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Scorsese, Martin --- Scorcese, Martin

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Paul Schrader was in meltdown in 1972. Drinking heavily, living in his car, he was hospitalised with a gastric ulcer. There he read about Arthur Bremer's attempt to assassinate Alabama Governor George Wallace: the story was the germ of his screenplay for Taxi Driver (1976). Executives at Columbia hated the script, but when Martin Scorsese and Robert De Niro, who were flying high after the triumphs of Mean Streets (1973) and The Godfather Part II (1974), signed up, Taxi Driver became too good a package to refuse.Scorsese transformed the script into what is now considered one of the two or three definitive films of the 1970s. De Niro is mesmerising as Travis Bickle – pent-up, bigoted, steadily slipping into psychosis, the personification of American masculinity post-Vietnam. Cybill Shepherd and Jodie Foster give fine support and Scorsese brought in Bernard Herrmann, the greatest of film composers, to write what turned out to be his last score. Crucially, Scorsese rooted Taxi Driver in its New York locations, tuning the film's violence into the hard reality of the city. Technically thrilling though it is, Taxi Driver is profoundly disturbing – finding, as Amy Taubin shows, racism, misogyny and gun fetishism at the heart of American culture.In her foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Amy Taubin considers Taxi Driver anew in the context of contemporary politics of race and masculinity in the US, and draws on an exclusive interview with Robert De Niro about his memories of making the film. (provided by publisher)

Taxi driver (Motion picture : 1976)

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Few filmmakers have had as large an impact on the recent avant-garde film scene as Canadian Michael Snow (b. 1928). His works in a range of media-film, installation, video, painting, sculpture, sound, photography, drawing, writing, and music-address the fundamental properties of his materials, the conditions of perception and experience, questions of authorship in technologically reproducible media, and techniques of translation through written and pictorial representation. His film Wavelength (1967) is a milestone of avant-garde cinema and possibly the most frequently discussed "structural" film ever made. This volume collects essential texts on Snow's work, with essays and interviews spanning more than four decades. From its earliest issues, October has been a primary interlocutor of Snow's work, and many of these texts first appeared in its pages. Written by such distinguished critics and scholars as Annette Michelson, Hubert Damisch, and Malcolm Turvey, they document Snow's participation in postwar discourses of minimalism, postminimalism, photo-conceptualism, and avant-garde cinema, and examine particular works. Thierry de Duve's essay on linguistics in Snow's work appears alongside Snow's response. The volume also includes other writings by Snow, images from his 1975 work Musics for Piano, Whistling, Microphone, and Tape Recorder, and an interview with the artist conducted by Annette Michelson.

kunst --- minimal art --- minimalisme --- structuralisme --- 791.471 SNOW --- 7.071 SNOW --- filmregisseurs --- experimentele film --- filmtheorie --- kunsttheorie --- muziek --- video-installaties --- videokunst --- video --- tekenkunst --- installaties --- fotografie --- film --- twintigste eeuw --- Canada --- Snow, Michael, --- Aesthetics. --- Art --- Minimal --- Postminimal --- experimental films --- Photoconceptualism --- Snow, Michael --- installations [visual works] --- video art --- Film ; Michael Snow ; Rameau's nephew ; 1974 --- Film ; Michael Snow ; Presents ; 1981 --- Kunst; Canada; Michael Snow (1928-2023) --- Snow, Michael 1928-2023 (°Toronto, Canada) --- Beeldende kunst ; 20ste eeuw ; Michael Snow --- Avant-garde film --- 7.07 --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A-Z