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For over four decades, Martin Scorsese has been the chronicler of an obsessive society, where material possessions and physical comfort are valued, where the pursuit of individual improvement is rewarded and where male prerogative is respected and preserved.

Scorsese has often described his films as sociology and he has a point: his storytelling condenses complex information into comprehensible narratives about society. In this sense, he has been a guide through a dark world of nineteenth century crypto-fascism to a fetishistic twentieth century in which goods, fame, money and power are held to have magical power.

Author of Tyson: Nurture of the Beast and Beckham, Ellis Cashmore turns his attention to arguably the most influential living film- maker to explore how Scorsese envisions America. Greed, manhood, the city and romantic love feature on Scorsese's landscape of secular materialism. They are among the themes Cashmore argues have driven and inform Scorsese's work. This is America, as seen through the eyes of Martin Scorsese and it is a deeply unpleasant place.

Cashmore's book discloses how, collectively, Scorsese's films present an image of America. It's an image assembled from the perspectives of obsessive people, whether burned-out paramedics, compulsive entrepreneurs, tortured lovers, or celebrity-fixated comedians. It's collected from pool halls, taxicabs, boxing rings and jazz clubs. It's an image that's specific, yet ubiquitous. It is Martin Scorsese's America. ... Read more

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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).Amazon.com Review
Is Martin Scorsese the last of the auteur filmmakers? Doeshis cinematic brilliance put him on a par with John Ford, OrsonWelles, Howard Hawks, John Cassavettes, and other major Americandirectors? In The Cinema of Martin Scorsese, LawrenceS. Friedman investigates this question as he takes the reader throughthe progress of Scorsese's career. Friedman explores Scorsese'sinfluences, his stock company of actors (which includes Robert DeNiro, Joe Pesci, and Harvey Keitel), his student films, and all hismajor works, including the masterpieces Mean Streets, TaxiDriver, Raging Bull, and Goodfellas. The versatilityof Scorsese's interests are examined in studies of his musical filmsNew York New York and The Last Waltz, his adaptation ofthe literary masterpieces The Last Temptation of Christ andThe Age of Innocence, his postmodern comedy After Hours,as well as Cape Fear, Alice Doesn't Live Here Anymore,The Color of Money, and Casino. Friedman even offerssome speculations about Kundun, which is about the 14th DalaiLama and the Chinese takeover of Tibet. This well-written and engagingbook offers many insights into an artist who believes that "mywhole life has been movies and religion. That's it. Nothingelse." ... Read more

Customer Reviews (2)

Excellent
This is a excellent book which covers Martin Scorcese's film's.I found it to be an excellent reference book. If you enjoy Scorcese's films get this book.

Incredible
Martin Scorsese has influenced so many directors in Hollywood that it's mind-blowing.and the casts that he has put together speak Volumes.he is as Important as anyone in the History of film.he takes the Streets and turnsit into his own vision.he has directed some of the most important filmsever.and he still has a classic or two that he hasn't even begun on yet.agreat book. ... Read more

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Conflict. Scorsese examines what men do when they are in conflict with themselves. Taxi Driver Travis Bickle is disgusted by the mean streets and wants to wash them clean. After all, what was the point of him going to Vietnam if it wasn't to make things better? Self-destructive Jake La Motta unleashes the Raging Bull within him both inside and outside the boxing ring. Wiseguy Henry Hill thinks that he can be one of the GoodFellas, but he eventually realises that there is nothing good or wise about a life of organised crime. Spirit. There is more to Scorsese's work than crime and violence. His characters are trying to attain some kind of spiritual peace with society, their family and themselves. In the end they try to make a decision they can live with. In Kundun, the Dalai Lama leaves Tibet. In The Last Temptation Of Christ, Jesus forgoes a normal family life to fulfil his destiny. In The Age Of Innocence, Newland Archer decides to be a hypocrite within society rather than truthful outside of it. In Mean Streets, Charlie must choose whether to keep his volatile friend Johnny Boy and his epileptic lover, or to propel himself up the ladder of success.

Hailed as America's greatest living film director, Martin Scorsese is an innovative storyteller at the height of his intellectual and emotional powers. This Pocket Essential examines his life and work.

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This book is a study of Martin Scorsese's early career, from his student shorts films to New York, New York. Leighton Grist explores the relationship between the issue of film authorship and a period of American cinema marked by crisis and change. It is a stimulating demonstration of sustained textual analysis, but also a significant intervention in the debates surrounding film authorship and an examination of the forces that shape films and Scorsese's authorial discourse. ... Read more

Customer Reviews (1)

Michael has insights and intelligence like none other.
I am a proud member of the Michael Bliss Former Film Students Club. His books are all well-researched and expertly written, with none of the usual mainstream orientation that cheapens other works.

Michael and Christine,if you are reading this, I am very proud of you and all you haveaccomplished.

Beth Erickson-bethbest@bistream.net ... Read more

Product Description
From Mean Streets (1973) to Cape Fear (1992), these chapter-length analyses of Martin Scorsese's features focus on his style as a director.There is an examination of the plot, with descriptions of the major characters and a thematic interpretation.Stylistic analysis focuses on the movie's major technical elements, including camera work, script, music, humor and acting.A filmography traces his career in television, short student films, and musicals. ... Read more

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Hausarbeit aus dem Jahr 1995 im Fachbereich Filmwissenschaft, Note: 2,0, Universität Hildesheim (Stiftung) (Kulturwissenschaften & Ästhetische Kommunikation), Sprache: Deutsch, Anmerkungen: Dichter Text - einzeiliger Zeilenabstand. , Abstract: Das Filmschaffen von Martin Scorsese ist geprägt von einem außerordentlichen religiösen Interesse - und nicht erst seit seinem Skandal-Werk „The Last Temptation of Christ"!Die vorliegende Arbeit geht der Fragestellung nach inwiefern sich Scorseses Weltanschauung und Religiosität in seinen frühen Filmwerken widerspiegelt. Einleitend werden seine ersten beiden Filme „Who's that knocking on the door", sowie „Mean Streets" analysiert - der Hauptteil konzentriert sich auf sein Kult-Werk „Taxi Driver". ... Read more

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Scorsese's 1988 film The Last Temptation of Christ arguably generated more resistance and conflict upon its release than any film before or since, engendering intense debate and even hatred between religious conservative protesters and liberal progressive defenders of the picture. This is the first full examination of the controversy, its participants, and their claims concerning the film's religious meaning. ... Read more

Customer Reviews (3)

148 Hilarious Pages of Pseudo Intellectual Christian Victimization
As a Christian, I found "The Last Temptation of Christ" compelling, faith-affirming and moving.As a UCLA Film Student at the time of its release, I found the controversy surrounding its production and release fascinating. Recently, after reading Thomas R. Lindlof's riveting book "Hollywood Under Siege: Martin Scorsese, The Religious Right and The Culture Wars," a secular account of the film's history, I decided to seek out a book about the film written from the perspective of those who were personally and spiritually hurt by the film. I ordered this book and Larry W. Poland, Ph.D.'s "The Last Temptation of Hollywood."Riley's "Film, Faith and Cultural Conflict" arrived first.On the down side, it was over $30.The up side - it has turned out to be one of the most outlandish, outrageous, pretentious, absurd, ignorant and hilarious reads I've had in a very long time.

Author Robin Riley is listed as an Assistant Professor of Electronic Media in the College-Conservatory of Music at the University of Cincinnati.The deeper I got into this train-wreck of an analysis on "Last Temptation" through the Riley's concepts of "scapegoating," the funnier the title "Assistant Professor of Electronic Media in the College-Conservatory of Music" became.By the end I had to own up to my mistake in dropping $30 on this thing. I mean, should I have really expectedintelligent, sophisticated religious, artistic and social commentary on the most controversial film of all time from an assistant professor in electronic media from a college-conservatory of music?

Riley lacks a fundamental understanding of both the history and meaning of the Constitution of the United States and the First Amendment.Furthermore, Riley has conveniently forgotten or outright rejected the absolute need for the separation of church and state on both State and Federal levels.The very American concept of freedom of religion is also absent in Riley's text and its arguments.If you're looking for an intelligent, legalistic and historic definition of and support for freedom of speech, you can stop reading after the book's Introduction.

The tone of the book, its illogic reasoning and arrogant ignorance is blatantly defined in the first pages of the Introduction.Riley claims that as a result of "The Last Temptation of Christ," a mere movie, "Religious conservatives have become more embattled and marginalized ...Their social currency in entertainment media and film has diminished...The Christian Church's traditional role as America's moral compass has been diminished or removed from these communication media in the years proceeding the film's release.Correspondingly, the ideas espoused in the Constitution and First Amendment have lost credibility among religious conservatives who believe the modernist ideals of American democracy have compromised the moral code that, in their view, gave it life.Liberal progressives have become increasingly alienated from the moral code of Christianity as a result of scapegoating.Likewise, the trusting relationship long maintained between the film industry and the public has been altered and delegitimized."

I think Riley may be shocked to learn that any cause, religious or otherwise, can only become "embattled and marginalized" if they choose to be.A cause or religion that engages in a public conflict and allows the resulting victory or defeat to validate their own sense of worth and power must inherently be a weak andquestionable cause or religion to begin with.

As far as the "social currency in entertainment media and film" of religious conservatives being diminished, Riley reveals how painfully ignorant she is of the simplest economic model that explains this issue - supply and demand.Fortunately, a little movie called "The Passion of the Christ" came along in to show how all this works.See, when a certain demographic plucks down over $600 million dollars in theaters to see a genre film that appeals to that demographic - as when fundamentalist Christians spent close to $1 Billion dollars on movie tickets and DVDs of Mel Gibson's "The Passion of the Christ" - every actor, director and studio in Hollywood takes note.Entire production and home video divisions dedicated to Christian entertainment product sprang up all over Hollywood in the 2 years following "The Passion."New Line Pictures spent millions to make the very reverent and spiritual film "The Nativity Story," the story of Mary's journey to Bethlehem and the birth of Christ.It starred Oscar nominee Keisha Castle-Hughes and was directed by Katherine Hardwick.Hardwick would later direct the smash hit version of the vampire-teen tale "Twilight."The film was aggressively marketed to churches all across America.Conservative critics and groups praised it.None of the churches that flooded movie theaters for "The Passion" turned up for "The Nativity Story."It bombed and cost New Line millions.The Visual Bible International, Inc. spent $30 million dollars to produce and release "The Gospel of John," a word-for-word film adaptation of the gospel itself.Daily Variety called it "Dramatically Powerful!"The Associated Press called it "Thought-Provoking Entertainment."The notoriously liberal LA Weekly declared it a major religious epic better than "The Passion of the Christ."None of the Christians who spent millions on Gibson's "The Passion" went to see "TheGospel of John" in theaters or onDVD.Visual Bible wanted to make unabridged films of the other gospels as well, and they entered pre-production on "The Gospel of Mark" for theatrical release.After losing $30 million dollars when Christian entertainment consumers ignored "The Gospel of John," Visual Bible was forced to cancel "The Gospel of Mark." Riley is correct when she states, "the trusting relationship long maintained between the film industry and the (Christian) public has been altered and delegitimized."After New Market films and theaters across America risked money and protests with "The Passion of the Christ," and it was a success, Hollywood listened.They quickly dumped millions into big budget, Christian conservative theatrical films and direct to video products.Millions of conservative Christians in 1988 begged in anger for Hollywood to destroy the negative to "The Last Temptation of Christ" and instead produce conservative Christian films.When Hollywood delivered the goods, Christians stayed away and the studios lost millions.You might say that "trusting relationship" between the film industry and Christian public has been altered and delegitimized by the failure of conservative Christians to go and see the very type of films they lament Hollywood never makes for them.

I don't know how much proof can be provided by Riley that "the Christian Church's traditional role as America's moral compass has been diminished or removed from these communication media in the years proceeding the film's release" after the phenomena that was "The Passion of the Christ."I find it very arrogant for Riley to indicate that the Christian Church should have a role as America's moral compass, period.I am pretty sure many Jews, Buddhists, Hindus, and Atheists, to name a few, would object to the US government proclaiming the Christian Church as the keeper of America's moral compass.As a Christian, I OBJECT to the idea of the Christian Church being the sole keeper of America's moral compass.Many Christians have huge issues with the beliefs and actions of certain sects of conservative Christians.

Perhaps the most hilarious and absurd things to be found in Riley's book are the portions which address that "the ideas espoused in the Constitution and First Amendment have lost credibility among religious conservatives who believe the modernist ideals of American democracy have compromised the moral code that, in their view, gave it life."The bulk of the authors of our Constitution and Bill of Rights were Masons - at best, a questionable form of Christianity that today's conservative Christians would brand very unChristian and label a dangerous cult.The Masons' views on religion was above all about tolerance.Tolerance for the views and practices of all faiths.They had fled one country and its leader who imposed a singular, repressive religion on them.The last thing our Founding Fathers wanted to do was set up a government based upon one single religion, religious philosophy or dogmatic beliefs and practices.As far as Riley's views that, "Liberal progressives have become increasingly alienated from the moral code of Christianity as a result of scapegoating," - I honestly think liberal progressives could care less about being alienated from the moral code of Christianity.In fact, I think most people who are not Christians and choose not to believe in the moral code of Christianity should increasingly alienate themselves from a code they may find oppressive as part of a religion they do not believe in nor find God in.

In 1988 when the film was released, my own little Christian family was ofopposing views regarding it.My father and I found spiritual value in it while my sister and mother were offended by there mere concept of the story.We had discussions and debates, but they were civil and respectful.Most of all, at the end of the day, we all viewed each other as genuine Christians.No one was told they were committing blasphemy by viewing and supporting "The Last Temptation of Christ," or that we were going to hell if we saw the film and valued it's content.Just think - if all Christians had reacted this way to "The Last Temptation of Christ' - felt free to express their views; felt responsible to allow others to express their own views in an atmosphere of safety; and acknowledged that Martin Scorsese and Universal had the legally protected right to make the film under the first Amendment, free of persecution.We Christians would have truly acted and behaved as Jesus always wanted us to.Those who were opposed to the film could have protested peacefully, as many did, while respecting Universal's right to distribute the film, the right of theaters to play the film, and the right of anyone over the age of 17 to buy a ticket and see the film.If we had just listened to him and done what he said was most important, "Love one another as I have loved you," perhaps a lot of drama and trauma could have been avoided.

At the very least, we wouldn't have Riley's book killing innocent trees.

Finally an objective opinion on the Last Temptation
This is one of the best books written on the intense and volatile controversey surrounding Scorceses's masterpiece the Last Temptation of Christ. It deserves to be studied and debated because as of the opposition currently to Mel Gibson's the Passion of the Christ film. This book is a direct reply I would say to Larry W. Poland extremely biased book The Last Temptation of Hollywood. The protest against this movie will shock you and it will make you think. Now we can all view this masterpiece in a stellar DVD produced by Criterion. Read this book to get the lowdown on the fantastic opposition from Christian zealots and see the movie for the greatest artistic expression ever produced on film.

Religious liberalism is not equal to secularism
This book employs a complex rhetoric of scapegoating to describe the interaction between religious progressives and religious conservatives during the controversy over the film _The Last Temptation of Christ._ I initially skimmed it over with interest and some sympathy. It makes a fairly decent case that even if Scorsese saw the film as a vehicle for a positive expression of his religious beliefs and not an attack on the religious right, both he and Nikos Kazantzakis (the author of the original book) intended to tell the story of Jesus in a way that more or less ignored orthodox theology. I have to agree with Riley that there is an implicit attack on the religious establishment there.

As I read the book in more depth, however, I was less impressed -- the argument becomes overblown in the details, as when Riley asserts that "[t]he film's victimization of traditional Christianity is made apparent when nonconforming images and ideas about Jesus are placed in viewers' minds, thus erasing or displacing conventional associations and references" (49). Exposing people to alternative religious ideas and interpretations "victimizes" them?! What an insult to believers' intelligence and the strength of their faith! Powerful as art can be, I hardly think a single viewing of a film should be able to "corrupt" (if challenging people's beliefs can be considered corruption) a solidly established faith. To argue that LToC victimizes conservatives is as absurd as arguing that _King of Kings_ or the other great epics victimize liberals, or that street evangelism from both the religious left and right victimizes the other. (Notably, Scorsese himself confesses to being a tremendous fan of Biblical epics; Riley acknowledges this but does not explore its implications.)

I'm grateful to Riley for the opportunity to think through these provocative arguments, as well as for the detailed information about the reception of the film presented in this book. S/he is certainly right to point out that in the controversy over LToC, liberals persecuted conservatives just as conservatives persecuted liberals; in some ways, the controversy over Mel Gibson's _The Passion_ is a replay of events surrounding LToC, only with liberals on the offensive.

Overall, however, the book's agenda is tipped too strongly in defense of the conservative reaction. The book morphs into a polemic, misrepresenting the religious point of view it opposes. Instead of acknowledging LToC's theology as a distinctive religious viewpoint, Riley insists that Scorsese's attempt to emphasize the humanity of Jesus is "secular," ignoring the fact that the debate over Jesus' humanity versus his divinity has been an issue since at least the 4th century. To believe in a primarily human Jesus is hardly a non-Christian position. Further, scenes that Scorsese, Kazantzakis, and appreciative viewers have read as deeply spiritual and reaching toward transcendent truth are castigated by Riley as being amoral or rejecting the idea of universal ethical principles. At times, this is done in ways that ignore inconvenient plot points or dialogue. Finally, Riley's suggestion that Scorsese and Universal Pictures represent an aggressive secularizing conspiracy, when perfectly sincere beliefs about freedom of speech and the essential humanity of Christ would result in the same behavior is, I think, bordering on paranoia.

In conclusion, though it's true that both religious liberals and secular people tended to like this film more than conservatives did, Riley's implication that therefore religious liberals are just closet secularizers is an underhanded attack of the same kind that s/he condemns in this book, cloaked as it is in seemingly academic rhetoric. I remain unimpressed. ... Read more

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For the better part of a century, Twentieth Century Fox, one of the oldest and most powerful of the great Hollywood studios, has maintained its magnificent archive of still photographs-unit stills, glamorous portraits, screen tests, and other behind-the-scenes coverage of daily life in the dream factory. This collection features the best of these photographs, many previously unpublished. Here is a visual record of The Grapes of Wrath, All About Eve, Gentlemen Prefer Blondes, Butch Cassidy and the Sundance Kid, Cleopatra, and other cherished films of the 20th century, along with memorable shots of the stars, directors, and crews who worked on the Fox lot from the Golden Age of Holly-wood to the present.

Shirley Temple, Gene Tierney, Marilyn Monroe, Jane Russell, Natalie Wood, Montgomery Clift, Robert Redford, and Gregory Peck are just a few of the superstars who are seen here in unexpected and evocative photographs. Martin Scorsese, a leader in film preservation and one of America's most important filmmakers, contributes an essay to this stunning volume, which will be irresistible for film and photography buffs alike.AUTHOR BIO: Tom Rothman is the co-chairman of Twentieth Century Fox. Martin Scorsese is a legendary filmmaker who has directed some of the most important films of the last half-century, including Gangs of New York, Cape Fear, Goodfellas, The King of Comedy, Raging Bull, and Taxi Driver. Rob Easterla, Kevin Murphy, and Miles Scott are Fox archivists. ... Read more

Customer Reviews (3)

photos,classics
This volume contains some really great photographs of times passed in the Classic era of motion pictures and movie history. Any buff would want to add this to their collection.

Gorgeous photos, but no stories behind them
The pictures in _Twentieth Century Fox: Inside the Photo Archive_ are breathtaking, a mix of color and black-and-white images, all in full-page format and spanning the entire illustrious history of the studio.However, to my own mind there's a serious shortcoming; there is no real context for the photos.The captions simply describe the subjects of the pictures and the films they were appearing in at the time, with no explanations as to what was going on at the time the photographs were taken and no anecdotes about the actors and their movies.I liked this book, but I do think it could have been a lot better if those who'd assembled it had taken a little more time to provide the stories behind the pictures.

Wonderful photographs, never seen before.
I have already a few photograph books on movies and movie stars and this is one of the best. Contains photos I had never seen before, in large format and the best quality. This book is perfect for all those who believe they don't make movies like they used to in the classic days anymore, I'm one of them! Nor do we have now stars like those... ... Read more

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This study of Martin Sorsese's films is intended as a close look at the cinematic text of the films themselves. Unlike other books on Scorsese's films, in which particular shots and sequences of shots are left unexamined in favor of examination of broad t ... Read more

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Invaluable for Scorsese fanatics, Required for film scholars, and approachable for casual fans
I am a film lover who has either read or skimmed through most if not all books written on Martin Scorsese or his films.THIS IS THE BEST MARTIN SCORSESE BOOK, and the only one of its kind.This book is useful for someone who just saw a Scorsese movie, liked it, and wants to know more about it and other movies similar to it; it's necessary for a fan who has seen his movies before and seeks a deeper understanding of the visual storytelling; and it's required reading for a film scholar who wants to know Scorsese's place in cinema.

DON'T READ THIS WHOLE THING, FIND THE PART THAT FITS YOU

CASUAL READERS: Author Ben Nyce (who taught film to people of all levels of familiarity with film, I presume) writes in an easy to understand tone.You can follow his chapters almost as easily as you could follow the films themselves.He rarely uses film terminology an average reader wouldn't know, and does not allude to works by other directors without sufficiently explaining them.

SCORSESE FANS: You need this book in your collections, even if it's the only book in it.It treads all the familiar places, and takes you to new ones.

FILM SCHOLARS: If you study film, you should want this book. It has detailed examination of landmark movies from the film canon of America's greatest living director, and one of the most important filmmakers in history.Nyce writes for everyone, but you will get the most out of his analysis.He places the films in context with the state of cinema in the era, finds parallels in Scorsese's own life, and uncovers their relationship with work from other directors Scorsese admired.Most importantly, Nyce is just so insightful.He delves into the psychology of Scorsese's characters, studying their motivations and actions in a scene-by-scene analysis of the films.He does this for all of Scorsese's MAJOR films-- he mentions but pretty much skips the movies that even avid Scorsese fans would have trouble remembering.

OVERALL: The book is so good it is often used in university film classes studying Scorsese's work in-depth.Nyce offers historical background when needed; studies the overlapping themes that Scorsese returned to throughout his career, and compares how the director approached them in each film; and offers the most insightful interpretations of many scenes, shots, or pieces of dialogue I have EVER READ on Scorsese's pictures.His attention to details in each film often made me see movies that I've watched dozens of times in a new light.

AUTHOR CREDENTIALS:Ben Nyce was professor of literature and film at the University of San Diego.He also wrote Satyajit Ray: A Study of His Films, a book I only skimmed but would recommend to a more advanced student of film.His writing style is conversational, unpretentious, and always perceptive.

MOVIES STUDIED IN DETAIL:If you're like me, you want to know what, exactly, Nyce analyzes.These are most of the films... "Mean Streets," "Taxi Driver," "Raging Bull," "Goodfellas," "Alice Doesn't Live Here Anymore," "The Last Temptation of Christ," "Bringing Out the Dead," "The King of Comedy," "After Hours," "The Age of Innocence," "Cape Fear," "Casino," "Kundun," and "The Color of Money." There is also a chapter dedicated to all of Scorsese's earliest works, another covering his foray into the Hollywood musical, and a postscript on "Gangs of New York", which was released as this book was about to go to press.It is three pages long and, although far less engaging, interesting, or informative than the rest of the book, acts as a detailed movie review, in which Nyce studies the film against Scorsese's past works. ... Read more