From the urban violence and psychosis of MEAN STREETS, TAXI DRIVER, and GOODFELLAS to the romanticism of THE AGE OF INNOCENCE, and from the drama of RAGING BULL to the supremely provocative LAST TEMPTATION OF CHRIST, this book provides a "lively, informative look at the 'consummate cineast, ' whom Steven Spielberg calls America's best and most honest director" (LIBRARY JOURNAL).

In 1973, early in their careers, Martin Scorsese and Robert De Niro collaborated for the first time. Over the next few decades, they worked together on seven more movies, many of which brought them both acclaim and awards. And while successful director and actor pairings have occurred throughout the history of film, few have fashioned so many works of enduring value as these two artists. In little more than two decades, Scorsese and De Niro produced eight features, including the classics Taxi Driver, Raging Bull, and GoodFellas. In The Films of Martin Scorsese and Robert De Niro, Andrew J. Rausch examines the creative output of this remarkable pair, from their initial offering, Mean Streets, to their most recent film together, Casino. Rausch looks at their relationship as individual artists who worked together to create cinematic magic, as well as the friendship that was forged nearly 40 years ago. Drawing upon interviews and other sources, Rausch goes behind the scenes of their eight films, providing insi

Martin Scorsese (USA, born 1942) is among the most prolific of American directors, having made more than 25 features in a 40-year career that has seen him garner all the highest honours the film world can bestow. He is admired and respected throughout the world for the tireless work of his Film Foundation in preserving America's film heritage.

This account of American films is balanced between subjective enthusiasm and objective analysis. Scorsese starts from his own childhood love affair with the cinema, when he discovered King Vidor's Dual in the Sun as a boy.

Widely acclaimed as America's greatest living film director, Martin Scorsese is also, some argue, the pre-eminent Italian American artist. Although he has treated various subjects in over three decades, his most sustained filmmaking and the core of his achievement consists of five films on Italian American subjects - Who's That Knocking at My Door?, Mean Streets, Raging Bull, GoodFellas, and Casino - as well as the documentary Italianamerican. In Gangster Priest Robert Casillo examines these films in the context of the society, religion, culture, and history of Southern Italy, from which the majority of Italian Americans, including Scorsese, derive. Casillo argues that these films cannot be fully appreciated either thematically or formally without understanding the various facets of Italian American ethnicity, as well as the nature of Italian American cinema and the difficulties facing assimilating third-generation artists. Forming a unified whole, Scorsese's Italian American films offer what Casillo views as a prolonged meditation on the immigrant experience, the relationship between Italian America and Southern Italy, the conflicts between the ethnic generations, and the formation and development of Italian American ethnicity (and thus identity) on American soil through the generations. Raised as a Catholic and deeply imbued with Catholic values, Scorsese also deals with certain forms of Southern Italian vernacular religion, which have left their imprint not only on Scorsese himself but also on the spiritually tormented characters of his Italian American films. Casillo also shows how Scorsese interrogates the Southern Italian code of masculine honour in his exploration of the Italian American underworld or Mafia, and through his implicitly Catholic optic, discloses its thoroughgoing and longstanding opposition to Christianity. Bringing a wealth of scholarship and insight into Scorsese's work, Casillo's study will captivate readers interested in the director's magisterial artistry, the rich social history of Southern Italy, Italian American ethnicity, and the sociology and history of the Mafia in both Sicily and the United States.

From his earliest shorts to his recent feature films The Departed and Shutter Island, this book offers an in-depth analysis of the deepest archetypal themes, symbols, and structures in Martin Scorsese's entire body of work. It examines each of Scorsese's films as a mythological journey through which the main character is offered an opportunity for psychological and spiritual enlightenment, focusing especially on how each character is led to recognize, accept, and embrace his or her flawed traits. The book also explores the ways in which Scorsese's films incite extreme reactions and strike deep chords within his viewers, particularly by speaking the language of the unconscious and forcing readers to examine their own hidden flaws.

When Martin Scorsese finally won an Academy Award in 2007, for The Departed, it was widely viewed as the crowning achievement of a remarkable film career. But what it also represented was an acceptance by Hollywood of a man who became a prestigious auteur precisely because of his status as an outsider from New York. For someone with a high-culture reputation like Scorsese's, this middlebrow sign of respectability was not about cultural standing; rather, it was about using and even sacrificing his distinctive outsider status for a greater share of industry authority within the world of Hollywood. In Hollywood's New Yorker, Marc Raymond offers a fresh look at Scorsese's career in relation to the critical and social environment of the past fifty years. He traces Scorsese's career and films through his association with various cultural institutions, from his role as a student and instructor at New York University, to his move to Hollywood and his relationship with the studio system, to his relationship with prestigious institutions like the Museum of Modern Art. This sociological approach to film authorship provides analysis of previously overlooked Scorsese projects, particularly his documentary work, and gives importance to the role his extracurricular activities in the film preservation movement have played in the rise of his reputation. Hollywood's New Yorker places Scorsese and his films firmly within the various time periods of his career and compares the director with his peers, from fellow New Yorkers like Brian De Palma and Woody Allen to New Hollywood movie brats such as Francis Ford Coppola and Steven Spielberg. The result is a complete picture of Scorsese and the post–World War II American film culture he has both shaped and been shaped by.