The Influences Of Martin Scorsese's Films

The most appealing films are those that keep audiences guessing, surprise them at the most unexpected times and break conventional film boundaries. Edward Scissorhands (1990) directed by Tim Burton, is a feature film that does exactly that. It blends a fairy tale story with a gothic horror film, to engage the viewer right from beginning until the resolution. It tells the tale of Edward, who was the creation of an inventor who died before he could give Edward proper hands, and was left with scissors as hands. When he was taken from his gothic mansion, into a “normal” suburban community, he was at first welcomed, but then heartbreakingly rejected when things went wrong. The character of the “monster” is an

At the beginning of the 1970s, two men, by the names of Martin Scorcese and Robert De Niro, met and started an extremely successful and world renowned string of movie director/actor collaborations. Over the course of 22 years,spawning from 1973, with their first film Mean Streets, to 1995, with their most recent work Casino, the duo paired up for 8 movies, most of which are considered some of the greatest films of all time. The most notable, however, would have to be their 1990 movie Goodfellas, a classic film which was nominated for 6 oscars, winning one, and named the greatest film of all time by British film magazine Total Film, an organized crime movie which is one of my favorite movies.

The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

Francis Ford Coppola directed the gangster crime drama film, The Godfather (1972), inspired by the novel of the same name, written by Author Mario Puzo. The film plays out in the beginning how Don Corleone declined to join the narcotics business with notorious drug lord Sollozzo. With this in mind, one of the greatest gangster films created by a man who decided to lead, and not follows. Moreover, explaining the formalist approach for this film which covers an array of elements that include plot structure, camera techniques, editing, mise en scene, and sound. The following film critique will analyze “The Godfather,” beginning by utilizing the formalist approach theory, camera technique and sound gradually introducing additional theories

Surrealism is a movement that built off of the burgeoning look into art, psychology, and the workings of the mind. Popularly associated with the works of Salvador Dali, Surrealist art takes imagery and ideology and creates correlation where there is none, creating new forms of art. In this essay I will look to explore the inception of the surrealist movement, including the Surrealist Manifesto, to stress the importance of these artists and their work in the 20th century and beyond. I also will look to films from our European Cinema course to express how films incorporate the influence of surrealism both intentionally and unintentionally.

Our analysis is on the film The Italian Job. While we view the movie and determine the various norms, behaviors, roles and interaction between group members, as well as individuals the examination within the realm of film can present many of the same components. Thus, our group selected this movie to analyze based on its formation of a cohesive problem-solving group full of unforgettable characters. The Italian Job portray many different theories and aspects of small group communication.

The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters are feeling at a specific moment. Through the use of freeze frames, we learn of significant moments that shape Henry into the man that he is. By means of first-person narration we are able to know exactly what is going through a particular character’s mind. Finally, wonderful editing made great use of point of view and multiple jump cuts, which added to the sensation that we are undergoing the same experiences as the characters on screen. I will go into further detail and specify scenes that convey these elements as the essay progresses. Altogether, Martin Scorsese’s Goodfellas effectively depicts paramount scenes and allows the audience to empathize with the characters by virtue of stylistic editing and cinematography.

The critically acclaimed film, Goodfellas, is a gangster crime drama that features a great deal of talent. Household names such as Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Golden Globes and Academy Awards nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters are feeling at a specific moment. Through the use of freeze frames, we learn of significant moments that shape Henry into the man that he is. By means of first-person narration, we are able to know exactly what is going through a particular character’s mind. Finally, strong editing made efficient use of multiple jump cuts, which add to the sensation that we are undergoing the same experiences as the characters on screen. Altogether, Martin Scorsese’s Goodfellas effectively depicts paramount scenes and allows the audience to empathize with the characters by virtue of stylistic editing and cinematography.

, I formed many different impressions of the lady and what was going on. When the lady came walking into the station, my impression formation theory of her was that she was a bit more of the higher class, due to her physical qualities and elegant attire. She had an uncomfortable perhaps uneasy expression the whole time she was making herself aware of her environment. I felt as if she had not been in an environment like that before and was her selective perception had her very attentive.

Martin Charles Scorsese was born November 17, 1942. Suffering from asthma, he spent most of his time watching movies and by the time he was eight, he was already drawing his own storyboards that were directed/produced by himself. Although he considered going into priesthood, making movies was Scorsese’s true calling and he went on to make some of Hollywood’s most memorable films. Incorporating themes from his Italian American roots into his visceral, cinematic storytelling that has influenced generations of filmmakers. He is an American director, producer, screenwriter, actor, and film historian, whose career spans more than 53 years. Scorsese 's body of work addresses such themes as Sicilian-American identity, Roman Catholic concepts of guilt and redemption, machismo, modern crime, and gang conflict. Many of his films are also notable for their depiction of violence and liberal use of profanity. Part of the New Hollywood wave of filmmaking, he is widely regarded as one of the most significant and influential filmmakers in cinema history. For three decades Scorsese has been at the forefront of American cinema. Its most avid champion and often its most electrifying practioner. The most cinematic of directors, he has also been among the most formally restless and exploratory, evolving an obsessive-compulsive mise-en-scene based on dynamic, agile camerawork and radical editing rhythms.

After World War II, the American motion picture studios began releasing films shot in black and white, with a high contrast style known as Film Noir. Though the roots of this style of film was greatly influenced by the German Expressionist movement in film during the late 1910-early 1920’s, and films that resembled this style were made prior to the war, including the early films by Fritz Lang, a German director who fled Germany prior to the war to work in America, this film style would become prevalent during the post WWII era. Besides the shadowed lighting style and the psychologically expressive mise-en-scène, the film noir plot-lines often surrounded crime dramas and were greatly influenced by the pulp fiction novels of the period by authors like Dashiell Hammett and

audience) that he will wait in a café until he finds her. The café he

Since the beginning of the Industrial Age, Americans have idealized the journey towards economic success. One thing people do not realize, however, is that that journey is not the same for every individual. For Charles Foster Kane (Orson Welles), the main character of Citizen Kane, directed by Orson Welles, the path towards riches and a fulfilled life is being well liked. He serves to please others. He strives for that attention. This view cost him his happiness in the end. In this man’s rise and fall through prosperity, Welles shows the futility of striving solely for likeability.

Mario Puzo’s "The Godfather" was the first and most influential gangster movie that paved the way for gangster movies of the future. The movie was directed by Frances Ford Copolla, who made many different ingenious ways to portray this gangster classic. The movie was a very subversive movie, and one of the first of all time.The Godfather has a many different uses of light settings through the whole movie, in which the movie can be interpreted on.