Scorsese's body of work, The Philosophy of Martin Scorsese shows the director engaging with many of the most basic questions about our humanity and how we relate to one another in a complex world.

The article offers a rereading of Scorsese’s “No Direction Home” (2005, 2016,). The film replaces D. A. Pennebaker’s famous cinema verité, observational documentary “Don’t Look Back” (1967) about Dylan’s 1965 tour in Great Britain, which has proved, as years have passed, to be insufficient to convey the full story of Dylan’s personality behind his artistry. The article’s purpose, however, is not to cross-analyze the latter two documentaries. Instead, it provides a closer analysis of “No Direction Home” and explains how and why Dylan appears more appropriately different in this 2005 to 2016 production, while revealing the Scorsese–Dylan connection and commenting on the film in two interrelated fields: cinematic and documentary. The focus is not on Dylan, but on Scorsese. Therefore, the article puts the spotlight back to the original source of the Dylan–Scorsese union in “No Direction Home” (2005, 2016) and on Scorsese’s signature documentary and the re-authoring practices first conceived in Woodstock (1970), “The Last Waltz” (1978), and “The Blues” (2003).