Scorsese creates characters of a certain class or

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Scorsese creates characters of a certain class or group and focuses on their interactions, relationships with their environment and the stories surrounding them. All of his characters lose to their isolation or antagonism. In all his films, there is the sensation that the environment surrounding them is shaped by their slightly crazed tendencies. New York is not necessarily portrayed how it is literally, but a reflection of the mannerisms of primary characters, highlighting the violence and destruction internally and externally. Through composition, lighting, camera movement, and cutting Scorsese provides the viewer a primary perceptual pattern. There is a sense of capturing a “reality” of places and events that might exist even without his presence. Mean Streets: Both observes and creates; becoming a subjective film of incomplete lives and sporadic violence in the form of a documentary of 4 men in Little Italy. Film is characterized by the almost incoherent ramblings of these Italian men whose lives are in total disorder. The random, violent flow of events at the end is fed by the persistent uncertainty of Charlie's perception of them: his attempts to test Catholicism, his attempts to justify his life In many of his films, Scorsese opens with a closeup rather than an establishing shot, with the face demanding attention and creating a tension as to where this face is located. The rhythm of songs becomes integral to the motion of the camera and the editing pattern of a given sequence. Are the home cinematic sequences from the home movies projections of Charlie's subconscious? Mean Streets becomes a documentary of itself, Charlie's home movies provide a bridge to reality and existence of literal occurrences beyond thematic story telling.
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  • Fall '10
  • The Streets, Martin Scorsese, Film editing, Establishing Shot, · Scorsese

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