MARTIN SCORSESE’S CHARACTER DRIVEN FILMS: THE STUDY OF MAIN PROTAGONISTS IN TAXI DRIVER (1976) AND RAGING BULL (1980)

Authors

Abstract

Martin Scorsese is a crucial figure in American cinema, and one of the few filmmakers who has possessed the gift to skillfully adapt genres and themes throughout the decades by making them thoroughly contemporary. Since his first appearance on the American film scene, this director’s corpus of films has been remarkable as he has successfully merged the commercial and the exploitative. This paper explores how the themes of violence, ethnicity, masculinity, and Catholicism have influenced Scorsese as a filmmaker, as well as the construction of his lead protagonists in Taxi Driver (1976) and Raging Bull (1980). Scorsese’s characters are conflicted, constantly seeking redemption, and are central to the plots of his film, which makes these aforementioned films essentially character-driven.

Keywords:  Scorsese, violence, Catholicism, masculinity, redemption.

Author Biography

Rajko Petković, University of Zadar

English department

Associate Professor

References

Baker, A. (2015). A Companion to Martin Scorsese. West Sussex: Wiley Blackwell.

Bertellini, G., Reich, J. (2015). “Smuggling Iconoclasm: European Cinema and Scorsese’s Male Antiheroes.” In: Baker, A. (Ed.). A Companion to Martin Scorsese. West Sussex: Wiley Blackwell.

Bordwell, D., Thompson, K. (2008). Film Art. An Introduction. University of Wisconsin.

Blake, R. (2005). Street Smart. The New York of Lumet, Allen, Scorsese, and Lee. Kentucky: The University Press of Kentucky.

Casillo, R. (2006). Gangster Priest. The Italian American Cinema of Martin Scorsese. Toronto, Buffalo, London: University of Toronto Press.

Cavallero, J. (2011). Hollywood's Italian American Filmmakers: Capra, Scorsese, Savoca, Coppola, and Tarantino. Chicago, Springfield: University of Illinois Press.

Connelly, M.K. (1991). The Films of Martin Scorsese: A Critical Study. Case Western Reserve University.

Duncan, P. (2004). Martin Scorsese. Reading: Pocket Essentials.

Ebert, R. (2008). Scorsese by Ebert. Chicago, London: The University of Chicago Press.

Graham, P. E. (2002). Violence and the Scapegoat in American Film: 1967-1999. University of New Orleans.

Greven, D. (2013). Psycho-sexual Male Desire in Hitchcock, De Palma, Scorsese, and Friedkin. Austin: University of Texas Press.

Grindon, L. (2005). “Art and Genre in Raging Bull”. In Hayes, K. (Ed.). Martin Scorsese's Raging Bull. Cambridge: Cambridge University Press.

Grindon, L. (2015). “Filming the Fights: Subjectivity and Sensation in Raging Bull”. In Baker, A. (Ed.). A Companion to Martin Scorsese. West Sussex: Wiley Blackwell.

Grist, L. (1996). Authorship and Context: The Films of Martin Scorsese 1963-1977. University of Warwick.

Hayes, K. (2005). Martin Scorsese's Raging Bull. Cambridge: Cambridge University Press. 2005.

High, M. D. (2015). “Taxi Driver and Veteran Trauma”. In Baker, A. (Ed.). A Companion to Martin Scorsese. West Sussex: Wiley Blackwell.

Kolker, R. (2011). A Cinema of Loneliness. New York: Oxford University Press.

Larke-Walsh, G. S. (2011). “Martin Scorsese”. In Tasker, Y. (Ed.). Fifty Contemporary Film Directors. London and New York: Routledge.

LoBrutto, V. (2007). Martin Scorsese. A Biography. Westport, Connecticut, London: Praeger.

Lopes, P. (2019). Art Rebels. Race, Class and Gender in the Art of Miles Davis and Martin Scorsese. Princeton and Oxford: Princeton University Press.

Lubin, J. E. (2005). American Disillusionment and the Search for Self-Fulfillment in the1970s: A Cultural History of Taxi Driver, Annie Hall, and Saturday Night Fever. Louisiana State University.

McCormack, P. (2005). “Women in Raging Bull: Scorsese’s Use of Determinist, Objective, and Subjective Techniques”. In Hayes, K. (Ed.). Martin Scorsese’s Raging Bull. Cambridge: Cambridge University Press.

Nicholls, M. (2005). “My Victims, My Melancholia: Raging Bull and Vincente Minelli’s The Bad and the Beautiful”. In Hayes, K. (Ed.). Martin Scorsese’s Raging Bull. Cambridge: Cambridge University Press.

Pauw, W. (2006). The Narcissistic Masculinity of Travis Bickle: American Reality in Martin Scorsese's Taxi Driver. Stellenbosch University.

Peterson M. (2005). “Raging Bull and the Idea of Performance”. In Hayes. K. (Ed.). Martin Scorsese’s Raging Bull. Cambridge: Cambridge University Press.

Rausch, A. (2010). The Films of Martin Scorsese and Robert de Niro. Lanham, Toronto, Plymouth: The Scarecrow Press.

Raymond, M. (2000). Martin Scorsese and American Film Genre. Ottawa: Carleton University.

Raymond, M. (2009). Martin Scorsese and Film Culture: Radically Contextualizing the Contemporary Auteur. Ottawa: Carleton University.

Ruberto L. E. (2015). “Italian Films, New York City Television, and the Work of Martin Scorsese”. In Baker, A. (Ed.). A Companion to Martin Scorsese. West Sussex: Wiley Blackwell.

San Juan, E. (2020). The Films of Martin Scorsese: Gangsters, Greed, and Guilt. Lanham, Boulder, New York, London: Rowman and Littlefield.

Tait, C. R. (2015). “When Marty Met Bobby: Collaborative Authorship in Mean Streets and Taxi Driver”. In Baker, A. (Ed.). A Companion to Martin Scorsese. West Sussex: Wiley Blackwell.

Tasker, Y. (2011). Fifty Contemporary Film Directors. London and New York: Routledge.

Filmography

Scorsese, M. (1976) Taxi Driver

Scorsese, M. (1980) Raging Bull

Scorsese, M.; Wilson, M.H. (1995) A Personal Journey with Martin Scorsese Through American Movies; documentary film

Scorsese, M. (2001) My Voyage to Italy; documentary film

Downloads

Published

2022-10-30

How to Cite

Petković, R., & Jurleta, G. (2022). MARTIN SCORSESE’S CHARACTER DRIVEN FILMS: THE STUDY OF MAIN PROTAGONISTS IN TAXI DRIVER (1976) AND RAGING BULL (1980). ANGLISTICUM. Journal of the Association-Institute for English Language and American Studies, 11(10), pp.11–29. Retrieved from https://anglisticum.org.mk/index.php/IJLLIS/article/view/2323

Issue

Section

Volume 11, Nr.10, October 2022