The art of director, screenwriter, and actor Martin Scorsese as an author's cinematography model
Keywords:
author's cinema, author's style, cinematography, directing tools, dramaAbstract
Martin Scorsese is an outstanding contemporary director, who strongly influenced the artistic and aesthetic foundations of American (authors’ in particular) cinematography of the 19th–20th centuries He was and remains one of the outstanding creators who shaped the aesthetics of the “New Hollywood” cinematography. In the period from 1917 to the early 1960s, there was a paradigm of “classic Hollywood”, in which films were produced according to the dominant aesthetic, genre and narrative formulas, the characters represented themselves as specific typical images with understandable motivations for the general public. Martin Scorsese is a representative of cinematography, who changed classical views of film art. That is why the study of Martin Scorsese's work remains relevant for researchers in the field of cinematography and culture to the present day. The purpose of this work is to study the creativity of director, screenwriter and actor Martin Scorsese, as well as to identify the author's style in the artist's work, determine his author's handwriting and manner. The methodology of this research is based on theoretical methods of scientific knowledge, in particular, the method of information analysis and synthesis, the cultural method, as well as historical and comparative methods were used.
Downloads
References
Araujo, D. C., & Schneider, C. L. (2019). Martin Scorsese Biopics: visual memory for the future. DOC On-line: Revista Digital de Cinema Documentário, (25), 102-123.
Barnych, M., Balaban, O., Kotlyar, S., Saminina, H., & Venher, O. (2021). Staged reality in cinema: Semantic context. Linguistics and Culture Review, 5(S4), 1340-1351. https://doi.org/10.21744/lingcure.v5nS4.1785
Batova, M. A. (2020). Suggestive methods of screenwriting: prohibition and mystery. Man and Culture, 1, 123-131.
Blake, R. A. (2017). Inside Bickle's brain: Scorsese, Schrader, and Wolfe on psychological realism. Journal of Popular Film and Television, 45(3), 139-151.
Budiarsa, I. W. (2021). Pekatik in gambuh dramatic show. International Journal of Linguistics, Literature and Culture, 7(3), 172-179. https://doi.org/10.21744/ijllc.v7n3.1589
Caminati, L. (2020). Italian Cinema and the World Cinema Stress Test. Canadian Journal of Film Studies, 29(2), 25-36.
Costa, C. B. (2019). An ironic overlay: the use of voice-over narration in The Age of Innocence, by Martin Scorsese. Adaptation, 13(2), 161-175.
De Valck, M. (2014). Supporting art cinema at a time of commercialization: Principles and practices, the case of the International Film Festival Rotterdam. Poetics, 42, 40-59. https://doi.org/10.1016/j.poetic.2013.11.004
Dumtrache, S. D. (2014). The effects of a cinema-therapy group on diminishing anxiety in young people. Procedia-Social and Behavioral Sciences, 127, 717-721. https://doi.org/10.1016/j.sbspro.2014.03.342
Ferla, F. (2019). Some considerations about Martin Scorsese's Age of innocence. CINEFORUM, 59(4), 53-58.
Glass, A. (2016). “I Want to be a Witness”: Blogging for Urban Authenticity and Cultural Authority in the East Village. New Directions in Folklore, 14(1/2), 3-39.
Glass, A. L. (2017). Scenes Through the Rearview Mirror: 1970s New York and the Cultural and Spatial Influence of Martin Scorsese's Taxi Driver. Journal of Popular Film and Television, 45(4), 211-218.
Gunnarsson, G. (2019). Wrestling with the Silence of God in Martin Scorsese's film Silence. Series of the Theological Institute.
Horne, P. (2020). The Queen of Spades Men of Two Worlds The Prime Minister. POSITIF, (716), 76-79.
Howell, A. (2021). “I didn’t know if I even really existed. But I do”: music, dance, and the performance of male identity in Joker. New Review of Film and Television Studies, 19(1), 78-88.
Jäncke, L. (1996). Facial EMG in an anger-provoking situation: individual differences in directing anger outwards or inwards. International Journal of Psychophysiology, 23(3), 207-214. https://doi.org/10.1016/S0167-8760(96)00062-1
Karakostas, I., Mademlis, I., Nikolaidis, N., & Pitas, I. (2020). Shot type constraints in UAV cinematography for autonomous target tracking. Information Sciences, 506, 273-294. https://doi.org/10.1016/j.ins.2019.08.011
Kerr, C., & Phaal, R. (2018). Directing the technology intelligence activity: An ‘information needs’ template for initiating the search. Technological Forecasting and Social Change, 134, 265-276. https://doi.org/10.1016/j.techfore.2018.06.033
Lopes, P. (2017). The power of Hyphen-Nationalism: Martin Scorsese's sojourn from Italian American to White-Ethnic American. Social Identities, 23(5), 562-578.
MacDowell, J. (2018). Interpretation, Irony and “Surface Meanings” in Film. Film-Philosophy, 22(2), 261-280.
Menon, J. R., Ramanathan, P. V. (2020). An acoustic exploration of sound in Martin Scorsese’s movie “Shutter Island”. International Journal of Scientific and Technology Research, 9(3), 4916-4917.
Ng, T. K. (2019). Of Faith and Faithlessness: Adaptive Fidelity in Shusaku Endo’s and Martin Scorsese’s Silence. Literature and Theology, 33(4), 434-450.
Nilsson, D., & Johansson, A. (2009). Social influence during the initial phase of a fire evacuation—Analysis of evacuation experiments in a cinema theatre. Fire Safety Journal, 44(1), 71-79. https://doi.org/10.1016/j.firesaf.2008.03.008
Nyandra, M., Kartiko, B.H., Susanto, P.C., Supriyati, A., Suryasa, W. (2018). Education and training improve quality of life and decrease depression score in elderly population. Eurasian Journal of Analytical Chemistry, 13(2), 371-377.
Pauw, W. (2006). The narcissistic masculinity of Travis Bickle: American "reality" in Martin Scorsese's Taxi Driver.
Pogrebniak, G. P., Gavran, I. A., Honcharuk, S. M., Mykhalov, V. Y., & Kot, H. M. (2021). Author’s cinematograph of new Hollywood: The issue of director’s self-fulfillment. Linguistics and Culture Review, 5(S4), 1098-1113. https://doi.org/10.21744/lingcure.v5nS4.1739
Pugacheva, L. G., Sakhno, D. A. (2019). Ideas of freedom and responsibility of the individual in domestic and foreign cinema of the 60-80s of the twentieth century. Bulletin of the Moscow State University of Culture and Arts, 5(91), 23-34.
Raymond, M. (2019). Martin Scorsese. Cinema and Media Studies.
Ruberto, L. E. (2014). Italian films, New York City Television, and the work of Martin Scorsese. A Companion to Martin Scorsese.
Sabilah, F. (2016). Teaching techniques and instructional media in presenting intercultural awareness in English class of primary school students. International Journal of Linguistics, Literature and Culture, 2(4), 112-121.
Sargent, J. D., Tickle, J. J., Beach, M. L., Dalton, M. A., Ahrens, M. B., & Heatherton, T. F. (2001). Brand appearances in contemporary cinema films and contribution to global marketing of cigarettes. The Lancet, 357(9249), 29-32. https://doi.org/10.1016/S0140-6736(00)03568-6
Schulze, V., Becke, C., Weidenmann, K., & Dietrich, S. (2011). Machining strategies for hole making in composites with minimal workpiece damage by directing the process forces inwards. Journal of Materials Processing Technology, 211(3), 329-338. https://doi.org/10.1016/j.jmatprotec.2010.10.004
Sterritt, D. (2014). Images of religion, ritual, and the sacred in Martin Scorsese's Cinema.
Strassburger, E., Bauer, S., Weber, S., & Gedon, H. (2016). Flash X-ray cinematography analysis of dwell and penetration of small caliber projectiles with three types of SiC ceramics. Defence Technology, 12(3), 277-283. https://doi.org/10.1016/j.dt.2016.01.011
Ting, J., Connor, J., & Ridder, S. (2005). High-speed cinematography of gas-metal atomization. Materials Science and Engineering: A, 390(1-2), 452-460. https://doi.org/10.1016/j.msea.2004.08.060
Published
How to Cite
Issue
Section
Copyright (c) 2021 Linguistics and Culture Review
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
