The Philosophy of Martin ScorseseMark Conard University Press of Kentucky, 31 трав. 2007 р. - 280 стор. Academy AwardÐwinning director Martin Scorsese is one of the most significant American filmmakers in the history of cinema. Although best known for his movies about gangsters and violence, such as Mean Streets, Goodfellas, Casino, and Taxi Driver, Scorsese has addressed a much wider range of themes and topics in the four decades of his career. In The Philosophy of Martin Scorsese, an impressive cast of contributors explores the complex themes and philosophical underpinnings of Martin ScorseseÕs films. The essays concerning ScorseseÕs films about crime and violence investigate the nature of friendship, the ethics of vigilantism, and the nature of unhappiness. The authors delve deeply into the minds of ScorseseÕs tortured characters and explore how the men and women he depicts grapple with moral codes and their emotions. Several of the essays explore specific themes in individual films. The authors describe how Scorsese addresses the nuances of social mores and values in The Age of Innocence, the nature of temptation and self-sacrifice in The Last Temptation of Christ and Bringing Out the Dead, and the complexities of innovation and ambition in The Aviator. Other chapters in the collection examine larger philosophical questions. In a world where everything can be interpreted as meaningful, Scorsese at times uses his films to teach audiences about the meaning in life beyond the everyday world depicted in the cinema. For example, his films touching on religious subjects, such as Kundun and The Last Temptation of Christ, allow the director to explore spiritualism and peaceful ways of responding to the chaos in the world.Filled with penetrating insights on ScorseseÕs body of work, The Philosophy of Martin Scorsese shows the director engaging with many of the most basic questions about our humanity and how we relate to one another in a complex world. |
З цієї книги
Результати 1-5 із 21
Сторінка 1
... elements of gangsters and/or violence, such as Mean Streets (1973), Taxi Driver (1976), Goodfellas (1990), and Casino (1995), to the point where he's identified with these types of films in the way that Billy Wilder is often thought of ...
... elements of gangsters and/or violence, such as Mean Streets (1973), Taxi Driver (1976), Goodfellas (1990), and Casino (1995), to the point where he's identified with these types of films in the way that Billy Wilder is often thought of ...
Сторінка 7
... elements are pursued with all Scorsese's relentless logic. The narrative opens with a pretitle sequence as Sam “Ace” Rothstein (Robert De Niro) lights a cigarette and gets into his car while in voice-over narration he utters the film's ...
... elements are pursued with all Scorsese's relentless logic. The narrative opens with a pretitle sequence as Sam “Ace” Rothstein (Robert De Niro) lights a cigarette and gets into his car while in voice-over narration he utters the film's ...
Сторінка 8
... element found in film noir. Scorsese gives us acid-etched sketches of Ace's micromanagement of and manipulations at the Tangiers, the casino he runs for the mob, Nicky's increasingly self-destructive behavior, and Ginger's two-timing ...
... element found in film noir. Scorsese gives us acid-etched sketches of Ace's micromanagement of and manipulations at the Tangiers, the casino he runs for the mob, Nicky's increasingly self-destructive behavior, and Ginger's two-timing ...
Сторінка 39
... elements in conjunc- tion. The appetitive element “feels passion, hungers, thirsts, and is stirred by other appetites.” It thus corresponds to our basic wants and needs for water, food, and sex, among other things. This element drives ...
... elements in conjunc- tion. The appetitive element “feels passion, hungers, thirsts, and is stirred by other appetites.” It thus corresponds to our basic wants and needs for water, food, and sex, among other things. This element drives ...
Сторінка 40
... element of human nature is analogous to the guardian class of the commonwealth . He calls this the spirited element . It cannot be reduced to the appetitive because " we often notice ... that when appetite forces someone contrary to his ...
... element of human nature is analogous to the guardian class of the commonwealth . He calls this the spirited element . It cannot be reduced to the appetitive because " we often notice ... that when appetite forces someone contrary to his ...
Зміст
1 | |
7 | |
23 | |
31 | |
53 | |
The Cinema of Madness | 75 |
The Age of Innocence | 93 |
After Hours | 109 |
The Last Temptation of Christ and Bringing Out the Dead | 141 |
Flying Solo | 165 |
Art Sex and Time in Scorseses After Hours | 189 |
The Ethical Underpinnings of Kundun | 211 |
Scorsese and the Transcendental | 231 |
Contributors | 247 |
Index | 251 |
The Pupkin Gambit | 129 |
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Загальні терміни та фрази
absurdity actions Age of Innocence argue Aviator bagel and cream become believes Camus Casino characters Charlie comedy compassion cream cheese Dalai Lama Dead desire DiCaprio divine egoism Ellen encounter entrepreneur essay ethics eudaimonia existential experience fact feel fiction Film Noir film’s Frank friends friendship gangster Glaucon Goodfellas Gyges happiness Henry Henry’s horror fiction Howard Hughes Hughes’s human Ibid interest Jesus kind Kundun Last Temptation libertarian lives madman madness Marcy Martin Scorsese Mary means moral movie nature Nausea Neo-Noir Newland Nicky Nietzsche noir one’s papier-mâché paris bagel Paul Paul Schrader Paul’s person Philosophy Plato pleasure protagonist Pupkin Pupkin gambit rational reason Robert De Niro Roquentin Sartre says scene Schrader Scorsese’s film seems sense sexual social society spirited element suffering Taxi Driver Temptation of Christ things Tibetan tion Tommy trans transcendence Travis Bickle ultimately unhappiness viewers vigilantism virtue York
Популярні уривки
Сторінка 58 - But there is no known Epicurean theory of life which does not assign to the pleasures of the intellect, of the feelings and imagination, and of the moral sentiments, a much higher value as pleasures than to those of mere sensation.
Сторінка 60 - We are threatened with suffering from three directions: from our own body, which is doomed to decay and dissolution and which cannot even do without pain and anxiety as warning signals; from the external world, which may rage against us with overwhelming and merciless forces of destruction; and finally from our relations to other men.
Сторінка 77 - Have you not heard of that madman who lit a lantern in the bright morning hours, ran to the market place, and cried incessantly, 'I seek God! I seek God!
Сторінка 60 - There is no possibility at all of its being carried through; all the regulations of the universe run counter to it. One feels inclined to say that the intention that man should be 'happy' is not included in the plan of 'Creation'.
Сторінка 226 - Right Thought, Right Speech, Right Action, Right Livelihood, Right Effort, Right Mindfulness, and Right Concentration.
Сторінка 58 - The comparison of the Epicurean life to that of beasts is felt as degrading, precisely because a beast's pleasures do not satisfy a human being's conceptions of happiness. Human beings have faculties more elevated than the animal appetites, and when once made conscious of them, do not regard anything as happiness which does not include their gratification.
Сторінка 69 - His aggressiveness is introjected, internalized; it is, in point of fact, sent back to where it came from - that is, it is directed towards his own ego. There it is taken over by a portion of the ego, which sets itself over against the rest of the ego as super-ego, and which now, in the form of 'conscience...
Сторінка 208 - Y can be visual, tactile, olfactory, etc., or purely imaginary; in the present example we shall concentrate on vision.) So Romeo senses Juliet, rather than merely noticing her. At this stage he is aroused by an unaroused object, so he is more in the sexual grip of his body than she of hers. Let us suppose, however, that Juliet now senses Romeo in another mirror on the opposite wall, though neither of them yet knows that he is seen by the other (the mirror angles provide three-quarter views). Romeo...
Сторінка 114 - Objects should not touch because they are not alive. You use them, put them back in place, you live among them : they are useful, nothing more. But they touch me, it is unbearable. I am afraid of being in contact with them as though they were living beasts.