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Martin Scorsese
MARTIN SCORSESE TEACHES FILMMAKING INTRODUCTION ABOUT THIS WORKBOOK MASTERCLASS COMMUNITY SUPPLIES AND MATERIALS The MasterClass team has Throughout, we’ll encourage To be an active participant in created this workbook as a you to share work and Martin’s MasterClass, you’ll supplement to Martin’s class. discuss course materials need a notebook to jot down Each chapter is supported here with your classmates in ideas that are sparked as you with a review, resources to The Hub to give and receive watch the lessons. learn more, and assignments. constructive feedback. You can The exercises in this workbook also connect with your peers build on each other, with the in the discussion section ultimate goal of equipping you beneath each lesson video. to direct a short film. MARTIN SCORSESE 2 ABOUT MARTIN SCORSESE Martin Scorsese was born in 1942 in New York In 2003, PBS broadcast the seven-film City, and was raised in the neighborhood of documentary series Martin Scorsese Little Italy, which later provided the inspiration Presents: The Blues. The Aviator was released in for several of his films. Scorsese earned a BS December of 2004 and earned five degree in film communications in 1964, followed Academy Awards in addition to the Golden by an MA in the same field in 1966 at New York Globe and BAFTA awards for Best Picture. In University’s School of Film. During this time, 2005, “No Direction Home: Bob Dylan” was he made numerous prize-winning short films broadcast as part of the American including The Big Shave. In 1968, Scorsese Masters series on PBS. -
RETROSPECTIVA SCORSESE 24 De Janeiro a 20 De Fevereiro De 2020 Programação 24/01 SEX 15H CURTAS | 57'| What's a Nice Girl L
RETROSPECTIVA SCORSESE 24 de janeiro a 20 de fevereiro de 2020 Programação 24/01 SEX 15h CURTAS | 57’| What's a Nice Girl Like You Doing in a Place Like This?, de Martin Scorsese (EUA, 1963) | | 9’ It's Not Just You, Murray!, de Martin Scorsese (EUA, 1964) | 15’ The Big Shave, de Martin Scorsese (EUA, 1968) | 6’ Michael Jackson: Bad, de Martin Scorsese (EUA, 1987) | 17’ The Key to Reserva, de Martin Scorsese (EUA, 2007) | 10’ 16h15 Quem Bate à Minha Porta?, de Martin Scorsese (I Call First, EUA, 1967) | 16 anos | 90’ 18h Sexy e Marginal, de Martin Scorsese (Boxcar Bertha, EUA, 1972) | 14 anos | 88’ 20h Caminhos Perigosos, de Martin Scorsese (Mean Streets, EUA, 1973) | 112’ 25/01 SÁB 15h Alice Não Mora Mais Aqui, de Martin Scorsese (Alice Doesn't Live Here Anymore, EUA, 1974) | 14 anos | 112’ 17h15 Taxi Driver, de Martin Scorsese (EUA, 1976) | 16 anos | 113’ 19h30 New York, New York, de Martin Scorsese (EUA, 1977) | 10 anos | 155’ 26/01 DOM 18h O Último Concerto de Rock, de Martin Scorsese (The Last Waltz, EUA, 1978) | Livre | 117’ 20h15 Touro Indomável, de Martin Scorsese (Raging Bull, EUA, 1980) | 16 anos| 129’ 27/01 SEG 15h A Cor do Dinheiro, de Martin Scorsese (The Color of Money, EUA, 1986) | 12 anos | 119’ 17h15 O Rei da Comédia, de Martin Scorsese (The King of Comedy, EUA, 1982) | 12 anos | 109’ 19h15 Depois de Horas, de Martin Scorsese (After Hours, EUA, 1985) | 16 anos | 97’ 21h Contos de Nova York, de Martin Scorsese; Francis Ford Coppola; Woody Allen (New York Stories, EUA, 1989) | 14 anos | 124’ 28/01 TER 15h A Última Tentação -
1 Evolving Authorship, Developing Contexts: 'Life Lessons'
Notes 1 Evolving Authorship, Developing Contexts: ‘Life Lessons’ 1. This trajectory finds its seminal outlining in Caughie (1981a), being variously replicated in, for example, Lapsley and Westlake (1988: 105–28), Stoddart (1995), Crofts (1998), Gerstner (2003), Staiger (2003) and Wexman (2003). 2. Compare the oft-quoted words of Sarris: ‘The art of the cinema … is not so much what as how …. Auteur criticism is a reaction against sociological criticism that enthroned the what against the how …. The whole point of a meaningful style is that it unifies the what and the how into a personal state- ment’ (1968: 36). 3. For a fuller discussion of the conception of film authorship here described, see Grist (2000: 1–9). 4. While for this book New Hollywood Cinema properly refers only to this phase of filmmaking, the term has been used by some to designate ‘either something diametrically opposed to’ such filmmaking, ‘or some- thing inclusive of but much larger than it’ (Smith, M. 1998: 11). For the most influential alternative position regarding what he calls ‘the New Hollywood’, see Schatz (1993). For further discussion of the debates sur- rounding New Hollywood Cinema, see Kramer (1998), King (2002), Neale (2006) and King (2007). 5. ‘Star image’ is a concept coined by Richard Dyer in relation to film stars, but it can be extended to other filmmaking personnel. To wit: ‘A star image is made out of media texts that can be grouped together as promotion, publicity, films and commentaries/criticism’ (1979: 68). 6. See, for example, Grant (2000), or the conception of ‘post-auteurism’ out- lined and critically demonstrated in Verhoeven (2009). -
1 a Film by Martin Scorsese Opens in Cinemas
A film by Martin Scorsese Opens in cinemas nationally on FEBRUARY 16, 2017 PUBLICITY REQUESTS: Transmission Films Australia / Amy Burgess +61 2 8333 9000 / [email protected] IMAGES High res images and key art poster available to via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/silence 1 PRODUCTION INFORMATION Martin Scorsese’s Silence, the Academy Award winning director’s long anticipated film about faith and religion, tells the story of two 17th century Portuguese missionaries who undertake a perilous journey to Japan to search for their missing mentor, Father Christavao Ferreira, and to spread the gospel of Christianity. Scorsese directs Silence from a screenplay he wrote with Jay Cocks. The film, based on Shusaku Endo’s 1966 award-winning novel, examines the spiritual and religious question of God’s silence in the face of human suffering. Martin Scorsese and Emma Koskoff and Irwin Winkler produce alongside Randall Emmett, Barbara De Fina, Gastón Pavlovich, and Vittorio Cecchi Gori with executive producers Dale A. Brown, Matthew J. Malek, Manu Gargi, Ken Kao, Dan Kao, Niels Juul, Chad A. Verdi, Gianni Nunnari, Len Blavatnik and Aviv Giladi. Silence stars Andrew Garfield (The Amazing Spider Man, Hacksaw Ridge), Adam Driver (Star Wars: The Force Awakens, Paterson) and Liam Neeson (Schindler’s List, Taken). The film follows the young missionaries, Father Sebastian Rodrigues (Garfield) and Father Francisco Garupe (Driver) as they search for their missing teacher and mentor and minister to the Christian villagers they encounter who are forced to worship in secret. At that time in Japan, feudal lords and ruling Samurai were determined to eradicate Christianity in their midst; Christians were persecuted and tortured, forced to apostatize, that is, renounce their faith or face a prolonged and agonizing death. -
O'brien, Catherine. "Sympathy for the Devil."
O’Brien, Catherine. "Sympathy for the Devil." : . London: Bloomsbury Academic, 2018. 39–63. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350003309.0008>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 16:21 UTC. Copyright © O’Brien 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 Sympathy for the Devil Defending his decision to deal with the dark side of human nature and the consequences of evil actions in the Afterlife, Dante sets out his methodology in the opening canto of The Divine Comedy: Ah me! how hard a thing it is to say What was this forest savage, rough and stern, Which in the very thought renews the fear. So bitter is it, death is little more; But of the good to treat, which there I found, Speak will I of the other things I saw there. (Inf. I) The sinners who are permanently residing in the Inferno are responsible for many of Dante’s more celebrated poetic verses. It is also undeniable that several of Scorsese’s unforgettable protagonists are killers and/or double-crossers, and that one of the most significant topics in his films is betrayal. On the printed page Dante reveals ‘the depths of depravity and self-willed flight from the light of which we are capable’ (Royal 1999: 42); and, over seven centuries later, Scorsese has illuminated commensurate murky dimensions in human behaviour. Scorsese explains that he finds ‘the antagonist more interesting than the protagonist in drama, the villain more interesting than the good guy. -
Readily Admits) That Was Provoked by a Growing Interest in the Female Sex
Martin Scorsese’s Divine Comedy Also available from Bloomsbury: The Bloomsbury Companion to Religion and Film, edited by William L. Blizek Dante’s Sacred Poem, Sheila J. Nayar The Sacred and the Cinema, Sheila J. Nayar Martin Scorsese’s Divine Comedy Movies and Religion Catherine O’Brien BLOOMSBURY ACADEMIC Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2018 Copyright © Catherine O'Brien, 2018 Catherine O'Brien has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. For legal purposes the Acknowledgements on p. vi constitute an extension of this copyright page. Cover design by Catherine Wood Cover image © Appian Way / Paramount / Rex Shutterstock All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Names: O’Brien, Catherine, 1962- author. Title: Martin Scorsese’s divine comedy: movies and religion / Catherine O’Brien. Description: London; New York, NY : Bloomsbury Academic, 2018. | Includes bibliographical references and index. | Includes filmography. Identifiers: LCCN 2017051481| -
The Word Made Cinematic: the Representation of Jesus in Cinema
THE WORD MADE CINEMATIC: THE REPRESENTATION OF JESUS IN CINEMA by Gregory Kahlil Kareem Allen B.A. Film Studies, University of Pittsburgh, 1997 M.A. English Literature, University of Pittsburgh, 2002 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2008 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Gregory Kahlil Kareem Allen It was defended on April 24, 2008 and approved by Adam Lowenstein, Associate Professor, Department of English Troy Boone, Associate Professor, Department of English Vernell A. Lillie, Professor Emeritus, Department of Africana Studies Dissertation Chair/Advisor: Marcia Landy, Distinguished Service Professor, Department of English ii Copyright © by Gregory Kahlil Kareem Allen 2008 iii The Word Made Cinematic: The Representation of Jesus in Cinema Gregory Kahlil Kareem Allen, Ph.D. University of Pittsburgh, 2008 Marking the invention of cinema as a point of entry and consequent filmic narratives about Jesus as aesthetic documents, this study will demonstrate how movie-going, due to its similarity to the devotional exercise of “worship” and the motion picture’s continual co-option for perceived religious purposes as readily indicated by the recent reception of The Passion of the Christ, complicates what otherwise might be the obvious distinction between the sacred and the profane. Examining the way in which the spectator is prompted by certain traditions of cinematic language and interpretation, this dissertation demonstrates how the representation of the Jesus in cinema must by definition always insinuate the sacrosanct, even if the symbol or image is presented in a context perceived to be secular. -
Martin Scorsese and Film Culture
Martin Scorsese and Film Culture: Radically Contextualizing the Contemporary Auteur by Marc Raymond, B.A., M.A. A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Institute of Comparative Studies in Literature, Art and Culture: Cultural Mediations Carleton University Ottawa, Canada January, 2009 > 2009, Marc Raymond Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-47489-1 Our file Notre reference ISBN: 978-0-494-47489-1 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
Guilt and Violence in Martin Scorsese's Raging Bull
Studia Gilsoniana 4:2 (April–June 2015): 131–148 | ISSN 2300–0066 Arturo Serrano Universidad de las Artes Guayaquil, Ecuador THE SPECTACLE OF REDEMPTION: GUILT AND VIOLENCE IN MARTIN SCORSESE’S RAGING BULL Catholicism will always be in every piece, in every work I do. – Martin Scorsese1 The most important legacy of my Catholicism is guilt. A major helping of guilt, like garlic. – Martin Scorsese2 In various guises, a search for redemption is a common feature of many of the protagonists in Scorsese’s films: J.R. (Who’s That Knocking at My Door, 1969), Charlie (Mean Streets, 1973), Travis (Taxi Driver, 1975), Christ (The Last Temptation of Christ, 1988), Henry (GoodFellas, 1990), Sam Bowden (Cape Fear, 1991), Sam Rothstein (Casino, 1995), Frank (Bringing Out the Dead, 1999), Amsterdam (Gangs of New York, 2002) and Teddy (Shutter Island, 2010) are just some of the characters in Scorsese’s filmography whose stories of redemption constitute the central conflict of their respective narratives. This search for redemption usually involves the character going through a violent process to cleanse himself of his faults. Sometimes this takes the form of physical cleansing elements, such as blood in the case of This paper was written while on sabbatical leave as a Fulbright Scholar at the Department of English of the University of Maryland. I would like to express my gratitude to Jonathan Auerbach and Caitlin McGrath who read the first version of this paper. 1 Ian Christie and David Thompson, Scorsese on Scorsese (London: faber and faber, 2003), 231. 2 Diane Jacobs, Hollywood Renaissance (London: The Tantivy Press, 1977), 129. -
Differentia: Review of Italian Thought
Differentia: Review of Italian Thought Number 6 Combined Issue 6-7 Spring/Autumn Article 13 1994 Scorsampling Maurizio Viano Follow this and additional works at: https://commons.library.stonybrook.edu/differentia Recommended Citation Viano, Maurizio (1994) "Scorsampling," Differentia: Review of Italian Thought: Vol. 6 , Article 13. Available at: https://commons.library.stonybrook.edu/differentia/vol6/iss1/13 This document is brought to you for free and open access by Academic Commons. It has been accepted for inclusion in Differentia: Review of Italian Thought by an authorized editor of Academic Commons. For more information, please contact [email protected], [email protected]. Scorsampling Maurizio Viano Realism is such an ambiguous and loaded word that it is hard to agree on its meaning. I consider my own films realist compared with neorealist films. In neorealist films day-to-day reality is seen from a crepuscular,intimistic, credulous and above all nat uralistic point of view. [ .. .] Comparedwith neorealismI think I have introduced a certain realism, but it would be hard to define it exactly. Pier Paolo Pasolini I find that documentariesare so moving, especiallyif it is the old cinema verite style. It is something about the way peopleare cap tured. The sense of truth is what gets me. And I always regret that we can never get as close as that when we're working with actors. You re-create those moments and sometimes you do get that certain reality. Martin Scorsese INTRODUCTION This essay is part of a larger project that aims to rescue "real ism," that "ambiguous and loaded word," from the disrepute into which it has fallen in the last twenty-five years of film studies. -
Martin Scorsese Papers
Finding Aid for the Martin Scorsese Papers Collection Processed by: Emily Wittenberg, 7.31.17 Finding Aid Written by: Emily Wittenberg, 7.31.17 OVERVIEW OF THE COLLECTION: Origination/Creator: Scorsese, Martin C. Title of Collection: Martin Scorsese Papers Date of Collection: 1947 -- 1991 Physical Description: 116 boxes; 45 linear feet Identification: Special Collection #3 Repository: American Film Institute Louis B. Mayer Library, Los Angeles, CA RIGHTS AND RESTRICTIONS: Access Restrictions: Collection is open for research. Copyright: The copyright interests in this collection remain with the creator. For more information, contact the Louis B. Mayer Library. Acquisition Method: Donated by Martin Scorsese in 1986. BIOGRAPHICAL/HISTORY NOTE: Martin Charles Scorsese (1942 - ) is a prolific film director, producer and screenwriter whose career spans more than 50 years and is widely regarded as one of the most influential filmmakers in cinema. In addition to his filmography, Scorsese is also a champion of film history and preservation, evidenced by The Film Foundation, established in 1990, of which Scorsese is founder and chair. Martin Scorsese was born in Queens, New York City, New York on November 17, 1942 to Charles and Catherine Scorsese, emigrants from Palermo, Italy. Both Charles and Catherine can be spotted in Scorsese’s films, as extras in his feature films or as themselves in the documentary ITALIANAMERICAN. Scorsese attended New York University’s Tisch School for the Arts, earning a Bachelor’s degree in English in 1964 and a Masters of Fine Arts in Film in 1966. It was while attending Tisch that Scorsese met actor Harvey Keitel and editor Scorsese Papers – 1 Thelma Schoonmaker and in 1967 the three students made I CALL FIRST, later re-titled WHO’S THAT KNOCKING AT MY DOOR, and would be longtime collaborators on many of Scorsese’s pictures. -
February 2017 at BFI Southbank Films
ONSTAGE APPEARANCES INCLUDE: OSCAR-WINNING EDITOR & SCORSESE COLLABORATOR THELMA SCHOONMAKER, DIRECTORS NEIL JORDAN (THE COMPANY OF WOLVES) & ALICE LOWE (SIGHTSEERS), ACTORS LORRAINE BRACCO (GOODFELLAS, THE SOPRANOS), EDWARD FOX (DAY OF THE JACKAL) & TIM MCINNERNY (BLACKADDER) Film and TV Previews include: THE FOUNDER (John Lee Hancock, 2016), HIDDEN FIGURES (Theodore Melfi, 2016), TRESPASS AGAINST US (Adam Smith, 2016), PREVENGE (Alice Lowe, 2016) Runs include: MOONLIGHT (Barry Jenkins, 2016), GOODFELLAS (Martin Scorsese, 1990), TAXI DRIVER (Martin Scorsese, 1976) Wednesday 21 December 2016, London. This February at BFI Southbank will see the conclusion of the BFI’s major Martin Scorsese retrospective and the special programme Martin Scorsese Curates, in which the director picks his favourite titles from The Film Foundation back catalogue. The Scorsese season will boast some very special guests in February including Scorsese’s frequent collaborator, Oscar-winning editor Thelma Schoonmaker (Raging Bull, GoodFellas, The Departed) and actor Lorraine Bracco (GoodFellas, The Sopranos), who will take part in a Q&A following a screening of GoodFellas (1990), which is re- released on Friday 20 January as part of the season. Also playing on extended run will be Taxi Driver (1976), which is re-released by Park Circus on Friday 10 February. Our television season in February will be Forgotten Dramas, a short series of ground-breaking and rare TV dramas, featuring famous faces such as Patrick Troughton, Zoë Wanamaker, Michael Elphick and Edward Fox,