Abstract The paper looks ar MartinScorsese's "Gangs of New York" and discusses a number of themes which emerge therein. It explains that MartinScorsese's "Gangs of New York" is a elegy which tells of the passing of an age of innocence and the emergence of a new epoch in America which will be characterized by violence, upheaval and - ultimately - by breathtaking industrial and technological innovation. The paper discusses how the film illustrates the pull of atavistic collectivity against the counter-tug of individuality. The writer argues that the film's most dramatic and impressive feature lies in its exposition of the dangers of the gang mentality. The writer concludes that "Gangs of New York" is perhaps not Scorsese's best work, but the motion picture will endure simply because it probes the dark psychology of gang life with a vividness that is unforgettable.
From the Paper "Suffice it to say, the elegiac overtones are accentuated by the terrific human loss and waste which typify the film - a rather brutal cinematic tour de force which may not be suitable for many audiences. Additionally, the elegiac components of the film are brought into sharp relief by the desire on the part of the main protagonist, Amsterdam Vallon (played passably well by Leonardo Di Caprio), to avenge the savage murder of his father (Scorsese, Gangs of New York). The tragedy at the heart of all of this is that what appears to be a passably bright, charming young man with a promising future ahead of him is now being marred by events from the long-ago past which compel him to rush forward to seek vengeance; in that sense, the film echoes some of the tropes found in Shakespeare's Hamlet - as Nev Pierce of the British Broadcasting Corporation points out (para.5)."
This paper analyzes a specific fight sequence from MartinScorsese'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 MartinScorsese'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 This paper explains that, in the 1960s and 1970s, aggressive realism and the political agenda created cinematic movements such as the stylized cinema verite and the accurate reality direct cinema movements. Director MartinScorsese's "The Last Waltz", the author relates, reveals The Band's farewell concert by creating a form of documentary that closely straddles the line between cinema verite and direct cinema. The author concludes this film remains one of cinema's greatest demonstrations of real and demonstrated emotional authenticity, shared sentiment by the audience, subject and filmmaker, which makes it of great importance in understanding the time, place and culture it captures.
From the Paper "A similar agenda is marked in the Maysles' film, which captures the Rolling Stones disastrous Altamont performance, where a member of the audience was stabbed by Hells Angel. The agenda seems to place responsibility with a generation of wishy-washy and irresponsible rockers. The confusion between drug use and the utopian dream are shown to have reached a devastating pitch at this deadly show, and the filmmakers channeled the responsibility of the generation through Mick Jagger"
An analysis of how the public's perception of New York City was affected by three movies: MartinScorsese's "Mean Streets", Spike Lee's "Do the Right Thing" and Woody Allen's "Annie Hall".
Abstract This paper looks at how the public's perception of New York City has been affected by MartinScorsese's "Mean Streets", Spike Lee's "Do the Right Thing" and Woody Allen's "Annie Hall". Through an exploration of these three films, the paper demonstrates how the popular imagination has been infused with the idea of New York as a melting pot of people from all over the world.
Outline:
MartinScorsese's "Mean Streets"
Spike Lee's "Do the Right Thing"
Woody Allen's "Annie Hall"
Conclusion
From the Paper "On a superficial level, Mean Streets is about gangsters in New York's Little Italy neighborhood. Going deeper, however, one realizes that Mean Streets is actually a film about living in a state of sin. Whatever Charlie (Harvey Keitel) does throughout the film, we are constantly aware that he is living in a state that he is unable to escape from, even as he tries to help the seemingly helpless Johnny Boy (Robert De Niro.) The plot of the film involves Charlie's difficult attempts at reconciling all of the conflicting worlds he involves himself in. Charlie works for Giovanni, a restaurant owner and Mafioso. Charlie shows promise in the underworld and is being groomed to take over the restaurant, but Giovanni does not like his association with Johnny Boy, a troubled figure that Charlie feels it is his Christian duty to help and protect. Johnny Boy owes money to another character, Michael, who is growing restless over Johnny Boy's ongoing failure to pay it back."
Tags: conflict, minorities, violence, melting, pot
Abstract In the movie 'Taxi Driver', directed by MartinScorsese 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
The paper examines the corruption of William M. Tweed, the "Boss" of Nineteenth Century New York City and his relationship with street gangs in the same period.
Abstract This paper examines the activities of William M. Tweed, a major political boss in New York during the 19th century. In particular, the paper examines how Tweed used criminal devices along with strategic relationships with gang members in order to rule over the city. In order to illustrate his case, the paper draws upon a number of sources, including MartinScorsese's 2002 film "Gangs of New York". The paper then describes the "Five Points" neighborhood of New York and the exceptionally hard life new immigrants and residents of this neighborhood faced and how this influenced the formation of rival street gangs. The paper examines how Tweed exploited these gangs in order to further his own interests.
From the Paper "At the same time this corrupt system was ruling over the streets of New York, the impoverished Irish immigrants finally began standing up against the xenophobic American system which kept them poor. The riots which broke out at the end of the film represent the extreme unrest which had resonated within the minds of both native Americans as well as foreign born newcomers who were forced into a service which they did not truly understand. As violence erupted on the streets of New York, a new age of New England politics was beginning to take shape. The riots depicted in the film "Gangs of New York" represent the dissent of the poor Irish class with both the larger American government as well as the corrupt political system of New York City at the time. This swayed much of the political weight away from corrupt agents such as the infamous Tweed, who was later convicted by the state of New York for embezzlement of city funds and various other crimes which typified his position in office. He later died in jail, separated far away from the millions of dollars he and his criminal thugs helped to cipher away from the city of New York and all of its necessities."
Abstract This paper examines how in the films, "Raging Bull", "Goodfellas", and "Casino", all directed by MartinScorsese, the characters portrayed by veteran actor Robert De Niro come from backgrounds full of poverty, violence, and disillusionment. It shows how, in "Raging Bull", the character of Jake LaMotta is the product of a very disturbing life, replete with jealousy and sexual insecurity, and how, in "Goodfellas", the character of Jimmy Conway represents the quintessential New York City gangster, whose life overflows with violence and betrayal as a direct result of his upbringing. It also shows how, in "Casino", the character of Sam "Ace" Rothstein is also a product of his background, being one of brutality and dishonesty. It explores how all three of these characters portrayed by De Niro are images and reflections of their individual life stories that were often wrought with decadence and hard living.
From the Paper "In Scorsese's Raging Bull, considered by many film critics as a great cinematic masterpiece, the story focuses on prizefighter Jake La Motta, a middleweight icon from the middle years of the 20th century. De Niro's characterization of La Motta has to be one of the most compelling character studies ever brought to the big screen, for he is an individual highly influenced by his poverty-stricken upbringing, a man full of self-pity, sadness and disillusionment. As an historical/biographical film, Raging Bull contains many details taken from La Motta's autobiography, but Scorsese found it necessary to portray La Motta as an uncouth, insensitive lout in order to round out De Niro's portrayal."
This paper is a personal essay comparing two versions of the film, "Cape Fear", a first film in 1962 directed by J. Lee Thompson in the style of Hitchcock, and the second in 1991, directed by MartinScorsese.
895 words (approx. 3.6 pages), 0 sources, 2004, $ 31.95
Abstract This paper relates that the first "Cape Fear"s? technical uses of camera angles caused many film critics to call it "Hitchcockian", but this broad designation neglects another: Hitchcock's use of suspense and his simultaneous embrace of the grotesque. The author believes that American director, MartinScorsese, shares Hitchcock's use of humor; but technically, Scorsese is less apt than Hitchcock to use sharp camera angles. Scorsese's camera is more apt to linger, as well as to jump-cut. The author contends that the second "Cape Fear" is more horrific than the first film because the modern viewer of the 1990s and beyond is so much more apt to identify with the difficulties and complexities exhibited by the characters, as opposed to the more 'perfect' setting that is intruded upon in the first film.
From the Paper "This is not to deny the impact of J. Lee Thompson's unique style. Scorsese and J. Lee Thompson differ from each other in that the earlier filmmaker was always apt to cast a mythological tone to his use of narrative. In contrast to both Hitchcock's suspenseful humor and Scorsese's suspenseful characterization and brutal view of common humanity, Thompson prefers to view the world as a morality play. Thus, the starkness of good and evil in the film is not due to the filmmaker's naivet?, but the way he reads "Beauty and the Beast"s? influence on the modern day justice system. "
Abstract This paper explains that, in "Taxi Driver", director MartinScorsese uses the camera and eerie lighting effects to underscore his study of the alienation of Travis Bickel, the taxi driver, who can not find a way to relate to others and build a life. The author points out that Scorsese uses camera angles and movement to create the narrative but uses the opposite, utter stillness, in scenes, which mark transitions. The paper relates that one of the most famous pivotal scenes in film shows the protagonist Travis acting with an imaginary adversary while looking in the mirror.
From the Paper "Scorsese introduces the climactic scene with an abrupt change in camera movement. He uses a long, slow vertical move from the sidewalk to the top floor of the building. This shot is different from the others in its visual aspect, but it is consistent in that it provides Travis' point of view, which has been the predominant perspective throughout the film. During the violence that erupts as Travis attempts to rescue a twelve-year-old hooker, the camera movement is shaky and chaotic, underscoring the chaotic nature of the action. In a surprising shot, as Travis lies wounded, the camera moves up to the ceiling and an overhead shot takes us out of the room and down the stairs slowly, viewing the carnage from a great height."
Abstract This paper presents an analytical viewpoint of MartinScorsese's film "Taxi Driver". The paper first looks at how the film develops both as a narrative and through the camera angles. It then discusses Scorsese's approach to the cab as a character in the course of the film as well as the concept of the anti-hero as the spark of the film. In addition, the paper examines how the film also includes a theme of alienation and a journey of identity. By relating the plot of the movie, the paper examines each of these themes and elements. According to the paper, ultimately, "Taxi Driver" highlights the path of a man confused about his identity and his purpose. It is this purposelessness, this lack of action that spurs the movie on and allows for the character of Travis to become more real as a character.
From the Paper "The film develops both as a narrative and through the camera angles. The film begins with an urban jungle scene in which war is more than likely thus giving foreshadowing to the events that will unfold during the course of the film. There are open sewers throughout the entire film and there are manhole covers with vapors coming out of them so thick the at home audience can smell the stink, the grime the film on which the movie is based. Scorsese gives the audience an allegory in the film. Scorsese's attention to music and the character's interchange is especially noticeable throughout the movie. The slow jazz sequences in the cab pitted against the writhing music in violent scenes makes each scene correlated with one another. This is one of the links by which the director allows the audience to decipher as a chronological movement between pieces of Travis' narrative."
Abstract This paper reviews two films by Italian-American directors, focusing on their portrayal of Italian-American women. The paper illustrates how Francis Coppola's "The Godfather" accepts the general parameters of family and of the place of women in the Italian-American family and community, while MartinScorsese's "Who's That Knocking at My Door?" delves more deeply into the effects certain myths have on that community.
From the Paper "The roles allotted for women in society enable both men and women to know where they fit in society and provide an area of comfort within which they know who they are, what they are to do in support of their families, and how they are viewed by every other member of society. There are cultural differences as to how women are viewed by different groups. Italian women have a different view of themselves than do American women because of cultural differences, and Italian-American women are in some ways between two cultures, embodying elements of both. Film reflects how different groups see themselves, and films by Italian-American directors like Martin Scorsese and Francis Coppola reflect some of the characteristics of Italian-American women and some of the tensions that these differences can create."
Tags: godfather, francis, coppola, martin, scorsese, mafia, corleone, jr
Abstract "The Godfather" (Francis Ford Coppola, 1972) and "Goodfellas" (MartinScorsese, 1990) share common elements of theme and characterization; however, the two films differ in regards to tone, direction, and cinematography. The paper shows how both movies address the nuances and complexities of Italian Mafia life from the perspectives of the criminals. It examines how the directors of each of these films portray concepts of family, tradition, culture and religion without neglecting to graphically display the insensitivity, violence, greed and corruption that pervade Mafia life.
From the Paper "Coppola and Scorsese employ vastly different camera and filming techniques. The Godfather is famous for its large, panoramic images like that at the beginning of the film during the wedding. Moreover, the director pans the camera in scenes like the only in which Sonny is shot. In The Godfather, camera angles are instrumental in providing perspective, as in the first scene with Don Corleone behind his desk in his home, as well as the scene in which Michael shoots the crooked cop in the restaurant. Goodfellas contains more close-up shots, especially of Henry Hill."
Abstract This paper examines how "Eastern religion", also alluded to as "Eastern mysticism" and "mysticism" and the occult, along with magic and its many off-shoots, have had a considerable influence on American pop culture over the past few decades. It looks at how movies, books, and music all have been touched and enhanced by mysticism and its cousins.
Outline
Introduction to Eastern Religion, Eastern Mysticism and Magic
The Beatles and Transcendental Meditation: Rock Superstars Dipping into an Ancient Mysticism to find Peace in a World Drenched in Chaos and Materialism
MartinScorsese and Eastern Mysticism
Harry Potter's Magic as a Mystical Force in Pop Culture
From the Paper "For many people who came of age and got into rock music in the 1960s and 1970s, and perhaps smoked some marijuana and even experimented with LSD, their interest in eastern religion and mysticism began with the Beatles? fascination with ? and association with ? the Maharishi Mahesh Yogi. It was John Lennon and George Harrison, in particular, who embraced the Maharishi in the late 1970s and early 1980s, in the town of Rishikesh, deep in the Himalayan foothills of northern India. The media clamored for photos of the Beatles hanging out and drinking in the good vibes of this holy man in white robes who preached peace through self-awareness and higher consciousness through meditation."
Abstract The paper examines the film "Goodfellas" (1990) by MartinScorsese that offers a sympathetic view of class struggle, romanticism, humor and organized crime, which the American public can observe, fully knowing what to expect in the plot. The paper portrays how in this manner, the outdated criminal archetype of the mobster portrays a harsh, yet exhilarating view of the violent life of normal men trying to get access to a higher-class sphere of American society.
From the Paper "The film "Goodfellas" (1990), directed by Martin Scorsese, reflects a common held mafia stereotype that made a massive impression on American society. The archetype of the criminal is exploited in this film, since it propagates the violence and mystery of how mafia members live. Scorsese provides an inside look into the dangerous life of the organized criminal, which many Americans can relate to being immigrants or those that had to "work their way to the top" in a corrupt economic and political system. The general plot outline for this film revolves around Henry Hill (Ray Liotta) who partakes in a crime alongside two other criminals: Jimmy Conway (Robert Deniro) and Tommy Devito (Joe Pesci). The success of the crime helps to bring about a deadly series of murders, which Tommy and Jimmy initiate to build their careers in organized crime."
Abstract This paper provides an analysis of the theme of redemption and violence in the movie 'Taxi Driver' by MartinScorsese. Through an exposition of the plot and a critical analysis of major themes in the movie, the paper shows how the main character Travis Bickle attempted to find redemption and acceptance in society and ultimately resorted to violence to achieve salvation.
From the Paper "In Martin Scorsese's 'Taxi Driver', Travis Bickle (as played by Robert DeNiro) is a man on the edge of society and sanity. As a late-night taxi driver in 1970s New York City, he finds himself dealing regularly with what he calls the "animals" which come out at night including "whores, skunk pussies, buggers, queens, fairies, dopers, junkies" and other "sick, venal" persons. He himself seeks a normal life amidst all this decaying humanity, and he fantasizes that "Someday a real rain will come and wash all this scum off the streets." As the story progresses through a series of events showing Travis trying and failing to relate to normal society, we find Travis coming to a realization that he is a part of the society he despises and it is a part of him."
