By Aaron Baker

A better half to Martin Scorsese is a finished number of unique essays assessing the profession of 1 of America’s so much admired modern filmmakers.

  • Contains contributions from well-liked students in North the United States and Europe that use quite a few analytic approaches
  • Offers clean interpretations of a few of Scorsese’s so much influential motion pictures, together with Mean Streets, Taxi Driver, Raging Bull, Goodfellas, Gangs of recent York, and Hugo
  • Considers Scorsese's position in the background of yankee and global cinema; his paintings on the subject of auteur concept; using renowned tune and diverse topics comparable to violence, ethnicity, faith, sexuality, gender, and race in his movies, and more

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Extra info for A Companion to Martin Scorsese

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The two titles of the film, the original Season of the Witch and the subsequent Mean Streets, encapsulate this duality. Understanding the title Season of the Witch requires a deep knowledge of Italian culture, as Robert Casillo argues: The title Season of the Witch has its merits and is arguably preferable to the present one, being more closely related to the film’s themes, narrative and characters.  Its unsuitability lies in the fact that, while witches have a specific significance in southern Italian society and its earlier Italian American off-shoots, these meanings would have been lost on most American viewers.

While it may not be unusual for a studio to use a director’s star power to promote a film, in this case it was an absolute necessity. In order to sell The Last Temptation of Christ as a serious prestige picture rather than just another for-profit commodity, Universal had to make sure that Scorsese’s reputation as a great auteur was secure. Moreover, Scorsese benefited from the protests against The Last Temptation of Christ by receiving widespread critical support, with even those reviewers who weren’t enthusiastic about the film wanting to endorse his right to free expression.

The two titles of the film, the original Season of the Witch and the subsequent Mean Streets, encapsulate this duality. Understanding the title Season of the Witch requires a deep knowledge of Italian culture, as Robert Casillo argues: The title Season of the Witch has its merits and is arguably preferable to the present one, being more closely related to the film’s themes, narrative and characters.  Its unsuitability lies in the fact that, while witches have a specific significance in southern Italian society and its earlier Italian American off-shoots, these meanings would have been lost on most American viewers.

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