Abstract This research paper discusses method acting and how this style has given rise to Robert DeNiro's stardom. The author looks at how DeNiro became famous for immersing himself in the characters he plays. According to this style of acting he follows, DeNiro feels like his characters and rather than exposing his private life, becomes like the character he is playing, often through changing his physical characteristics to achieve this goal.
From the Paper "Method Acting can be defined as ?an acting technique that involves intense analysis and identification with the character.? American Method Acting originated in Russia with Konstantin Stanislavski, who opened the Moscow Art Theatre in 1898; this theatre is primarily associated with the productions of the plays of Anton Chekhov and the beginning of Russian dramatic realism. By observing himself as an actor, as well as the other actors with whom he worked, and more especially by studying the great dramatic artists in Russia and abroad, Stanislavski developed an approach to the teaching of acting that became known as the ?Stanislavski system."
Abstract This paper looks at how the technique of method acting was established and the characteristics involved. The author names many actors who employ this method with a special focus on Robert DeNiro.
From the Paper "Method Acting can be defined as "an acting technique that involves intense analysis and identification with the character. (Tuleja)" American Method Acting originated in Russia with Konstantin Stanislavski, who opened the Moscow Art Theatre in 1898; this theatre is primarily associated with the productions of the plays of Anton Chekhov and the beginning of Russian dramatic realism. By observing himself as an actor, as well as the other actors with whom he worked, and more especially by studying the great dramatic artists in Russia and abroad, Stanislavski developed an approach to the teaching of acting that became known as the "Stanislavski system.(Stanislavski)". This system has evolved over the years and is the basis of method acting, an extremely powerful and evocative technique when utilized correctly. There is perhaps no better master of the art today than Mr. Robert DeNiro, a living legend for his roles in numerous films within the past three decades."
Abstract This paper reviews Martin Scorcese's film "Taxi Driver", the story of Travis Bickle, a taxi driver with no particular plot but more of a documentary of Bickle's life. It discusses Scorcese's tendencies to make films about the United States that are hard, rough-edged, unglamorous and violent and how "Taxi Driver" is no exception. It examines how America is portrayed as a completely messed-up society and how Scorsese shows that there is something fundamentally wrong with sex, politics and drugs all combined to produce an America that is falling to pieces.
From the Paper "The film is basically Bickle's view of New York City as he sees it. The New York he sees is one of slime, grime, seediness and filth: Travis only sees the cruel and sadistic underworld of the city. This is the main representation of America in the film and this is the reason that the film attracted such stark criticism from middle-American conservatives and moralists. The America which Scorsese portrays within Taxi Driver is a weird perversion of the America Dream. America is portrayed as seedy and decaying, not the country where opportunity is for all: the only people who are seen as prospering in the film are those engaged in illegal activities."
Abstract This paper discusses the movie "The Mission" and seeks to uncover the fratricide that Robert Deniro's character, Rodrigo, performs in the movie. By understanding Jeremy Irons' character, one can see how this relates to the absolution of the film with its plot. The writer demonstrates the response to this act of defiance in the priesthood, so that one may understand the complexities of the film's meaning.
This paper analyzes a specific fight sequence from Martin Scorsese's "Raging Bull" (1980), which is based on champion middleweight boxer Jake La Motta's tragic autobiography.
1,985 words (approx. 7.9 pages), 0 sources, 2007, $ 63.95
Abstract This paper explains that, in Martin Scorsese's "Raging Bull", Jake La Motta (Robert DeNiro) is constantly at odds with himself and with the people around him. The author points out Scorsese's use of the formal elements of film making to convey the visceral nature of what it is like to be in the ring and even to be one of the fighters during a fight. The paper describes, scene by scene, a pivotal sequence, the second fight between Jake La Motta and Sugar Ray Robinson, which demonstrates this visceral effect through lighting and composition for mise en scene, camera work for cinematography, editing and sound. The paper concludes that, in this sequence, Scorsese effectively plays with time, framing, light and sound to create feelings of defenselessness and power, victory and shame, during and after a pivotal and crucial fight.
From the Paper "The first shot of the sequence begins as a handheld, high angled close-up on Sugar Ray Robinson's feet, dancing and shifting about in the ring. We hear a commentator on the stadium speakers, and the cheering crowd as La Motta's feet enter the frame. A title appears in the bottom center of the frame: "La Motta vs Sugar Ray Robinson Detroit 1943" in true 1940s television style. The camera rises (or tilts) up to reveal the back torso of La Motta and Robinson in front of him, ready to fight. Then we see a medium close-up of Robinson, over La Motta's left shoulder."
Tags: defenselessness power close-up lighting, mise en scene
Abstract In the movie 'Taxi Driver', directed by Martin Scorsese and starring Robert DeNiro, many elements of contemporary society are examined. This paper discusses the decline of the character of Travis Bickle into psychosis. The major themes of the film such as loneliness, the taxi itself, racism, television, and violence are discussed and the actual cinematography and how the director chose to accentuate certain moments in the film using camera angles and lighting are examined. The purpose of this paper is to highlight each pertinent aspect of the film that led directly to the rapid and violent downfall of Travis Bickle, and to prove, quite specifically and unequivocally that Travis Bickle's eventual violent conclusion was a direct result of the unforgiving nature of both his torrid history in the United States, and of New York City as a culture of repressed anger and virulent undertones.
From the Paper "Primarily, it is important to discuss loneliness in relation of both Travis Bickle and the film as a whole in order to develop a relationship between the theme and Bickle's eventual decline into madness. First, from the opening scene, it is apparent that something is amiss with the character of Travis Bickle. By driving through the rain in his taxi, and by the windshield wipers failing to clear a good line of sight for him, the film begins to show how his character not only has a clouded view of the world that is perhaps a little more than skewed, it shows the isolation that he feels from this perspective. Further, Bickle lives alone in New York, has virtually no contacts other than his taxi driver colleagues, and is struggling to find a place of his own in an unfamiliar place and historical situation. His loneliness is further examined with his propensity to visit pornographic movie theaters. Not only does he use these movies as a crutch for his loneliness, he also is often seen drinking alone in the theater, an obvious clue that he is rapidly approaching desperate measures in his own sense of self."
Tags: Travis, Bickle, violence, loneliness, New, York, City
