Martin Scorsese – författare

'Have I succeeded, in my own life? I don't know. I don't think so. I'm in my eighties now and I just don't know. But then, maybe "success" is the wrong way of framing it. You just try, and when you fail, you keep trying.'Over the course of eight years, Martin Scorsese and Jesuit theologian Antonio Spadaro discussed filmmaking and faith.From his Catholic upbringing amidst the brutality of 1950s New York to the heights of Hollywood, Scorsese sketches a unique self-portrait. And from Mean Streets to Killers of the Flower Moon - and especially the spiritual reckonings of The Last Temptation of Christ and Silence - he grants readers a new understanding of his films.Reflecting on grace and violence, fear and hope, passion and belief, these rich and intimate conversations offer a remarkable insight into the director's life and work.

Michael Powell and Emeric Pressburger formed one of the greatest creative partnerships in the history of British cinema - The Archers. Their films were often controversial - Churchill tried to suppress the release of "The Life and Death of Colonel Blimp". Later, "The Red Shoes" and "The Tales of Hoffman" startled and enchanted cinema audiences with their use of colour, form amd music. However, in the last ten years the magic, poetry and passion of their work has been acknowledged around the world and they are firmly in the pantheon of film masters. This book is a comprehensive analysis of their films and is a useful guide to their work.

This collection of essays pays tribute to Andrew Sarris, the most influential film critic in American film history. A noted film personality, Sarris occupies a unique position, walking the line between popular journalism and more academic scholarship. He began his career in the 1950s with a passion for film and an eloquent style of prose that led him to become a prominent voice in the film world. As a writer and editor for the Village Voice at its prime, Sarris reached and educated a whole generation of readers, and became respected by academics and critics all over the world.The thirty-eight essays assembled here and arranged according to major themes demonstrate the amazing impact Sarris has had on every aspect of the film world: fellow critics, filmmakers, readers, and American popular culture. Contributors include noted critics Leonard Maltin and Molly Haskell, film scholars David Bordwell and James Naremore, and directors Martin Scorsese, Robert Benton, and John Sayles.

Ishiro Honda was arguably the most internationally successful Japanese director of his generation, with an unmatched succession of science fiction films that were commercial hits worldwide. From the atomic allegory of Godzilla and the beguiling charms of Mothra to the tragic mystery of Matango and the disaster and spectacle of Rodan, The Mysterians, King Kong vs. Godzilla, and many others, Honda’s films reflected postwar Japan’s real-life anxieties and incorporated fantastical special effects, a formula that appealed to audiences around the globe and created a popular culture phenomenon that spans generations. Now, in the first full account of this long overlooked director’s life and career, authors Steve Ryfle and Ed Godziszewski shed new light on Honda’s work and the experiences that shaped it—including his days as a reluctant Japanese soldier, witnessing the aftermath of Hiroshima, and his lifelong friendship with Akira Kurosawa. Ishiro Honda: A Life in Film, from Godzilla to Kurosawa features close analysis of Honda’s films (including, for the first time, his rarely seen dramas, comedies, and war films) and draws on previously untapped documents and interviews to explore how creative, economic, and industrial factors impacted his career. The authors cover Honda’s non-science fiction films for the first time in any language. Fans of Honda, Godzilla, and tokusatsu (special effects) film, and of Japanese film in general, will welcome this in-depth study of a highly influential director who occupies a uniquely important position in science fiction and fantasy cinema, as well as in world cinema. Together, the authors have provided audio commentary tracks and produced supplemental material for numerous home video releases, including Ishiro Honda’s Godzilla for the British Film Institute. They co-produced the documentary feature Bringing Godzilla Down to Size (2008).

From the moment he captured the film world's attention with Mean Streets (1973), a portrait of life at the fringes of the Mob, it was clear that a dazzling cinematic talent had arrived on the scene. With Robert DeNiro, one of the most talented young actors from this film, Scorsese went on to make some of the greatest American films of the postwar period, including Taxi Driver (1976), Raging Bull (1980), and Goodfellas (1990). A Scorsese film seldom fails to stir controversy, for his devotion to realism has led him to forthrightly depict violence and its frightening randomness in the modern world. His biblical film also created quite a stir. This adaptation of Kazantzakis's The Last Temptation of Christ generated outrage among conservative religious leaders. Scorsese, however, has not limited himself to contemporary, violent urban dramas or new interpretations of biblical subjects. Other widely heralded Scorsese films include Alice Doesn't Live Here Anymore (1974), New York, New York (1977), The Last Waltz (1978), The King of Comedy (1983), After Hours (1985), The Color of Money (1986), Cape Fear (1991), The Age of Innocence (1993), Casino (1995), and Kundun (1998). These interviews begin with conversations about the highly autobiographical Mean Streets (1973), which first brought Scorsese serious attention, and end with conversations about Kundun, an overtly political biography of the Dalai Lama of Tibet, released in early 1998. ""I look for a thematic idea running through my movies, he says, and I see that it's the outsider struggling for recognition. I realize that all my life I've been an outsider, and above all, being lonely but never realizing it."" Peter Brunette , a professor of English and film studies at George Mason University, is the author of Roberto Rossellini and (forthcoming) The Films of Michelangelo Antonioni. With David Wills he co-authored Screen/Play: Derrida and Film Theory.

Shusaku Endo is celebrated as one of Japan's great modern novelists, often described as "Japan's Graham Greene," and Silence is considered by many Japanese and Western literary critics to be his masterpiece. Approaching Silence is both a celebration of this award-winning novel as well as a significant contribution to the growing body of work on literature and religion. It features eminent scholars writing from Christian, Buddhist, literary, and historical perspectives, taking up, for example, the uneasy alliance between faith and doubt; the complexities of discipleship and martyrdom; the face of Christ; and, the bodhisattva ideal as well as the nature of suffering. It also frames Silence through a wider lens, comparing it to Endo's other works as well as to the fiction of other authors. Approaching Silence promises to deepen academic appreciation for Endo, within and beyond the West.Includes an Afterword by Martin Scorsese on adapting Silence for the screen as well as the full text of Steven Dietz’s play adaptation of Endo’s novel.

This is a three-volume set about the founding, the 50-year history, and the collections of the Austrian Film Museum. Volume 1 (in German) is a work of historical research, describing in detail the establishment and development of the institution—from postwar Viennese film culture and its protagonists to the tenth anniversary of the Film Museum in 1974. Volume 2 (in German, with some parts in English) extends the time-frame to the year 2014 and offers a richly illustrated anthology of essays, documents, memoirs, and correspondence. It highlights the major retrospectives staged by the Film Museum over a period of 50 years and celebrates many of the visiting artists as well as the writers who contributed to the museum's international recognition and to its curatorial positions. Volume 3 (in German) focuses on the museum's holdings by picturing and describing 50 objects from various subfields of the collectionVand suggesting a non-dogmatic reading of film history.