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<p>Contributors ix</p> <p>Introduction: Artistic Solutions to Sociological Problems 1<br /><i>Aaron Baker</i></p> <p><b>Part One The Pious Auteur 15</b></p> <p>1 How Scorsese Became Scorsese: A Historiography of New Hollywood’s Most Prestigious Auteur 17<br /><i>Marc Raymond</i></p> <p>2 Smuggling Iconoclasm: European Cinema and Scorsese’s Male Antiheroes 38<br /><i>Giorgio Bertellini and Jacqueline Reich</i></p> <p>3 Italian Films, New York City Television, and the Work of Martin Scorsese 53<br /><i>Laura E. Ruberto</i></p> <p>4 The Imaginary Museum: Martin Scorsese’s Film History Documentaries 71<br /><i>Robert P. Kolker</i></p> <p>5 Images of Religion, Ritual, and the Sacred in Martin Scorsese’s Cinema 91<br /><i>David Sterritt</i></p> <p><b>Part Two Social Contexts and Conflicts 115</b></p> <p>6 <i>Alice Doesn’t Live Here Anymore </i>and <i>Italianamerican</i>: Gender, Ethnicity, and Imagination 117<br /><i>Aaron Baker</i></p> <p>7 Mobsters and Bluebloods: Scorsese’s <i>The Age of Innocence </i>in the Perspective of his Italian-American Films 133<br /><i>Robert Casillo</i></p> <p>8 Off-White Masculinity in Martin Scorsese’s Gangster Films 173<br /><i>Larissa M. Ennis</i></p> <p>9 Irish-American Identity in the Films of Martin Scorsese 195<br /><i>Matt R. Lohr</i></p> <p>10 Issues of Race, Ethnicity, and Television Authorship in <i>Martin Scorsese Presents The Blues </i>and <i>Boardwalk Empire </i>214<br /><i>Jonathan J. Cavallero</i></p> <p>11 Cinema According to Marty: Scorsese as American Film Culture’s Intellectual 237<br /><i>Marc Raymond</i></p> <p><b>Part Three Form and the Filmmaking Process 249</b></p> <p>12 Martin Scorsese and the Music Documentary 251<br /><i>Michael Brendan Baker</i></p> <p>13 Martin Scorsese Rocks 271<br /><i>Giuliana Muscio</i></p> <p>14 Music as Cultural Signifier of Italian-American Life in <i>Who’s That Knocking at My Door </i>and <i>Mean Streets </i>289<br /><i>Anthony D. Cavaluzzi</i></p> <p>15 When Marty Met Bobby: Collaborative Authorship in <i>Mean Streets </i>and <i>Taxi Driver </i>304<br /><i>R. Colin Tait</i></p> <p>16 Scorsese’s Landscape of Mortality 324<br /><i>Murray Pomerance</i></p> <p>17 Borderlines: Boundaries and Transgression in the City Films of Martin Scorsese 343<br /><i>Brendan Kredell</i></p> <p><b>Part Four Major Films 365</b></p> <p>18 <i>Mean Streets </i>as Cinema of Independence 367<br /><i>Stefan Sereda</i></p> <p>19 <i>Taxi Driver </i>and Veteran Trauma 385<br /><i>Michael D. High</i></p> <p>20 Filming the Fights: Subjectivity and Sensation in <i>Raging Bull </i>408<br /><i>Leger Grindon</i></p> <p>21 <i>The Last Temptation of Christ</i>: Queering the Divine 432<br /><i>Daniel S. Cutrara</i></p> <p>22 The Cinematic Seduction of Not a “Good Fella” 454<br /><i>Bambi Haggins</i></p> <p>23 <i>Hugo </i>and the (Re-)Invention of Martin Scorsese 471<br /><i>Guerric DeBona</i></p> <p>24 <i>The Irishman</i>: Cosmopolitan Authorship in the Age of Streaming Media 492<br /><i>Aaron Baker</i></p> <p>Index 506</p>

<p><b>Aaron Baker</b> is Professor of Film and Media Studies within the English Department at Arizona State University, USA. His research focuses on sports culture, film authorship, and the representation of race, ethnicity, and gender in American cinema. He is coeditor of <i>Out of Bounds: Sports, Media and the Politics of Identity</i> (1997), and the author of <i>Contesting Identities: Sports in American Film</i> (2003), <i>Steven Soderbergh</i> (2011), and <i>The Baseball Film: A Transmedia and Cultural History</i> (2022).</p>

<p><b>A Companion to Martin Scorsese</b></p><p>“This valuable book brings the exceptional scale of Martin Scorsese’s film work into clear view. His achievements are monumental, and the essays collected in this work provide wonderfully detailed and vivid analyses of his oeuvre. A comprehensive study of the most exciting filmmaker working today.”<BR><b>Robert Burgoyne</b>, University of St Andrews</p><p><i>A Companion to Martin Scorsese, Revised Edition</i> is a comprehensive collection of original essays assessing the career of one of America’s most prominent contemporary filmmakers. The first reference work of its kind, this book contains contributions from influential scholars in North America and Europe. The essays use a variety of analytic approaches to study numerous aspects of Scorsese’s work, from his earliest films to his place within the history of American and world cinema. They consider his work in relation to auteur theory, the genres in which he has worked, his use of popular music, and his recent involvement with film preservation. Several of the essays offer fresh interpretations of some of Scorsese’s most influential films, including <i>Mean Streets, Taxi Driver, Raging Bull, GoodFellas, Gangs of New York, Hugo,</i> and <i>The Irishman</i>. Others take a broader approach and discuss the representation of violence, ethnicity, religion, sexuality, gender, race, and other themes across his work. With insights that will interest film scholars as well as movie enthusiasts, this is an important contribution to the scholarship of contemporary American cinema.</p>

<p>"This valuable book brings the exceptional scale of Martin Scorsese's film work into clear view.  His achievements are monumental, and the essays collected in this work provide wonderfully detailed and vivid analyses of his oeuvre. A comprehensive study of the most exciting filmmaker working today."</p> <p>Robert Burgoyne, University of St Andrews</p>

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