scholarly journals Três leitores de Dostoiévski: Kulidjánov, Bresson e Scorsese

2021 ◽  
Vol 12 (20) ◽  
pp. 157-173
Author(s):  
Paulo Roberto Mendonça Lucas
Keyword(s):  
Taxi Driver ◽  
Martin Scorsese ◽  
Robert Bresson

Este ensaio apresenta uma leitura de três obras cinematográficas que, de diferentes formas, levaram às telas a ficção de Fiódor Dostoiévski. Os filmes Crime e castigo (1971), de Liev Kulidjánov, O batedor de carteiras (1959), de Robert Bresson, e Taxi Driver (1976), de Martin Scorsese, são analisados e relacionados às narrativas de Crime e castigo e Memórias do subsolo. Dessa maneira, o texto objetiva explicitar a estreita relação que a sétima arte manteve/mantém com a literatura de Dostoiévski.

Leaning on the Everlasting Arms: Love and Silence in First Reformed

2020 ◽  
pp. 189-206
Author(s):  
Robert Ribera
Keyword(s):  
New York ◽  
Taxi Driver ◽  
Small Church ◽  
Upstate New York ◽  
Ingmar Bergman ◽  
Violent Action ◽  
Robert Bresson

This chapter reads First Reformed as an embodiment and fulfillment of Paul Schrader’s career, a capstone that serves as a meditation on our responsibilities toward each other, our earth, and god. The transcendental style, the quest for redemption, a sense of restraint punctuated by violent action--these qualities have dominated Schrader’s career since the publication of Transcendental Style in Film until 2017, when he updated that text while writing and directing a film about a struggling pastor in a small church in upstate New York. First Reformed also contains nods to his filmic influences, including Robert Bresson, Ingmar Bergman, and his own work on Taxi Driver. This chapter surveys these many influences and self-references to read Schrader’s most recent film as a culmination of his life in film.

Schrader’s Women: Cat People and Patty Hearst

2020 ◽  
pp. 122-138
Author(s):  
Brian Brems
Keyword(s):  
Female Character ◽  
Taxi Driver ◽  
Female Characters ◽  
Existential Anxiety ◽  
Representation Of Women ◽  
Male Characters ◽  
Self Actualization ◽  
Spiritual Freedom ◽  
Robert Bresson

Paul Schrader’s connection with director Robert Bresson is often explored through his male characters, the ‘man in his room’ of Light Sleeper and American Gigolo, but Taxi Driver before them and First Reformed most recently. However, Schrader’s two primary experiments with female characters, Cat People (1982) and Patty Hearst (1988), also follow a similar Bressonian trajectory and end with each female character incarcerated, yet finding a kind of spiritual freedom that helps them realize their identities. This chapter explores Schrader’s women primarily through close examination of Cat People’s Irina (Nastassja Kinski) and Natasha Richardson’s eponymous heroine in Patty Hearst, but use his representation of women in the male-driven films for points of comparison and contrast. In addition, this chapter approaches Schrader’s women as reflections of his male characters, many of whom are driven by existential anxiety that motivates them to seek self-actualization in redemptive violence.

scholarly journals Crimen e historia en Estados Unidos: Scorsese y el registro del mundo criminal norteamericano

2020 ◽  
Vol 7 (2) ◽  
pp. 97-104
Author(s):  
Daniela Bobadilla ◽  
Fernanda Pinto
Keyword(s):  
New York ◽  
Taxi Driver ◽  
Martin Scorsese

En el siguiente texto se explora cómo las vivencias personales del cineasta Martin Scorsese han tenido una fuerte influencia en sus cintas, por lo que ha registrado en ellas los cambios, variaciones y especificaciones del mundo criminal a lo largo de la historia de Estados Unidos. La vida ítaloamericana, los conceptos de culpa, mafias y violencia que vivió Scorsese en el contexto de su niñez, juventud y adultez entre los años cincuenta y ochenta del siglo pasado se reflejan en películas como “Gangs of New York” (Scorsese, 2002), “Goodfellas” (Scorsese, 1990), “Casino” (Scorsese, 1995), “Mean Streets” (Scorsese, 1973) y “Taxi Driver” (Scorsese, 1976).

"You're only as healthy as you fell". Scrittura e interstestualitŕ in Taxi driver di Martin Scorsese

IKON ◽  
2009 ◽  
pp. 295-321
Author(s):  
Franco Lonati
Keyword(s):  
Real Life ◽  
Interdisciplinary Approach ◽  
Ronald Reagan ◽  
Literary Texts ◽  
Taxi Driver ◽  
Martin Scorsese ◽  
The Many ◽  
The One ◽  
Journal Entries

- The goal of this paper is to analyse the famous Martin Scorsese's film Taxi Driver (1975) with an interdisciplinary approach and from a double perspective: on the one hand, it examines the narrator's forms of expression chiefly focusing on the written documents, the journal entries and the autobiographical references in the movie. I also consider the way the director uses these documents in order to trace the twisted psychology of the antihero Travis Bickle, the main character in the movie, played by Robert De Niro; on the other hand, this study investigates the film from an intertextual perspective, centering on how the filmic ‘text' uses the many other ‘texts' to which it constantly alludes: literary texts (among the others, Fyodor Dostoevsky's Notes from Underground and Thomas Wolfe's God's Lonely Man), cinematic texts (for instance, Orson Welles's Citizen Kane and John Ford's The Searchers), musical texts (songs by Kris Kristofferson and Jackson Browne), or, in some cases, even facts from real life (for example, the attempted assassinations of prominent politicians), not to mention the many autobiographical clues disseminated in the film by screenwriter Paul Schrader, director Martin Scorsese and even by Robert De Niro himself, through his peculiar performance. The result is a compound structured film which makes use of sophisticated narrative and expressive modes. A film not only inspired by its sources but also able, in its turn, to influence the work of other filmmakers and, paradoxically enough, even to affect real life: it's the case of John Hinckley jr who, obsessioned by Taxi Driver, attempted to assassinate U.S. President Ronald Reagan in an effort to impress actress Jodie Foster, who had played the role of an underage prostitute in the film. All these aspects, together with its unquestionable technical qualities, make Taxi Driver one of the most significant films of a golden age for American filmmaking.

scholarly journals Lectura crítica del relato audiovisual como fuente de información en el filme Taxi Driver

2021 ◽  
Vol 35 (87) ◽  
pp. 171
Author(s):  
José Luis Valhondo-Crego ◽  
Agustín Vivas Moreno
Keyword(s):  
Taxi Driver ◽  
Martin Scorsese

La presente investigación aborda, desde la metodología de la lectura crítica, el filme de ficción como documento audiovisual. Parte de la hipótesis de cómo el relato audiovisual es capaz de representar, mediante su lectura reflexiva, el espíritu de una época. Ciertos fenómenos sociales, como la soledad, pueden entenderse de un modo más profundo a partir de la mirada subjetiva de un autor y su obra ficticia. Desde décadas recientes, vivir solo ha dejado de ser algo estadísticamente marginal o socialmente extraño. Por una parte, se ha convertido en una oportunidad vital para alcanzar objetivos personales; por la otra, en un problema social que implica a un número cada vez mayor de individuos. A través de un ensayo de lectura del relato audiovisual, este artículo examina cómo se hace sensible al espectador la soledad a través del caso de estudio del filme Taxi Driver, con guion de Paul Schrader y dirección de Martin Scorsese. Se examina el modo en que se encarna esa soledad a través de la puesta en escena de un guion en el que la escritura de un diario personal es clave para racionalizar las imágenes documentales de una época.

scholarly journals Travis Bickle em (re)construção na enunciação fílmica: uma análise dialógica do sujeito protagonista de Taxi Driver (1976)

2018 ◽  
Author(s):  
Lizandra Belarmino de Moura
Keyword(s):  
Taxi Driver ◽  
Martin Scorsese

Há uma urgência em se pensar o sujeito inserido em uma “malha bordada” por diversos discursos contraditórios em circulação, que, consequentemente reverberam em suas ações e, especialmente, em seus enunciados. Nesta pesquisa é analisado, descrito e interpretado enunciados verbovocovisuais eleitos a partir da narrativa fílmica de Taxi Driver (1976), de Martin Scorsese, com a finalidade de compreender como se dá a transformação e movimentação do sujeito Travis Bickle (Robert De Niro). Partindo, assim, da hipótese de que as relações dialógicas entre ele e os “outros” que o circundam são relevantes e reveladores para entender a construção da enunciação fílmica e, consequentemente, da construção/transformação desse sujeito. O aporte teórico e metodológico vem da teoria dialógica da linguagem do Círculo de Bakhtin. Assim, ao cotejar conceitos com os recortes de cenas feitos, compreendemos como se dá a construção do sujeito que é transpassado por seu contexto sócio-histórico e ideológico, enquanto reflete e refrata a sua realidade, pois traços de contrariedade foram percebidos nos discursos que permeiam Travis e isso porque, os enunciados são as arenas discursivas em que os discursos entram em conflito.

Bernard Herrmann

2021 ◽  
Keyword(s):  
Film Music ◽  
Taxi Driver ◽  
Orson Welles ◽  
Concert Music ◽  
Wuthering Heights ◽  
Martin Scorsese ◽  
Film Scoring ◽  
The 1950S ◽  
1960S And 1970S ◽  
Concert Works

Bernard Herrmann (b. 1911–d. 1975) was a prolific American composer and conductor, known primarily for his work in film. He was also active, however, as a composer for radio and television, had written music for the concert and operatic stage, and had a prodigious conducting career later in his life. The majority of the current research on his oeuvre focuses on his film scoring and his collaborations with film directors such as Alfred Hitchcock, Orson Welles, François Truffaut, Martin Scorsese, and Brian De Palma. He started producing scores for films in 1941, with Welles for the film Citizen Kane, and died just after completing his work for Taxi Driver (dir. Scorsese, 1976). Prior to his experience in cinema, Herrmann wrote music for hundreds of radio dramas starting in the 1930s and continuing until the 1950s, which he credited for his ability to compose so readily for cinema. Herrmann’s most famous collaboration was with Hitchcock, which began with the film The Trouble with Harry (1955) and ended with Marnie (1964). The director-composer duo had a falling out in 1966 over Herrmann’s score to Torn Curtain, which Hitchcock refused to use; the director instead hired John Addison to replace Herrmann. Herrmann went on to compose scores for films by Truffaut, Scorsese, and De Palma in the 1960s and 1970s. While composing for cinema, Herrmann also wrote stock music for television, mainly for CBS, throughout the 1950s and 1960s. Herrmann also conducted concert and film music on several recordings released from 1966 through 1976, including some of his own concert works. In addition to an extraordinary output for film, radio, television, and recording, Herrmann also wrote concert music, some of which he considered most dear. He composed orchestral, ballet, and vocal music throughout his life, starting in his teens and until his death. His opera Wuthering Heights (1951) was especially important to him. In interviews, especially later in life, Herrmann emphasized that he was a composer of music—not one restricted to only film music—and even then, he regarded film music to be equal to that for the concert stage.

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