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List of Illustrations
- State University of New York Press
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Illustrations Figure 1.1 What’s a Nice Girl Like You Doing in a Place Like This? (Martin Scorsese, 1965). 20 Figure 1.2 It’s Not Just You, Murray! (Martin Scorsese, 1965). 21 Figure 1.3 Who’s That Knocking At My Door (Martin Scorsese, 1969), stylistic expression or authorial immaturity? 26 Figure 1.4 The Big Shave (Martin Scorsese, 1967), experimental (and political) avant‑garde. 28 Figure 2.1 Boxcar Bertha (Martin Scorsese, 1972), low genre, overt politics. 58 Figure 2.2 Mean Streets (Martin Scorsese, 1973), allusion to New Hollywood film Point Blank and, below it, less prominently, the independent Husbands. 63 Figure 2.3 Alice Doesn’t Live Here Anymore (Martin Scorsese, 1974), two endings: ironic romance . . . 69 Figure 2.4 Alice Doesn’t Live Here Anymore (Martin Scorsese, 1974), . . . and mother‑son sincerity. 70 Figure 2.5 Taxi Driver (Martin Scorsese, 1976), transcendence or irony? 75 Figure 2.6 Taxi Driver (Martin Scorsese, 1976), mirror images: Travis Bickle . . . 80 Figure 2.7 American Boy: A Profile of Steven Prince (Martin Scorsese, 1978), . . . and Steven Prince. 81 Figure 3.1 Raging Bull (Martin Scorsese, 1980), final credits emphasizing Scorsese’s redemption. 90 vii viii Figure 3.2 Raging Bull (Martin Scorsese, 1980), masculinity in crisis or rebellious hero? 92 Figure 3.3 After Hours (Martin Scorsese, 1985). 108 Figure 3.4 The Color of Money (Martin Scorsese, 1986), music video sequence starring Tom Cruise. 113 Figure 3.5 The Last Temptation of Christ (Martin Scorsese, 1988), Jesus and Mary Magdalene having sex. 121 Figure 4.1 A Personal Journey with Martin Scorsese through American Movies (Martin Scorsese and Michael Henry Wilson, 1995), Douglas Sirk as smuggler and the critique of television as mass culture. 136 Figure 4.2 A Personal Journey with Martin Scorsese through American Movies (Martin Scorsese and Michael Henry Wilson, 1995), Scorsese as Hitchcockian icon. 146 Figure 4.3 A Personal Journey with Martin Scorsese through American Movies (Martin Scorsese and Michael Henry Wilson, 1995), Scorsese as lecturer. 147 Figure 4.4 My Voyage to Italy (Martin Scorsese, 1999), a personal family history, shot on location. 148 Figure 4.5 GoodFellas (Martin Scorsese, 1990), cultural authenticity: slicing garlic with a razor. 155 Figure 4.6 Obsessed with “Vertigo” (Harrison Engle, 1997), Scorsese as cultural authority. 163 Figure 5.1 The King of Comedy (Martin Scorsese, 1983), a rare moment of expressionism within an otherwise blank (or mature) style. 169 Figure 5.2 Taxi Driver (Martin Scorsese, 1976), Scorsese looks away from the lead character’s rejection. 171 Figure 5.3 The King of Comedy (Martin Scorsese, 1983), Scorsese stays and watches the humiliation. 171 Figure 5.4 “Feel Like Going Home” (Martin Scorsese, 2003), Corey Harris as Scorsese surrogate. 190 Illustrations [44.204.125.111] Project MUSE (2024-03-29 07:43 GMT) Figure 5.5 “Feel Like Going Home” (Martin Scorsese, 2003), Alan Lomax as Scorsese parallel. 192 Figure 5.6 Letter to Elia (Martin Scorsese and Kent Jones, 2010), “And then something happened.” 199 ix Illustrations ...