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Martin Scorsese's Justification of Violence in Films Mean Streets, Taxi Driver, GoodFellas and Casino

and accumulating gambling debts he cannot possibly pay, the stage is set for a bloody confrontation when loan sharks come calling....

Urban Aesthetic and the Films of Martin Scorsese

large urban environment, humanity is even more vulnerable to the cruel and capricious winds of fate than at any other time in hist...

Jean Paul Sartre, Taxi Driver Film, and Existentialism

In five pages existentialism is examined and then discussed within the context of Martin Scorsese's film Taxi Driver and Jean Paul...

Goodfella/Its Moral Message

Henrys voiceover narration.3 This narration gives the viewer insight into Henrys motivations. This narration conveys Henrys childl...

Scene Analysis/Taxi Driver

on the mise-en-scene, camera work, editing and sound in a scene where Bickle states his intention to "get in shape now" and that h...

Scorsese to the Second Power: "Goodfellas" and "Casino"

errand boy to a "coke and gun dealer" (Quart). This is a twisted version of the American dream. Scorsese populates this film wit...

Scorsese/Gangs of New York

the foreign hordes defiling it" (Mattie 215). Cutting slays Vallon, consigns his son to an orphanage, and proclaims his rule ove...

Martin Scorsese Cinematic Comparison

In nine pages Bringing Out the Dead and Taxi Driver are contrasted and compared in terms of themes, characterization, and cinemati...

Martin Scorsese's Taxi Driver and the Use of Narrative

hard to draw oppositions between Travis and the Villain, Sport, as both are strong males who use forceful methods and generally th...

Martin Scorsese's Film GoodFellas and the Subculture It Portrays

In five pages this paper examines normal and deviant types of behavior, socialization, symbols, values, folkways, and mores within...

Scorsese's "Who's That Knocking At My Door" And "Mean Streets" - Brief Analysis

business transactions occur within the city limits, not to mention the fact that some of the wealthiest people choose to hang thei...

Goodfellas, the Media, and Sociology

time period and the Mafia subculture into which the boy is being indoctrinated. Another scene that contrasts Henrys family life w...

Film Review of Martin Scorsese's Goodfellas

the voiceover. According to reviewer Patricia Kowal, this inclusion of a female perspective furthers the gangster genre because it...

Martin Scorsese's Common Themes in the Film Casino

in many works, the focus of attention on the many true stories he takes on is related to childhood friendship that seemingly last ...

Music in Martin Scorsese's Film Casino

something. Traditionally, music in films have performed seven distinct functions (Bobker 101). At least six of these functions ap...

Martin Scorsese's Goodfellas, Francis Ford Coppola's The Godfather and Their Depiction of Crime and Punishment

He seems to have made up his mind at the very beginning of the saga. He has become a part of the military...

Goodfellas Film by Martin Scorsese

In six pages this paper examines the technical aspects of Scorsese's 1990 move and assesses whether or not it registered any socia...

A Review and Analysis of the Film, Raging Bull

This paper reviews and analyzes Martin Scorsese's 1980 classic film, Raging Bull. This two page paper has one source listed in th...

Analysis of Martin Scorsese's Film Raging Bull

in Raging Bull (127). Thus, part of the reason for the success of the film has to do with the choreographed movements of the acto...

American Dream Defined in Poltical, Social, and Cultural Landscape Transformations

In five pages prejudice and bias that result from behavioral and cultural differences are considered in terms of the works 'The Sp...

Martin Scorsese's Cinematography Intimacy in the Biographical Film Raging Bull

are moments when the action appears in slow motion, but it does not last long, and over all contributes to the dream quality of th...

Realism in Martin Scorsese's Film Raging Bull

In five pages cinematic realism is compared and contrasted with film noir and surrealism with the focus being how in the film Ragi...

Taxi Driver, J.P. Sartre, and Existentialism

In fourteen pages this paper considers the philosophical concept existentialism and then applies it to the 1976 film Taxi Driver a...

Cinema and Gun Symbolism

take a life in just moments. A student writing on this subject may want to consider the gun as an appendage of the bodies of Travi...

70s Films, Taxi Driver and Saturday Night Fever

This essay offers discussion of "Saturday Night Fever" and "Taxi Driver" as films that exemplify the social environment of the 197...

Sound Use by Martin Scorsese in Goodfellas

is But a Dream" by the Harptones and "Speedo" by the Cadillacs, combine seamlessly with additional orchestration to convey a "let ...

A Trio of Cinematic Rebels

indication that the audience has that Travis is not quite normal, that is, that his combat experience has left him with mental sca...

The Films Taxi Driver and Angels with Dirty Faces and the Portrayals of Antiheros

America, the concept of the antihero was revised to better reflect the attitudes of its citizens, and was defined to be an individ...

Soundtrack, Raging Bull

This essay offers description, summation and analysis of several scenes from Martin Scorsese's "Raging Bull" and the director's us...

Novel and Film Comparison of The Age of Innocence by Edith Wharton

of a visual masterpiece that demonstrates that Scorsese is an artist who understands the tone of the original work from which he c...