Good Fella Martin Scorsese Studies

Updated August 19, 2010

Ray Liotta as Henry Hill in Goodfellas (Martin Scorsese, 1990)

Charlie Rose - An hour with Martin Scorsese (1998)

(Persevere beyond the opening few minutes - its worth it)

Heres a not so little links list that Film Studies For Free has been concocting for tanto tempo... Its a collection of mostly academic, and all great quality, studies of the work of American filmmaker Martin Scorsese, one of the most utterly beloved of all directors among Film Studies undergraduates. And with Afterhours, Goodfellas and The Age of Innocence among this blogs authors favourite films, who is FSFF to disagree with such intensity?

Suggestions for any high-quality additions to this list would be most welcome.

• Marc Abramson, Mountains, Monks and Mandalas: Kundun and Seven Years in Tibet, Cineaste, Vol. XXIII, No. 3, 1998

• Daniel Balderston, Borges and The Gangs of New York, Variaciones Borgianas, 16, 2003 

• Bruce Alistair Barber, Trans/actions: Art, Film and Death, PhD Thesis, European Graduate School, August 2005 

• Todd Berliner, Visual Absurdity in Raging Bull, Preprint of Chapter in Raging Bull: A Cambridge Film Handbook. Ed. Kevin Hayes. Cambridge, U.K. and New York: Cambridge University Press, 2005

• David Bordwell, Scorsese, pressionist, Observations on Film Art, April 21, 2010 

• Lenay Breeland, A Hieroglyphic World: Representations of Repression in Scorsese’s Age of Innocence,  in Fixing a Hole: Bridging the Gap between Text and Performance, State University of West Georgia, 2001 (scroll to p. 21 in PDF) 

• Aaron V. Burton, Jesus in the Movies: A Rhetorical Analysis of Selected Films from 1912-2004, PhD Thesis, Bowling Green State University, May 2008

• Andre Caron, Last Temptation of Travis Bickle, Offscreen Journal, September 1997

• Robert Castle, Average Nobodies: The Dark Knights of Goodfellas, Bright Lights Film Journal, issue 32, April 2001

• James A. Clapp, ‘‘Are You Talking to Me?’’—New York and the Cinema of Urban Alienation, Visual Anthropology, 18, 2005

• Adrian Danks, Who’s That Knocking at My Door, Senses of Cinema, Issue 54, 2010 

• Russell E. Davis, Alice Doesnt Live Here Anymore: Under the comic frosting, from Jump Cut, no. 7, 1975

• Jonathan Dawson, After Hours, Senses of Cinema, Issue 54, 2010

• Rebecca Dawson, And Staring as Jesus Himself: Cultural Context and Images of Christ in North American film, PhD Thesis, Bowling Green State University, August 2007 

• Carolyn D’Cruz and Glenn D’Cruz, The body of Christ: Blasphemy as a necessary transgression?, Negotiating the Sacred II: Blasphemy and sacrilege in the arts, pp. 93-101, ANU E Press, 2008

• Christopher Robert Deacy, Redemption and Film: Cinema as a Contemporary Site of Religious Activity, WACC Archive, 2001

• Cristina Degli-Esposti Reinert, Martin Scorseses Invisible City in Bringing Out the Dead, Film-Philosophy, Vol. 4, No. 12, May 2000

• Roger Ebert, Introduction, Scorsese by Ebert (University of Chicago Press, 2008) 

• Rebecca Feasey. Stardom and Distinction: Sharon Stone and the Problem of Legitimacy, Scope, May 2004

• Christopher Garbowski, The Catholic Imagination in Martin Scorseses The Last Waltz, Journal of Religion and Film Vol. 5, No. 2 October 2001

• Luis M. García-Mainar, « Contemporary Hollywood Crime Film and the New Individualism », European journal of American studies, 2, 2009

• Paul A. Gilje, Gangs, the Five Points, and the American Public, Common-Place, Vol. 3, No. 4, July 2003

• Paul E. Graham III, Violence and the Scapegoat in American Film: 1967-1999, PhD Thesis, Louisiana State University and Agricultural and Mechanical College, December 2002

• New Leighton Grist, Authorship and Context: the Films of Martin Scorsese, 1963-1977, PhD Thesis, University of Warwick, 1996

• Leighton Grist,  Masculinity, Violence, Resistance: A New Psychoanalytic Reading of Raging Bull, Atlantis Journal, 29.1, June 2007

• Peter Hourigan, Scorsese Missing In Action: Martin Scorsese’s America by Ellis Cashmore Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture Wars by Thomas R. Lindlof, Senses of Cinema, Issue 54, 2010 

• Christine Hoff Kramer, Wrestling with Flesh, Wrestling with Spirit: The Painful Consequences of Dualism in The Last Temptation of Christ, Journal of Religion and Popular Culture, Vol. 8, Fall 2004 

• Peter Hutchings, [Review of] A Personal Journey with Martin Scorsese Through American Movies by Martin Scorsese and Michael Henry Wilson, London: Faber, 1997, Scope, August 1999

• Matthew J. Iannucci, Postmodern Antihero: Capitalism and Heroism in Taxi Driver, Bright Lights Film Journal,Issue 47, February 2005

• Karyn Kay and Gerald Peary, Alice Doesnt Live Here Anymore: Waitressing for Warners, Jump Cut, no. 7, 1975

• David Kelly, Model Citizens: The Irish Films of Martin Scorsese, Australasian Journal of American Studies, Vol. 26, No. 1, July 2007

• Tammie Kennedy, (Re)Presenting Mary Magdalene: A Feminist Reading of The Last Temptation of Christ, Journal of Religion and Popular Culture, Vol. 9, Spring 2005

• Robert P Kolker, Algebraic Figures: Recalculating the Hitchcock Formula, in Horton, Andrew, and Stuart Y. McDougal, editors Play It Again, Sam: Retakes on Remakes (Berkeley:  University of California Press, 1998)

• Robert P. Kolker, The Moving Image Reclaimed, Postmodern Culture, 5.1, September 1994 

• Ekkehard Knörer, "Why Martin Scorseses "The Departed" does not live up to [...] "Internal Affairs", Signandsight.com, January 2007

• Joseph Jon Lanthier, Outstanding Defense Mechanisms: The Phrenology of Martin Scorsese’s Shutter Island, Bright Lights Film Journal, Issue 68, May 2010

• Maximilian Le Cain, Orphans of the Storm: Martin Scorseses Gangs of New York, Senses of Cinema, Issue 25, 2003

• Karli Lucas, Creative Visions: (De)Constructing “The Beautiful” in Scorseses The Age of Innocence, Senses of Cinema, Issue 25, 2003

• Brian McIlroy, Exodus, Arrival & Return: The Generic Discourse of Irish Diasporic and Exilic Narrative Films [First published in Keeping It Real: Irish Film and Television, eds. Ruth Barton and Harvey O’Brien (London: Wallflower Press, 2004): 69-77

• Duncan McLean, The Evolution of the Term ‘New Hollywood’, NEO, 2009

• Eve L. Mullen, Orientalist Commercializations: Tibetan Buddhism in American Popular Film, Journal of Religion and Film, Vol. 2, No. 2 October 1998 

• Kartik Nair, Aura, Auteurism and the Key to Reserva, Widescreen Journal, No. 2, 2010

• Josh Nelson, [Review of] Roger Ebert, Scorsese by Ebert. Chicago and London, The University of Chicago Press, 2008, Screening the Past, Issue 26, 2009

• Richard Oestreicher, How Should Historians Think about ‘The Gangs of New York’?, History Workshop Journal, Issue 56, 2003

• Colm O’Shea, Review: Thomas R. Lindlof (2008) Hollywood Under Siege: Martin Scorsese, the Religious Right, and the Culture Wars. Lexington, KY: The University Press of Kentucky, Film-Philosophy, 14.1, 2010

• Steven Peacock, Holding onto moments in The Age of Innocence, Film Studies, Volume 9, Winter 2006

• Åke Persson, The Mafia in the Drawing Room: Martin Scorsese’s Film Adaptation of Edith Wharton’s The Age of Innocence, Nordic Journal of English Studies, Vol 7, No 2 (2008)

• Linda Petříkova, Review: Mark T. Conard (ed.) (2007) The Philosophy of Martin Scorsese Lexington: University Press of Kentucky, Film-Philosophy, 11.3, December 2007

• Patrick Phillips, Genre, star and auteur critical approaches applied to Martin Scorsese’s New York, New York, in Jill Nelmes (ed), Introduction to Film Studies, 4th edition (London: Routledge, 2007) 

• Mark C. Pilkinton, The True Temptation of Christ: "To Suffyr temptacion it is grett peyn", The Journal of Religion and Theatre, Vol. 3, No. 1, Summer 2004

• G. Thomas Poe, (Beyond) The Pleasures of the Hollywood Musical Film: A Re Viewing of Martin Scorseses New York, New York, Journal of Dramatic Theory and Criticism, Vol. IV, No. 2: Spring 1990

• Marc Raymond, Martin Scorsese, Senses of Cinema, May 2002

• Constanza del Río Álvaro, Genre and Fantasy: Melodrama, Horror, and the Gothic in Martin Scorsese’s Cape Fear (1991), Atlantis Journal, 26.1, June 2004

• Wieland Schwanebeck, From Shakespeare’s Kings to Scorsese’s Kingpins: Contemporary Mob Movies and the Genre of Tragedy, ASPeers, Issue 3, 2010 

• Martin Scorsese: "Discusses Film-Making" at Princeton University, May 4 1999 (scroll down page for videocast)

• Martin Scorsese, Pinewood Dialogues, Moving Image Source, November 9, 2002

• Kaile Shilling, Servant of the Story: Judas as Tragic Hero in Film, Journal of Religion and Film. 8 (2): October 2004  

• Matthew Sorrento, Scorsese by Ebert by Roger Ebert, Senses of Cinema, Issue 51, 2009

• Katherine Spring, After Hours on the Miracle Mile: The Logic of Nightmares in Film, 16:9, No. 11, November 2007

• David Sterritt, Six Books about Scorsese, Film Quarterly, Vol. 63, no. 2, 2009

• John Thurman, Citizen Bickle, or the Allusive Taxi Driver: Uses of Intertextuality, Senses of Cinema, Issue 37, 2005

• Daniel J. Walkowitz, ‘The Gangs of New York’: the Mean Streets in History, History Workshop Journal, Issue 56, 2003

• Teena Webb and Betsy Martens, Alice Doesnt Live Here Anymore: A Hollywood liberation, Jump Cut, no. 7, 1975

• Martin Weinreich, The urban inferno. On the æsthetics of Martin Scorseses Taxi Driver, The Art of Film Editing, Special Issue of P.O.V: A Danish Journal of Film Studies, edited by Richard Raskin, Number 6 December 1998 (scroll down in PDF) 

• M.C. Zenner, Bringing Out the Dead, Senses of Cinema, Issue 7, 2000

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