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Hollywood's New Yorker

The Making of Martin Scorsese

Marc Raymond

Publication Year: 2013

A fresh look at the director’s career.

Published by: State University of New York Press

Cover

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pp. C-C

Title Page, Copyright Page

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pp. i-iv

Contents

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pp. v-vi

List of Illustrations

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pp. vii-x

Acknowledgments

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pp. xi-xii

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Introduction: Martin Scorsese and Film Culture

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pp. 1-10

In March 2007 three veteran filmmakers of the New Hollywood, Francis Ford Coppola, George Lucas, and Steven Spielberg, came to the stage of the Academy Awards to present the award for Best Director. The moment this occurred, it became obvious to anyone in the know who the announced winner would be. Martin Scorsese was the prohibitive...

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Chapter 1: Scorsese and the University

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pp. 11-46

One of the goals of this bok is to analyze Scorsese’s films and his career beyond the formal features of his work, and an examination of his relation to academic institutions is a fruitful place to begin. The reception and mediation of Scorsese’s cultural work within academic and popular circles can be traced back to ...

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Chapter 2: The Formation of Scorsese's Critical Reputation

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pp. 47-86

This cautionary New York Times article by Stephen Farber concerning the fate of the talented young filmmakers of the Hollywood Renaissance is intriguing from several perspectives. First, this is written in 1975, in the middle of the so‑called last Golden Age of Hollywood before the releases of Jaws (Steven Spielberg, ...

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Chapter 3: Scorsese and the Fall of the Hollywood Renaissance

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pp. 87-126

In the documentary film of Peter Biskind’s book on the New Hollywood, Easy Riders, Raging Bulls, a clip from Raging Bull is used as a conclusion. The scene is the final fight shown in the film. The lead character, boxer Jake La Motta, withstands a violent beating from his rival, Sugar Ray Robinson. The documentary voiceover introduces the ...

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Chapter 4: Histories of Cinema and Cinematic Histories: Scorsese as Historian

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pp. 127-164

This absurd and hilarious dialogue comes from Scorsese (as one can probably guess from the rhythmic pattern), as part of his 2007 short film/commercial The Key to Reserva. This extended Alfred Hitchcock parody/homage features Scorsese discovering three pages of a lost Hitchcock script and deciding to “restore” the...

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Chapter 5: What is Scorsese?: Scorsese's Role in Contemporary Postmodern Culture

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pp. 165-200

The 2010 hbo documentary Public Speaking, a profile of New York writer‑intellectual Fran Lebowitz, initially seems an odd project for Scorsese to direct. Other than the commonality of New York itself, no connection is apparent between the Italian‑American male filmmaker and the Jewish‑American female writer. But from Lebowitz’s opening remarks quoted above, the attraction becomes clear, ...

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Conclusion: The Next Scorsese (?): The Future of Artistic Reputations in American Cinema

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pp. 201-204

In March 2000, Esquire magazine ran the feature “The Next Scorsese” inviting film critics to pick the greatest filmmaker of the new generation of American auteurs. The rise of American independent filmmakers, who had emerged in the industry over the preceding decade, peaking in late 1999 and early 2000 with several critically acclaimed...

Notes

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pp. 205-226

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Sources

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pp. 227-234

...“Martin Scorsese’s Guilty Pleasures.” Film Comment 14, no. 5 (Sept.–Oct. 1978): “À mes amis et collègues: Au sujet de nos films.” Positif no. 232–233 (July–“Outline for a Preservation Strategy.” 1980. Scorsese File, Museum of Modern “Confessions of a Movie Brat.” In Anatomy of the Movies. Edited by David Pirie. “Internal Metaphors, External Horror.” In David Cronenberg. Edited by Wayne ...

Index

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pp. 235-BC


E-ISBN-13: 9781438445731
Print-ISBN-13: 9781438445717

Page Count: 264
Publication Year: 2013

OCLC Number: 834604179
MUSE Marc Record: Download for Hollywood's New Yorker