World map indicating literacy by country (2011 Human Development Report) Grey = no data

World illiteracy halved between 1970 and 2005.

Literacy has been described as the ability to read for knowledge and write coherently and think critically about the written word. Literacy can also include the ability to understand all forms of communication, be it body language, pictures, video or sound (reading, speaking, listening and viewing). Evolving definitions of literacy often include all the symbol systems relevant to a particular community. Literacy encompasses a complex set of abilities to understand and use the dominant symbol systems of a culture for personal and community development. In a technological society, the concept of literacy is expanding to include the media and electronic text, in addition to alphabetic and number systems. These abilities vary in different social and cultural contexts according to need and demand.

Literacy represents the lifelong, intellectual process of gaining meaning from print. Key to all literacy is reading development, which involves a progression of skills that begins with the ability to understand spoken words and decode written words, and culminates in the deep understanding of text. Reading development involves a range of complex language underpinnings including awareness of speech sounds (phonology), spelling patterns (orthography), word meaning (semantics), grammar (syntax) and patterns of word formation (morphology), all of which provide a necessary platform for reading fluency and comprehension. Once these skills are acquired the reader can attain full language literacy, which includes the abilities to approach printed material with critical analysis, inference and synthesis; to write with accuracy and coherence; and to use information and insights from text as the basis for informed decisions and creative thought.^[1]

The United Nations Educational, Scientific and Cultural Organization (UNESCO) defines literacy as the "ability to identify, understand, interpret, create, communicate and compute, using printed and written materials associated with varying contexts. Literacy involves a continuum of learning in enabling individuals to achieve their goals, to develop their knowledge and potential, and to participate fully in their community and wider society."^[2]

History[link]

Illiteracy rate in France in the 18th and 19th centuries.

Literacy in Europe[link]

In 12th and 13th century England, the ability to sit a particular passage from the Bible entitled a common law defendant to the so-called benefit of clergy provision, which entitled a person to be tried before an ecclesiastical court, where sentences were more lenient, instead of a secular one, where hanging was a likely sentence. This opened the door to literate lay defendants also claiming the right to the benefit of clergy provision, and because the Biblical passage used for the literacy test was always Psalm 51 (Miserere mei, Deus... - "O God, have mercy upon me...") - an illiterate person who had memorized the appropriate verse could also claim the benefit of clergy provision.^[3]

By the mid-18th century, the ability to read and comprehend translated scripture led to Wales having one of the highest literacy rates. This was the result of a Griffith Jones's system of circulating schools, which aimed to enable everyone to read the Bible in Welsh. Similarly, at least half the population of 18th century New England was literate, perhaps as a consequence of the Puritan belief in the importance of Bible reading. By the time of the American Revolution, literacy in New England is suggested to have been around 90%.

The ability to read did not necessarily imply the ability to write. The 1686 church law (kyrkolagen) of the Kingdom of Sweden (which at the time included all of modern Sweden, Finland, and Estonia) enforced literacy on the people and by the end of the 18th century, the ability to read was close to 100%. But as late as the 19th century, many Swedes, especially women, could not write. That said, the situation in England was far worse than in Scandinavia, France and Prussia: as late as 1841, 33% of all Englishmen and 44% of Englishwomen signed marriage certificates with their mark as they were unable to write (government-financed public education was not available in England until 1870 and, even then, on a limited basis).

The historian Ernest Gellner argues that Continental European countries were far more successful in implementing educational reform precisely because those governments were more willing to invest in the population as a whole.^[4] The view that public education contributes to rising literacy levels is shared by the majority of historians.

Although the present-day concepts of literacy have much to do with the 15th century invention of the movable type printing press, it was not until the Industrial Revolution of the mid-19th century that paper and books became financially affordable to all classes of industrialized society. Until then, only a small percentage of the population were literate as only wealthy individuals and institutions could afford the prohibitively expensive materials. Even today^[update], the dearth of cheap paper and books is a barrier to universal literacy in some less-industrialized nations.

From another perspective, the historian Harvey Graff has argued that the introduction of mass schooling was in part an effort to control the type of literacy that the working class had access to. According to Graff, literacy learning was increasing outside of formal settings (such as schools) and this uncontrolled, potentially critical reading could lead to increased radicalization of the populace. In his view, mass schooling was meant to temper and control literacy, not spread it.^[5] Graff also points out, using the example of Sweden, that mass literacy can be achieved without formal schooling or instruction in writing.^[6]

Literacy in North America[link]

Canada[link]

This article may require copy editing for grammar, style, cohesion, tone, or spelling. You can assist by editing it. (April 2012)

The literacy rate of Canada, being almost 99% in 2003, has declined, and will be under world's average literacy rates for adults in the next two decades, depending on the rate of declining.^[7]

United States[link]

In 1820 20 percent of the entire adult population was illiterate, and 80 percent of the black population was illiterate. By 1900 the situation had improved somewhat, but still 44 percent of black people remained illiterate. The statistical data show significant improvements for black and other races in the early portion of the 20th century as the former slaves who had no educational opportunities in their youth were replaced by younger individuals who grew up in the post Civil War period and often had some chance to obtain a basic education. The gap in illiteracy between white and black adults continued to narrow through the 20th century, and in 1979 the rates were about the same.^[8]

Full prose proficiency, as measured by the ability to process complex and challenging material such as would be encountered in everyday life there, is achieved by about 13% of the general, 17% of the white, and 2% of the black population.^[9][10] However 86% of the general population had basic or higher prose proficiency as of 2003, with a decrease distributed across all groups in the full proficiency group vs. 1992 of more than 10%, consistent with a general decline.^[11]

Literacy in South America[link]

In 1964 in Brazil, Paulo Freire was arrested and exiled for teaching the Brazilian peasants to read.^[12]

Since democracy returned to Brazil, however, there has been a steady increase in the percentage of literate people.

Literacy in Africa[link]

Africa is the continent with the lowest literacy rate in the world.

Algeria[link]

The literacy rate of Algeria is around the 70% mark, which is attributed to the fact that education is compulsory and free in Algeria up to age of 17.

Botswana[link]

Botswana has among the highest literacy rates in the developing world with around 85% of its population being literate.

Egypt[link]

Egypt has a relative high literacy rate in proportion to its population size. Education is compulsory from the ages six to 15 and free for all children to attend. 93% of children enter primary school today, compared with 87% in 1994. Major universities include Cairo University (100,000 students), Alexandria University, and the 1,000-year-old Al-Azhar University, one of the world's major centers of Islamic learning. ^[13]

Ethiopia[link]

In Ethiopia, a national literacy campaign introduced in 1978 increased literacy rates to between 37% (unofficial) and 63% (official) by 1984.^[14]

Kenya[link]

The literacy rate of Kenya is well over 70% due to fact that the first 8 years of primary school are provided tuition-free by the government. In January 2008, the government began offering a program of free secondary education, subject to some restrictions.

Literacy in Asia[link]

China[link]

The PRC conducts standardized testing to assess proficiency in Putonghua but it is primarily for foreigners or those needing to demonstrate professional proficiency in the Beijing dialect. Literacy in logographic languages like Chinese has been graded on the number of characters in the speaker's lexicon, with a few thousand considered the minimum for practical literacy. Similar tests exist in other countries where Chinese is an official language. Chinese can be expressed phonetically and alphabetically but Chinese speakers prefer the Chinese logographic system.

India[link]

Laos[link]

Three Laotian girls sit outside their school, each absorbed in reading a book they received at a rural school book party.

Obstacles to literacy vary by country and culture. Writing systems, quality of education, availability of written material, competition from other sources (television, video games, cell phones, and family work obligations) and cultural influences all influence literacy levels.

In Laos, which has a phonetic alphabet, the mechanics of reading are relatively easy to learn. It is easier than in English, where spelling and pronunciation rules are filled with exceptions, and far easier than Chinese, with thousands of symbols to be memorized. But a lack of books and other written materials has hindered functional literacy. Many children and adults are able to read, but do it so haltingly that the skill is of no real benefit. For this and other reasons, Laos has the lowest level of adult literacy of any Southeast-Asian nation except for East Timor.^[15]

A literacy project in Laos addresses this by using what it calls "books that make literacy fun!" The project, Big Brother Mouse, publishes colorful, easy-to-read books, then delivers them by holding book parties at rural schools. Some of the books are modeled on successful western books by authors such as Dr. Seuss. The most popular titles, however, are traditional Lao fairy tales. Two popular collections of folktales were written by Siphone Vouthisakdee, who comes from a village where only five children finished primary school.^[16]

Big Brother Mouse has also created village reading rooms, and published books for adult readers about subjects such as Buddhism, health, and baby care.^[17]

Pakistan[link]

In Pakistan, the National Commission for Human Development (NCHD) aims to bring literacy to adults, especially women.

Philippines[link]

In the Philippines, the DepEd, CHED, and other academic institutions encourage children to improve literacy skills and knowledge. The government has a program of literacy teaching starting in kindergarten.

Literacy in the 21st century[link]

This idea has forever changed the landscape of information access, and is integral in an understanding of Literacy as a practice, in the 21st Century. It is no longer sufficient to consider whether a student can 'read' (decoding text) and 'write' (encoding text), and it is necessary to consider more meaningful aspects of literacy in education and in society as a whole, if we are to complete the transition we are in, from a society in which communication was never possible on the level of 'many to many', to one in which it is.^[18]

Economic impact[link]

Many policy analysts consider literacy rates as a crucial measure to enhance a region's human capital. This claim is made on the grounds that literate people can be trained less expensively than illiterate people, generally have a higher socio-economic status^[19] and enjoy better health and employment prospects. Policy makers also argue that literacy increases job opportunities and access to higher education.

In Kerala, India, for example, female and child mortality rates declined dramatically in the 1960s, when girls schooled according to the education reforms after 1948 began to raise families. In addition to the potential for literacy to increase wealth, wealth may promote literacy, through cultural norms and easier access to schools and tutoring services.^{[citation needed]}

In 2009, the National Adult Literacy agency (NALA) commissioned an economist to do a cost benefit analysis of adult literacy training in Ireland. He reported that there were economic gains for the individuals, the companies they worked for, the Exchequer, as well as the economy, for example, increased GDP, and society at large. The annual income gain per person per level increase on the Irish ten level National Qualifications Framework being €3,810 and the gain to the Exchequer, in terms of reduced social welfare transfers and increased tax payments, being €1,531 per annum.^[20]

Broader and complementary definitions[link]

Traditionally considered the ability to use written language actively and passively, some definitions of literacy consider it the ability to "read, write, spell, listen, and speak."^[21] Since the 1980s, some have argued that literacy is ideological, which means that literacy always exists in a context, in tandem with the values associated with that context.^[22][23] Prior work viewed literacy as existing autonomously.^{[24][25][26][27]}

Some have argued that the definition of literacy should be expanded. For example, in the United States, the National Council of Teachers of English and the International Reading Association have added "visually representing" to the traditional list of competencies. Similarly, in Scotland, literacy has been defined as: "The ability to read, write and use numeracy, to handle information, to express ideas and opinions, to make decisions and solve problems, as family members, workers, citizens and lifelong learners."^[28]

A basic literacy standard in many societies is the ability to read the newspaper. Increasingly, communication in commerce or society in general requires the ability to use computers and other digital technologies.^[29] Since the 1990s, when the Internet came into wide use in the United States, some have asserted that the definition of literacy should include the ability to use tools such as web browsers, word processing programs, and text messages. Similar expanded skill sets have been called multimedia literacy, computer literacy, information literacy, and technological literacy.^[30][31] Some scholars propose the idea multiliteracies which includes Functional Literacy, Critical Literacy, and Rhetorical Literacy.^[32]

"Arts literacy" programs exist in some places in the United States.^[33]

Other genres under study by academia include critical literacy, media literacy, ecological literacy and health literacy^[34] With the increasing emphasis on evidence-based decision making, and the use of statistical graphics and information, statistical literacy is becoming a very important aspect of literacy in general. The International Statistical Literacy Project is dedicated to the promotion of statistical literacy among all members of society.

It is argued that literacy includes the cultural, political, and historical contexts of the community in which communication takes place.^[35]

Taking account of the fact that a large part of the benefits of literacy obtain from having access to a literate person in the household, a recent literature in economics, starting with the work of Kaushik Basu and James Foster, distinguishes between a 'proximate illiterate' and an 'isolated illiterate'. The former refers to an illiterate person who lives in a household with other literates and the latter to an illiterate who lives in a household of all illiterates. What is of concern is that many people in poor nations are not just illiterates but isolated illiterates.

Teaching literacy[link]

The examples and perspective in this section may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (April 2011)

Teaching English literacy in the United States is dominated at present by a conception of literacy that focuses on a set of discrete decoding skills. From this perspective, literacy - or, rather, reading - comprises a number of subskills that can be taught to students. These skill sets include: phonological awareness, phonics (decoding), fluency, comprehension, and vocabulary. Mastering each of these sets of subskills is necessary for students to become proficient readers.^[36]

From this same perspective, readers of alphabetic languages must understand the alphabetic principle in order to master basic reading skills. A writing system is said to be alphabetic if it uses symbols to represent individual language sounds,^[37] though the degree of correspondence between letters and sounds varies across alphabetic languages. Syllabic writing systems (such as Japanese kana) use a symbol to represent a single syllable, and logographic writing systems (such as Chinese) use a symbol to represent a morpheme.^[38]

There are any number of approaches to teaching literacy; each is shaped by its informing assumptions about what literacy is and how it is best learned by students. Phonics instruction, for example, focuses on reading at the level of the word.^[37] It teaches readers to attend to the letters or groups of letters that make up words. A common method of teaching phonics is synthetic phonics, in which a novice reader pronounces each individual sound and "blends" them to pronounce the whole word.^[37] Another approach to phonics instruction is embedded phonics instruction, used more often in whole language reading instruction, in which novice readers learn about the individual letters in words on a just-in-time, just-in-place basis that is tailored to meet each student's reading and writing learning needs.^[37] That is, teachers provide phonics instruction opportunistically, within the context of stories or student writing that feature many instances of a particular letter or group of letters. Embedded instruction combines letter-sound knowledge with the use of meaningful context to read new and difficult words.^[39] Techniques such as directed listening and thinking activities can be used to aid children in learning how to read and reading comprehension.

Public library efforts to promote literacy[link]

The public library has long been a proponent for literacy in its communities.^[40] The release of the National Assessment of Adult Literacy (NAAL) report in 2005 revealed that approximately 14 percent of adults function at the lowest level of literacy and 29 percent of adults function at the basic functional literacy level, meaning they are not able to help their children with homework beyond the first few grades^[41] The lack of reading skills hinders adults from reaching their full potential. They might have difficulty getting and maintaining a job, providing for their families, or even reading a story to their children. For adults, the library might be the only source of a literacy program.^[42]

United States[link]

Programs have been instituted in public libraries across the United States in an attempt to improve the literacy rates in this country. Some example of various literacy programs across the country are listed below.

The READ/Orange County program, initiated in 1992 by the Orange County Public Library in California is an example of a flourishing community literacy program. The organization builds on what people have already learned through experiences as well as previous education, rather than trying to make up for what has not been learned. The organization then provides the student with the skills to continue learning in the future.^[42] The program operates on the belief that an adult who learns to read creates a ripple effect in the community. An adult who learns to read impacts not just himself but the whole community; he becomes an example to his children and grandchildren, and can then better serve his community.^[42] The mission of READ/Orange County is to "create a more literate community by providing diversified services of the highest quality to all who seek them." Potential tutors train during an extensive twenty-three hour Tutor Training Workshop in which they learn the philosophy, techniques and tools they will need to work with adult learns^[42] After completing the training, the tutors invest at least fifty hours a year to tutoring their student.

Another successful literacy program is the BoulderReads! program in Boulder, Colorado. The program recognized the difficulty that students had in obtaining child care while attending tutoring sessions, and joined with the University of Colorado to provide reading buddies to the children of students. Reading Buddies matches children of adult literacy students with college students who meet with them once a week throughout the semester for an hour and a half. The college students receive course credit, ensuring the quality and reliability of their time^[43]

Each Reading Buddies session focuses primarily on the college student reading aloud with the child. This helps the child gain interest in books and feel comfortable reading aloud. Time is also spent on word games, writing letters, or searching for books in the library. Throughout the semester the pair work on writing and illustrating a book together. The college student’s grade is partly dependent on the completion of the book. Although Reading Buddies began primarily as an answer to the lack of child care for literacy students, it has evolved into another aspect of the literacy program.^[43] While the children are not participants in the tutoring program, they do show marked improvement in their reading and writing skills throughout the semester, due in part to the admiration and respect they gain for their college reading buddy.

The Hillsborough Literacy Council, operating under The Florida Literacy Coalition, a statewide literacy organization, strives to improve the literacy ability of adults in Hillsborough County, Florida. Working since 1986, the HLC is "committed to improving literacy by empowering adults through education"^[44] The HLC also provides tutoring for English-speakers of other languages (ESOL). Approximately 120,000 adults in Hillsborough County are considered illiterate, or read below the fourth grade level. Through one on one tutoring the organization works to help adult students reach at least the fifth grade level. 95,000 adults living in Hillsborough County do not speak English; volunteers in the organization typically work with small groups of non-English speaking students to help practice their English conversation skills.

See also[link]

• List of countries by literacy rate

References[link]

External links[link]

Look up literacy in Wiktionary, the free dictionary.

• UNESCO Literacy Portal
• UNESCO Effective Literacy Practice Database
• Literacy at the Open Directory Project
• Literacy Assessment
• The National Strategies for Primary Literacy
• The Digital Archive of Literacy Narratives
• National Literacy Trust
• List of countries by literacy rate List of Countries by literacy rate.

Martin Scorsese
Scorsese at the Tribeca Film Festival, 2007
Born	Martin Charles Scorsese (1942-11-17) November 17, 1942 (age 69) Queens, New York, USA
Nationality	American
Education	Cardinal Hayes High School
Alma mater	New York University (B.A.) NYU Tisch School of the Arts (M.F.A.)
Occupation	Film director, producer, actor, screenwriter
Years active	1963–present
Influenced by	in alphabetical order: Michael Powell & Emeric Pressburger,[1] Satyajit Ray[2]
Spouse	Laraine Marie Brennan (1965–ca 71; divorced) Julia Cameron (1976–77; divorced) Isabella Rossellini (1979–82; divorced) Barbara De Fina (1985–91; divorced) Helen Morris (1999–present)
Parents	Charles Scorsese, Catherine Scorsese

Martin Charles Scorsese^[3] ( /skɔrˈsɛsɛ/;^[4] born November 17, 1942)^[5][6][7][8] is an American film director, screenwriter, producer, actor, and film historian. In 1990 he founded The Film Foundation, a non-profit organization dedicated to film preservation, and in 2007 he founded the World Cinema Foundation. He is a recipient of the AFI Life Achievement Award for his contributions to the cinema, and has won Academy Award, Palme d'Or, Emmys, Golden Globes, BAFTAs, and DGA Awards.

Scorsese's body of work addresses such themes as Italian American identity, Roman Catholic concepts of guilt and redemption,^[9] machismo, modern crime, and violence. Scorsese is hailed as one of the most significant and influential filmmakers of all time, directing landmark films such as Mean Streets (1973), Taxi Driver (1976), Raging Bull (1980), and Goodfellas (1990) – all of which he collaborated on with actor and close friend Robert De Niro.^[10] He won the Academy Award for Best Director for The Departed (2006), having been nominated a previous five times.

Early life[link]

From left: Salvo Cuccia, Martin Scorsese and Vittorio De Seta at the 2005 Tribeca Film Festival.

Martin Scorsese grew up in New York City. His father, Charles Scorsese (1913–1993), and mother, Catherine Scorsese (born Cappa; 1912–1997), both worked in New York's Garment District. His father was a clothes presser and an actor, and his mother was a seamstress and an actress.^[11] His father's parents emigrated from Polizzi Generosa, in the province of Palermo, Sicily, and his mother was also of Italian descent. Scorsese was raised in a devoutly Catholic environment.^[12] As a boy, he had asthma and couldn't play sports or do any activities with other kids and so his parents and his older brother would often take him to movie theaters; it was at this stage in his life that he developed passion for cinema. Enamored of historical epics in his adolescence, at least two films of the genre, Land of the Pharaohs and El Cid, appear to have had a deep and lasting impact on his cinematic psyche. Scorsese also developed an admiration for neorealist cinema at this time. He recounted its influence in a documentary on Italian neorealism, and commented on how Bicycle Thieves alongside Paisà, Rome, Open City inspired him and how this influenced his view or portrayal of his Sicilian genes. In his documentary, Il Mio Viaggio in Italia, Scorsese noted that the Sicilian episode of Roberto Rossellini's Paisà which he first saw on television alongside his relatives, who were themselves Sicilian immigrants, made a significant impact on his life.^[2] He acknowledges owing a great debt to the French New Wave and has stated that "the French New Wave has influenced all filmmakers who have worked since, whether they saw the films or not."^[13] He has also cited filmmakers like Satyajit Ray, Ingmar Bergman, Michelangelo Antonioni, Federico Fellini as a major influence on his career.^{[2][14][15][16][17]} His initial desire to become a priest^[18] while attending Cardinal Hayes High School in the Bronx gave way to cinema, and, consequently, Scorsese enrolled in NYU's University College of Arts and Science, (now known as the College of Arts and Science), where he earned a B.A. in English in 1964. He went on to earn his M.F.A. from NYU's Tisch School of the Arts in 1966, a year after the school was founded.^[19]

Family[link]

Scorsese has been married five times. His first wife was Laraine Marie Brennan; they have a daughter, Catherine. He married the writer Julia Cameron in 1976; they have a daughter, Domenica Cameron-Scorsese, who is an actress and appeared in The Age of Innocence, but the marriage lasted only a year. The divorce was acrimonious and served as the basis of Cameron's first feature, the dark comedy, God's Will,^[20] which also starred their daughter, Domenica.^[21][22] Their daughter also had a small role in Cape Fear using the name Domenica Scorsese and has continued to act, write, direct and produce.^[23]

He was married to actress Isabella Rossellini from 1979 to their divorce in 1983. He then married producer Barbara De Fina in 1985; their marriage ended in divorce as well, in 1991. He has been married to Helen Morris since 1999; they have a daughter, Francesca, who appeared in The Departed and The Aviator. He is based in New York City.

Scorsese has commented, "I'm a lapsed Catholic. But I am Roman Catholic, there's no way out of it."^[24]

Career[link]

Early career[link]

Scorsese attended New York University's film school (B.A., English, 1964; M.F.A., film, 1966)^[25] making the short films What's a Nice Girl Like You Doing in a Place Like This? (1963) and It's Not Just You, Murray! (1964). His most famous short of the period is the darkly comic The Big Shave (1967), which features Peter Bernuth. The film is an indictment of America's involvement in Vietnam, suggested by its alternative title Viet '67.^[26] Scorsese has mentioned on several occasions that he was greatly inspired in his early days at New York University by his Armenian-American film professor Haig P. Manoogian.

In 1967, Scorsese made his first feature-length film, the black and white I Call First, which was later retitled Who's That Knocking at My Door with his fellow students actor Harvey Keitel and editor Thelma Schoonmaker, both of whom were to become long-term collaborators. This film was intended to be the first of Scorsese's semi-autobiographical 'J.R. Trilogy', which also would have included his later film, Mean Streets.

1970s[link]

From there he became friends with the influential "movie brats" of the 1970s: Francis Ford Coppola, Brian De Palma, George Lucas, and Steven Spielberg. It was Brian De Palma who introduced Scorsese to Robert De Niro. During this period he worked as the assistant director and one of the editors on the documentary Woodstock and met actor-director John Cassavetes, who would also go on to become a close friend and mentor.^[27] Scorsese is also credited as one of the cameramen who photographed the infamous late-1969 Altamont rock festival for the 1970 Rolling Stones film "Gimme Shelter".

[edit] Mean Streets

In 1972 Scorsese made the Depression-era exploiter Boxcar Bertha for B-movie producer Roger Corman, who also helped directors such as Francis Ford Coppola, James Cameron, and John Sayles launch their careers. It was Corman who taught Scorsese that entertaining films could be shot with next to no money or time, preparing the young director well for the challenges to come with Mean Streets. Following the film's release, Cassavetes encouraged Scorsese to make the films that he wanted to make, rather than someone else's projects.

Championed by influential movie critic Pauline Kael, Mean Streets was a breakthrough for Scorsese, De Niro, and Keitel. By now the signature Scorsese style was in place: macho posturing, bloody violence, Catholic guilt and redemption, gritty New York locale (though the majority of Mean Streets was actually shot in Los Angeles), rapid-fire editing, and a rock soundtrack. Although the film was innovative, its wired atmosphere, edgy documentary style, and gritty street-level direction owed a debt to directors Cassavetes, Samuel Fuller, and early Jean-Luc Godard.^[28] (Indeed the film was completed with much encouragement from Cassavetes, who felt Boxcar Bertha was undeserving of the young director's prodigious talent.)^[27]

In 1974, actress Ellen Burstyn chose Scorsese to direct her in Alice Doesn't Live Here Anymore, for which she won an Academy Award for Best Actress. Although well regarded, the film remains an anomaly in the director's early career, as it focuses on a central female character. Returning to Little Italy to explore his ethnic roots, Scorsese next came up with Italianamerican, a documentary featuring his parents, Charles and Catherine Scorsese.

[edit] Taxi Driver

Taxi Driver followed in 1976 – Scorsese's dark, urban nightmare of one lonely man's slow, deliberate descent into insanity.

The film established Scorsese as an accomplished filmmaker and also brought attention to cinematographer Michael Chapman, whose style tends towards high contrasts, strong colors and complex camera movements. The film starred Robert De Niro as the troubled and psychotic Travis Bickle. The film co-starred Jodie Foster in a highly controversial role as an underage prostitute, and Harvey Keitel as her pimp, Matthew, called "Sport."

Taxi Driver also marked the start of a series of collaborations between Scorsese and writer Paul Schrader, whose influences included the diary of would-be assassin Arthur Bremer and Pickpocket, a film by the French director Robert Bresson. Writer/director Schrader often returns to Bresson's work in films such as American Gigolo, Light Sleeper, and Scorsese's later Bringing Out the Dead.^[29]

Already controversial upon its release, Taxi Driver hit the headlines again five years later, when John Hinckley, Jr. made an assassination attempt on then-President Ronald Reagan. He subsequently blamed his act on his obsession with Jodie Foster's Taxi Driver character (in the film, De Niro's character, Travis Bickle, makes an assassination attempt on a senator).^[30]

Taxi Driver won the Palme d'Or at the 1976 Cannes Film Festival,^[31] also receiving four Oscar nominations, including Best Picture, although all were unsuccessful.

Scorsese was subsequently offered the role of Charles Manson in the movie Helter Skelter and a part in Sam Fuller's war movie The Big Red One, but he turned both down. However he did accept the role of a gangster in exploitation movie Cannonball directed by Paul Bartel. In this period there were also several directorial projects that never got off the ground including Haunted Summer, about Mary Shelley and a film with Marlon Brando about the Indian massacre at Wounded Knee.

[edit] New York, New York and The Last Waltz

The critical success of Taxi Driver encouraged Scorsese to move ahead with his first big-budget project: the highly stylized musical New York, New York. This tribute to Scorsese's home town and the classic Hollywood musical was a box-office failure.

New York, New York was the director's third collaboration with Robert De Niro, co-starring with Liza Minnelli (a tribute and allusion to her father, legendary musical director Vincente Minnelli). The film is best remembered today for the title theme song, which was popularized by Frank Sinatra. Although possessing Scorsese's usual visual panache and stylistic bravura, many critics felt its enclosed studio-bound atmosphere left it leaden in comparison to his earlier work.

Despite its weak reception, the film is regarded by some to be among the director's finest achievements. Richard Brody in the New Yorker wrote: "For Scorsese, a lifelong cinephile, the essence of New York could be found in its depiction in classic Hollywood movies. Remarkably, his backward-looking tribute to the golden age of musicals and noirish romantic melodramas turned out to be one of his most freewheeling and personal films." ^[32] Jean-Luc Godard is another admirer of the film.^[33]

The disappointing reception that New York, New York received drove Scorsese into depression. By this stage the director had also developed a serious cocaine addiction. However, he did find the creative drive to make the highly regarded The Last Waltz, documenting the final concert by The Band. It was held at the Winterland Ballroom in San Francisco, and featured one of the most extensive lineups of prominent guest performers at a single concert, including Eric Clapton, Neil Young, Neil Diamond, Ringo Starr, Muddy Waters, Joni Mitchell, Bob Dylan, Paul Butterfield, Ronnie Wood and Van Morrison. However, Scorsese's commitments to other projects delayed the release of the film until 1978.

Another Scorsese-directed documentary entitled American Boy also appeared in 1978, focusing on Steven Prince, the cocky gun salesman who appeared in Taxi Driver. A period of wild partying followed, damaging the director's already fragile health.

Scorsese also helped provide footage for the documentary Elvis on Tour.

1980s[link]

[edit] Raging Bull

By several accounts (Scorsese's included), Robert De Niro practically saved Scorsese's life when he persuaded Scorsese to kick his cocaine addiction to make his highly regarded film, Raging Bull. Convinced that he would never make another movie, he poured his energies into making this violent biopic of middleweight boxing champion Jake LaMotta, calling it a Kamikaze method of film-making.^[34] The film is widely viewed as a masterpiece and was voted the greatest film of the 1980s by Britain's Sight & Sound magazine.^[35][36] It received eight Oscar nominations, including Best Picture, Best Actor for Robert De Niro, and Scorsese's first for Best Director. De Niro won, as did Thelma Schoonmaker for editing, but Best Director went to Robert Redford for Ordinary People.

Raging Bull, filmed in high contrast black and white, is where Scorsese's style reached its zenith: Taxi Driver and New York, New York had used elements of expressionism to replicate psychological points of view, but here the style was taken to new extremes, employing extensive slow-motion, complex tracking shots, and extravagant distortion of perspective (for example, the size of boxing rings would change from fight to fight).^[37] Thematically too, the concerns carried on from Mean Streets and Taxi Driver: insecure males, violence, guilt, and redemption.

Although the screenplay for Raging Bull was credited to Paul Schrader and Mardik Martin (who earlier co-wrote Mean Streets), the finished script differed extensively from Schrader's original draft. It was re-written several times by various writers including Jay Cocks (who went on to co-script later Scorsese films The Age of Innocence and Gangs of New York). The final draft was largely written by Scorsese and Robert De Niro.^[38]

The American Film Institute chose Raging Bull as the #1 American sports film on their list of the top 10 sports films.

[edit] The King of Comedy

Scorsese's next project was his fifth collaboration with Robert De Niro, The King of Comedy (1983). A satire on the world of media and celebrity, it was an obvious departure from the more emotionally committed films he had become associated with. Visually, it was far less kinetic than the style Scorsese had developed up until this point, often using a static camera and long takes.^[39] The expressionism of his recent work here gave way to moments of almost total surrealism. It still bore many of Scorsese's trademarks, however, such as its focus on a troubled loner who ironically becomes famous through a criminal act (murder and kidnapping, respectively).^[40]

The King of Comedy failed at the box office, but has become increasingly well regarded by critics in the years since its release. German director Wim Wenders numbered it among his fifteen favourite films.^[41] Also, Scorsese apparently believes that this is the best performance De Niro ever gave for him.^{[citation needed]}

Next Scorsese made a brief cameo appearance in the movie Anna Pavlova (also known as A Woman for All Time), originally intended to be directed by one of his heroes, Michael Powell. This led to a more significant role in Bertrand Tavernier's jazz movie Round Midnight.

In 1983 Scorsese began work on a long-cherished personal project, The Last Temptation of Christ, based on the 1951 (English translation 1960) novel written by Nikos Kazantzakis, who was introduced to the director by actress Barbara Hershey when they were both attending New York University in the late 1960s. The movie was slated to shoot under the Paramount Pictures banner, but shortly before principal photography was to commence, Paramount pulled the plug on the project, citing pressure from religious groups. In this aborted 1983 version, Aidan Quinn was cast as Jesus, and Sting was cast as Pontius Pilate. (In the 1988 version, these roles were played respectively by Willem Dafoe and David Bowie.)

[edit] After Hours

After the collapse of this project Scorsese again saw his career at a critical point, as he described in the documentary Filming for Your Life: Making 'After Hours' (2004). He saw that in the increasingly commercial world of 1980s Hollywood, the highly stylized and personal 1970s films he and others had built their careers on would not continue to enjoy the same status. Scorsese decided then on an almost totally new approach to his work. With After Hours (1985) he made an aesthetic shift back to a pared-down, almost "underground" film-making style – his way of staying viable. Filmed on an extremely low budget, on location, and at night in the SoHo neighborhood of Manhattan, the film is a black comedy about one increasingly misfortunate night for a mild New York word processor (Griffin Dunne) and featured cameos by such disparate actors as Teri Garr and Cheech and Chong. A bit of a stylistic anomaly for Scorsese, After Hours fits in well with popular low-budget "cult" films of the 1980s, e.g. Jonathan Demme's Something Wild and Alex Cox's Repo Man.

[edit] The Color of Money

Along with the 1987 Michael Jackson music video "Bad", in 1986 Scorsese made The Color of Money, a sequel to the much admired Robert Rossen film The Hustler (1961) with Paul Newman. Although typically visually assured, The Color of Money was the director's first foray into mainstream commercial film-making. It won actor Paul Newman a belated Oscar and gave Scorsese the clout to finally secure backing for a project that had been a long time goal for him: The Last Temptation of Christ. He also made a brief venture into television, directing an episode of Steven Spielberg's Amazing Stories.

[edit] The Last Temptation of Christ

After his mid-1980s flirtation with commercial Hollywood, Scorsese made a major return to personal film-making with the Paul Schrader-scripted The Last Temptation of Christ in 1988. Based on Nikos Kazantzakis's controversial 1960 book, it retold the life of Christ in human rather than divine terms. Even prior to its release the film caused a massive furore, worldwide protests against its blasphemy effectively turning a low budget independent movie into a media sensation.^[42] Most controversy centered on the final passages of the film which depicted Christ marrying and raising a family with Mary Magdalene in a Satan-induced hallucination while on the cross.

Looking past the controversy, The Last Temptation of Christ gained critical acclaim and remains an important work in Scorsese's canon: an explicit attempt to wrestle with the spirituality which had under-pinned his films up until that point. The director went on to receive his second nomination for a Best Director Academy Award (again unsuccessfully, this time losing to Barry Levinson for Rain Man).

Along with directors Woody Allen and Francis Ford Coppola, in 1989 Scorsese provided one of three segments in the portmanteau film New York Stories, called "Life Lessons".

1990s[link]

[edit] Goodfellas

After a decade of mostly mixed results, Gangster epic Goodfellas (1990) was a return to form for Scorsese and his most confident and fully realized film since Raging Bull. De Niro and Joe Pesci in Goodfellas offered a virtuoso display of the director's bravura cinematic technique and re-established, enhanced, and consolidated his reputation. After the film was released Roger Ebert, a friend and supporter of Scorsese, named Goodfellas "the best mob movie ever" and is ranked #1 on Roger's movie list for 1990, along with Gene Siskel and Peter Travers, the film is widely considered one of the director's greatest achievements.^[43][44][45]

However, Goodfellas also signified an important shift in tone in the director's work, inaugurating an era in his career which was technically accomplished but some have argued emotionally detached.^[46] Despite this, many view Goodfellas as a Scorsese archetype – the apogee of his cinematic technique.

The film was nominated for six Academy Awards, including Best Picture and Best Director, Scorsese earned his third Best Director nomination for Goodfellas but again lost to a first-time director, Kevin Costner (Dances With Wolves). Joe Pesci earned the Academy Award for Best Supporting Actor for his performance in Goodfellas. Scorsese and the film won over a numerous of different awards, including five BAFTA Awards, a Silver Lion and more.

After the film, Goodfellas was acknowledged as the second best in the gangster film genre (after The Godfather). The American Film Institute put Goodfellas at #94 on the AFI's 100 Years...100 Movies list and on the 2007 updated version they moved Goodfellas up to #92 on the AFI's 100 Years...100 Movies list (10th Anniversary Edition) and they put Goodfellas at #2 on their list of the top 10 Gangster films.

In 1990, he acted in a cameo role as Vincent van Gogh in the film Dreams by legendary Japanese director Akira Kurosawa.

[edit] Cape Fear

1991 brought Cape Fear, a remake of a cult 1962 movie of the same name, and the director's seventh collaboration with De Niro. Another foray into the mainstream, the film was a stylized thriller taking its cues heavily from Alfred Hitchcock and Charles Laughton's The Night of the Hunter (1955). Cape Fear received a mixed critical reception and was lambasted in many quarters for its scenes depicting misogynistic violence. However, the lurid subject matter did give Scorsese a chance to experiment with a dazzling array of visual tricks and effects. The film garnered two Oscar nominations. Earning eighty million dollars domestically, it would stand as Scorsese's most commercially successful release until The Aviator (2004), and then The Departed (2006). The film also marked the first time Scorsese used wide-screen Panavision with an aspect ratio of 2.35:1.

[edit] The Age of Innocence

The opulent and handsomely mounted The Age of Innocence (1993) was on the surface a huge departure for Scorsese, a period adaptation of Edith Wharton's novel about the constrictive high society of late-19th Century New York. It was highly lauded by critics upon original release, but was a box office bomb, making an overall loss. As noted in Scorsese on Scorsese by editor/interviewer Ian Christie, the news that Scorsese wanted to make a film about a 19th Century failed romance raised many eyebrows among the film fraternity all the more when Scorsese made it clear that it was a personal project and not a studio for-hire job.

Scorsese was interested in doing a "romantic piece". His friend, Jay Cocks gave him the Wharton novel in 1980, suggesting that this should be the romantic piece Scorsese should film as Cocks felt it best represented his sensibility. In Scorsese on Scorsese he noted that:

"Although the film deals with New York aristocracy and a period of New York history that has been neglected, and although it deals with code and ritual, and with love that's not unrequited but unconsummated – which pretty much covers all the themes I usually deal with – when I read the book, I didn't say, 'Oh good, all those themes are here.'"

Scorsese, who was strongly drawn to the characters and the story of Wharton's text, wanted his film to be as rich an emotional experience as the book was to him rather than the traditional academic adaptations of literary works. To this aim, Scorsese sought influence from diverse period films which made an emotional impact on him. In Scorsese on Scorsese, he documents influences from films such as Luchino Visconti's Senso and his Il Gattopardo as well as Orson Welles's The Magnificent Ambersons and also Roberto Rossellini's La Prise de pouvoir par Louis XIV. Although The Age of Innocence was ultimately different than these films in terms of narrative, story and thematic concern, the presence of a lost society, of lost values as well as detailed re-creations of social customs and rituals continues the tradition of these films.

Recently, it has started to come back into the public eye, especially in countries such as the UK and France, but still is largely neglected in North America. The film earned five Academy Award nominations (including for Scorsese for Best Adapted Screenplay), winning the Costume Design Oscar. It also made a significant impact on directors such as Chinese auteur Tian Zhuangzhuang,^[47] and British filmmaker Terence Davies,^[48] both of whom ranked it among their ten favorite films.

This was his first collaboration with the Academy Award winning actor, Daniel Day-Lewis, with whom he would work again in Gangs of New York.

[edit] Casino

1995's expansive Casino, like The Age of Innocence before it, focused on a tightly wound male whose well-ordered life is disrupted by the arrival of unpredictable forces. The fact that it was a violent gangster film made it more palatable to fans of the director who perhaps were baffled by the apparent departure of the earlier film. Critically, however, Casino received mixed notices. In large part this was due to its huge stylistic similarities to his earlier Goodfellas, and its excessive violence that garnered it a reputation as possibly the most violent American gangster film ever made.^{[citation needed]} Indeed many of the tropes and tricks of the earlier film resurfaced more or less intact, most obviously the casting of both Robert De Niro and Joe Pesci, Pesci once again being an unbridled psychopath. Sharon Stone was nominated for the Best Actress Academy Award for her performance.

During the filming Scorsese played a background part as a gambler at one of the tables. It is quite often rumored that a real game of poker was being held at the time between extras and that a pot of $2000 was at stake.^{[citation needed]}

[edit] A Personal Journey with Martin Scorsese Through American Movies

Scorsese still found time for a four hour documentary in 1995 offering a thorough trek through American cinema. It covered the silent era to 1969, a year after which Scorsese began his feature career, stating "I wouldn't feel right commenting on myself or my contemporaries."

[edit] Kundun

If The Age of Innocence alienated and confused some fans, then Kundun (1997) went several steps further, offering an account of the early life of Tenzin Gyatso, the 14th Dalai Lama, the People's Liberation Army's entering of Tibet, and the Dalai Lama's subsequent exile to India. Not least a departure in subject matter, Kundun also saw Scorsese employing a fresh narrative and visual approach. Traditional dramatic devices were substituted for a trance-like meditation achieved through an elaborate tableau of colourful visual images.^[49]

The film was a source of turmoil for its distributor, Disney, which was planning significant expansion into the Chinese market at the time. Initially defiant in the face of pressure from Chinese officials, Disney has since distanced itself from the project, hurting Kundun's commercial profile.

In the short term, the sheer eclecticism in evidence enhanced the director's reputation. In the long term however, it generally appears Kundun has been sidelined in most critical appraisals of the director, mostly noted as a stylistic and thematic detour. Kundun was the director's second attempt to profile the life of a great religious leader, following The Last Temptation of Christ.

[edit] Bringing Out the Dead

Bringing Out the Dead (1999) was a return to familiar territory, with the director and writer Paul Schrader constructing a pitch-black comic take on their own earlier Taxi Driver.^[50] Like previous Scorsese-Schrader collaborations, its final scenes of spiritual redemption explicitly recalled the films of Robert Bresson.^[51] (It's also worth noting that the film's incident-filled nocturnal setting is reminiscent of After Hours.) It received generally positive reviews,^[52] although not the universal critical acclaim of some of his other films. It stars Nicolas Cage, Ving Rhames, John Goodman, Tom Sizemore, and Patricia Arquette.

2000s[link]

[edit] Gangs of New York

Scorsese at the Gangs of New York screening at the Cannes Film Festival with Leonardo DiCaprio and Cameron Diaz.

In 1999 Scorsese also produced a documentary on Italian filmmakers entitled Il Mio Viaggio in Italia, also known as My Voyage to Italy. The documentary foreshadowed the director's next project, the epic Gangs of New York (2002), influenced by (amongst many others) major Italian directors such as Luchino Visconti and filmed in its entirety at Rome's famous Cinecittà film studios.

With a production budget said to be in excess of $100 million, Gangs of New York was Scorsese's biggest and arguably most mainstream venture to date. Like The Age of Innocence, it was set in 19th-century New York, although focusing on the other end of the social scale (and like that film, also starring Daniel Day-Lewis). The film also marked the first collaboration between Scorsese and actor Leonardo DiCaprio, who since then has become a fixture in later Scorsese films.

The production was highly troubled with many rumors referring to the director's conflict with Miramax boss Harvey Weinstein.^[53] Despite denials of artistic compromise, Gangs of New York revealed itself to be the director's most conventional film: standard film tropes which the director had traditionally avoided, such as characters existing purely for exposition purposes and explanatory flashbacks, here surfaced in abundance.^[54][55][56] The original score composed by regular Scorsese collaborator Elmer Bernstein was rejected at a late stage for a score by Howard Shore and mainstream rock artists U2 and Peter Gabriel.^[57] The final cut of the movie ran to 168 minutes, while the director's original cut was over 180 minutes in length.^[54] The film still received generally positive reviews with the review tallying website Rotten Tomatoes reporting that 75% of the reviews they tallied for the film were positive and summarizing the critics by saying "Though flawed, the sprawling, messy Gangs of New York is redeemed by impressive production design and Day-Lewis's electrifying performance."^[58]

Nonetheless, the themes central to the film were consistent with the director's established concerns: New York, violence as culturally endemic, and sub-cultural divisions down ethnic lines.

Originally filmed for a release in the winter of 2001 (to qualify for Academy Award nominations), Scorsese delayed the final production of the film until after the beginning of 2002; the studio consequently delayed the film for nearly a year until its release in the Oscar season of late 2002.^[59]

Gangs of New York earned Scorsese his first Golden Globe for Best Director. In February 2003, Gangs of New York received ten Academy Award nominations, including Best Picture, Best Director, and Best Actor for Daniel Day-Lewis, however it did not win in any category.

Scorsese also had uncredited involvement as executive producer with the 2002 film Deuces Wild,^[60] written by Paul Kimatian.

[edit] The Blues

The following year Scorsese completed production of The Blues, an expansive seven part documentary tracing the history of blues music from its African roots to the Mississippi Delta and beyond. Seven film-makers including Wim Wenders, Clint Eastwood, Mike Figgis, and Scorsese himself each contributed a 90 minute film (Scorsese's entry was entitled "Feel Like Going Home").

[edit] The Aviator

Scorsese's film The Aviator (2004), was a lavish, large-scale biopic of eccentric aviation pioneer and film mogul Howard Hughes and would reunite Scorsese with actor Leonardo DiCaprio. The film received highly positive reviews.^{[61][62][63][64][65]} The film also met with widespread box office success and gained Academy recognition.

The Aviator was nominated for six Golden Globe awards, including Best Motion Picture – Drama, Best Director, Best Screenplay, and Best Actor – Motion Picture Drama for Leonardo DiCaprio. It won three, including Best Motion Picture – Drama and Best Actor – Motion Picture Drama. In January 2005, The Aviator became the most-nominated film of the 77th Academy Awards nominations, nominated in 11 categories including Best Picture. The film also garnered nominations in nearly all of the other major categories, including a fifth Best Director nomination for Scorsese, Best Actor in a Leading Role (Leonardo DiCaprio), Best Actress in a Supporting Role (Cate Blanchett), and Alan Alda for Best Actor in a Supporting Role. Despite having a leading tally, the film ended up with only five Oscars: Best Actress in a Supporting Role, Best Art Direction, Best Costume Design, Best Film Editing and Best Cinematography. Scorsese lost again, this time to director Clint Eastwood for Million Dollar Baby (which also won Best Picture).

[edit] No Direction Home

No Direction Home is a documentary film by Martin Scorsese that tells of the life of Bob Dylan, and his impact on American popular music and culture of the 20th century. The film does not cover Dylan's entire career; it focuses on his beginnings, his rise to fame in the 1960s, his then-controversial transformation from an acoustic guitar-based musician and performer to an electric guitar-influenced sound and his "retirement" from touring in 1966 following an infamous motorcycle accident. The film was first presented on television in both the United States (as part of the PBS American Masters series) and the United Kingdom (as part of the BBC Two Arena series) on September 26–27, 2005. A DVD version of the film was released that same month. The film won a Peabody award. In addition, Scorsese received an Emmy nomination for it.

[edit] The Departed

Scorsese returned to the crime genre with the Boston-set thriller The Departed, based on the Hong Kong police drama Infernal Affairs. Along with Matt Damon, Leonardo Di Caprio, The Departed was Scorsese's first collaboration with Jack Nicholson and Martin Sheen.

The Departed opened to widespread critical acclaim with some proclaiming it as one of the best efforts Scorsese had brought to the screen since 1990's Goodfellas,^[66][67] and still others putting it at the same level as Scorsese's most celebrated classics Taxi Driver and Raging Bull.^[68][69] With domestic box office receipts surpassing $129,402,536, The Departed was Scorsese's highest grossing film (not accounting for inflation) until 2010's Shutter Island.

Martin Scorsese's direction of The Departed earned him his second Golden Globe for Best Director, as well as a Critic's Choice Award, his first Director's Guild of America Award, and the Academy Award for Best Director. While being presented with the award, Scorsese said "Could you double-check the envelope?" It was presented to him by his longtime friends and colleagues Steven Spielberg, Francis Ford Coppola, and George Lucas. The Departed also received the Academy Award for the Best Motion Picture of 2006, Best Adapted Screenplay, and Best Film Editing by longtime Scorsese editor Thelma Schoonmaker, her third win for a Scorsese film, though many thought Scorsese deserved Academy Awards in his past films as well.

[edit] Shine a Light

Shine a Light is a concert film of rock and roll band The Rolling Stones' performances at New York City's Beacon Theater on October 29 and November 1, 2006, intercut with brief news and interview footage from throughout the band's career.

The film was initially scheduled for release on September 21, 2007, but Paramount Classics postponed its general release until April 2008. Its world premiere was at the opening of the 58th Berlinale Film Festival on February 7, 2008.

2010s[link]

[edit] Shutter Island

On October 22, 2007, Daily Variety reported that Scorsese would reunite with Leonardo DiCaprio on a fourth picture, Shutter Island. Principal photography on the Laeta Kalogridis screenplay, based on the novel of the same name by Dennis Lehane, began in Massachusetts in March 2008.^[70][71]

In December 2007, actors Mark Ruffalo, Max von Sydow, Ben Kingsley, and Michelle Williams joined the cast,^[72][73] marking the first time these four actors have worked with Scorsese. The film was released on February 19, 2010.^[74] On May 20, 2010, the film was Scorsese's highest grossing film.^[75]

[edit] Boardwalk Empire

Martin Scorsese in Cannes, 2010

Scorsese directed the series premiere for Boardwalk Empire, an HBO drama series,^[76] starring Steve Buscemi and Michael Pitt, and based upon Nelson Johnson's book Boardwalk Empire: The Birth, High Times and Corruption of Atlantic City.^[77] Terence Winter, who previously wrote for The Sopranos, created the series. In addition to directing the pilot (for which he won the 2011 Primetime Emmy Award for Outstanding Directing), Scorsese also serves as an executive producer on the series.^[77]

The series premiered on September 19, 2010 and was renewed for a second season. On October 12, 2011, the series was renewed again for a third season.^[77]

[edit] Living in the Material World

Scorsese directed a three-and-a-half-hour documentary about the life and music of former Beatles member George Harrison, which premiered in the United States on HBO over two parts on October 5 and 6, 2011.^[78]

[edit] Hugo

Hugo is a 3D adventure drama film based on Brian Selznick's novel The Invention of Hugo Cabret. The film stars Asa Butterfield, Chloë Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Ray Winstone, Emily Mortimer and Jude Law. The film has been met with critical acclaim^[79][80][81] and earned Scorsese his third Golden Globe Award for Best Director. The film was also nominated for eleven Academy Awards, winning five of them and becoming tied with Michel Hazanavicius's film The Artist for the most Academy Awards won by a single film in 2011. Hugo also won two BAFTA awards and a Golden Globe Award for Best Director, among other numerous awards and nominations.

Hugo is Scorsese’s first 3D film and was released in the US on November 23, 2011.^[82]

Future films[link]

Scorsese's next movie stars Leonardo DiCaprio and is called The Wolf Of Wall Street.^[83] Scorsese has also announced several potential future projects.^[84] A documentary feature on Scorsese by artist Melinda Camber Porter was nearly complete when she lost her life to cancer. Scorsese anticipates filming an adaptation of Shusaku Endo's novel Silence, a drama about the voyages of two Portuguese Jesuit priests in Japan during the 17th Century. Scorsese had originally planned Silence as his next project following Shutter Island.^[85] Scorsese reported that his long-planned Frank Sinatra biopic is coming up, with Phil Alden Robinson writing the screenplay.^[86] He is also attached to direct The Irishman, which will star Robert De Niro, Joe Pesci and Al Pacino.^[87] It has also been announced that Scorsese is attached to direct an adaptation of Norwegian crime writer Jo Nesbø's novel The Snowman.^[88] In an interview discussing Hugo with Mark Kermode and Simon Mayo on their BBC Podcast Scorsese mentioned that he is working on a TV series on the history of the Rock industry.

Collaborations with Robert De Niro[link]

Scorsese frequently collaborated with Robert De Niro, making a total of eight films with the actor. After being introduced to him in the early 1970s, Scorsese cast De Niro in his 1973 film Mean Streets. Three years later, De Niro starred in Taxi Driver, this time holding the lead role. De Niro re-joined Scorsese for New York, New York in 1977, but the film was unsuccessful. Nevertheless, their partnership continued into the 1980s, when the pair made Raging Bull, which was highly successful, and The King of Comedy. In the 1990s, De Niro starred in Goodfellas, one of the pair's most praised films, and 1991's Cape Fear, before making Casino in 1995. The two also voiced major parts in the 2004 film Shark Tale. Scorsese and De Niro plan to re-unite for a film referred to as The Irishman based on the book I Heard You Paint Houses,^[89] although a date for the project is uncertain.

Honors[link]

• In 2007, Scorsese was listed among Time magazine's 100 Most Influential People in The World.
• In August 2007 Scorsese was named the 2nd greatest director of all time in a poll by Total Film magazine, in front of Steven Spielberg and behind Alfred Hitchcock.
• In 2007, Scorsese was honored by the National Italian American Foundation (N.I.A.F.) at the nonprofit's thirty-second Anniversary Gala. During the ceremony, Scorsese helped launch N.I.A.F.'s Jack Valenti Institute, which provides support to Italian film students in the U.S., in memory of former Foundation Board Member and past president of the Motion Picture Association of America (M.P.A.A.) Jack Valenti. Scorsese received his award from Mary Margaret Valenti, Jack's widow. Certain pieces of Scorsese's film related material and personal papers are contained in the Wesleyan University Cinema Archives to which scholars and media experts from around the world may have full access.^[90]
• In 2011 Scorsese received an honorary doctorate from the National Film School in Lodz. At the awards ceremony he said, "I feel like I'm a part of this school and that I attended it", paying tribute to the films of Wajda, Munk, Has, Polanski and Skolimowski.^[91]

Director trademarks[link]

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• Begins his films with segments taken from the middle or end of the story. Examples include Raging Bull (1980),^[92] Goodfellas (1990),^[93] Casino (1995),^[94] and The Last Waltz.^[95]
• Frequent use of slow motion, e.g. Mean Streets (1973), Taxi Driver (1976), Raging Bull (1980), and Goodfellas (1990) .^[96] Also known for using freeze frame, such as the opening credits of The King of Comedy (1983), and throughout Goodfellas (1990). Such a shot is also used in the film "The Departed", (2006).
• His lead characters are often morally ambiguous, prone to violence, and/or want to be accepted in society or a society (The Departed, Mean Streets, Taxi Driver, Goodfellas) and are not infrequently sociopaths (Cape Fear, Raging Bull, Casino).^[97]
• In most of his films the main character often falls in love and has a wife, and often has a turning point between the main character and the wife. e.g. Raging Bull, Goodfellas, and Casino.
• His blonde leading ladies are usually seen through the eyes of the protagonist as angelic and ethereal; they wear white in their first scene and are photographed in slow-motion (Cybill Shepherd in Taxi Driver; Cathy Moriarty's white bikini in Raging Bull; Sharon Stone's white minidress in Casino).^[98] This may possibly be a nod to director Alfred Hitchcock.^[99]
• Often uses long tracking shots.^[100] Example: Goodfellas, Casino, Gangs Of New York, Hugo
• Use of MOS sequences set to popular music or voice over, often involving aggressive camera movement and/or rapid editing.^[101]
• The supporting actor will often betray the protagonist (Micheal in Mean Streets, Judas Iscariot in The Last Temptation of Christ, Jimmy Conway in Goodfellas, Nicky Santoro in Casino)
• Often has a quick cameo in his films (Mean Streets, Taxi Driver, The King of Comedy, After Hours, The Last Temptation of Christ (albeit hidden under a hood), Casino, The Age of Innocence, Gangs of New York, Hugo). Also, often contributes his voice to a film without showing his face on screen. He provides the opening voice-over narration in Mean Streets and The Color of Money; plays the off-screen dressing room attendant in the final scene of Raging Bull; provides the voice of the unseen ambulance dispatcher in Bringing out the Dead.^[102]
• Frequently uses New York City as the main setting in his films, e.g. Gangs of New York, Taxi Driver, The Age of Innocence, The King of Comedy, After Hours, New York, New York, and Mean Streets.^[103]
• Sometimes highlights characters in a scene with an iris, an homage to 1920s silent film cinema (as scenes at the time sometimes used this transition). This effect can be seen in Casino (it is used on Sharon Stone and Joe Pesci), Life Lessons, The Departed (on Matt Damon), and Hugo.
• Some of his films include references/allusions to Westerns, particularly Shane, The Searchers and The Oklahoma Kid.
• More recently, his films have featured corrupt authority figures, such as policemen in The Departed^[104] and politicians in Gangs of New York^[105] and The Aviator.^[106]
• Guilt is a prominent theme in many of his films, as is the role of Catholicism in creating and dealing with guilt (Raging Bull, Goodfellas, Bringing Out the Dead, Mean Streets, Who's That Knocking at My Door, Shutter Island).
• Slow motion flashbulbs and accented camera/flash/shutter sounds.
• The song Gimme Shelter by the Rolling Stones is heard in several of Scorsese's films, including Goodfellas, Casino and The Departed.
• Some of his films are inspired by a true story. Examples: Raging Bull, Goodfellas, and Casino.

Frequent collaborations[link]

Scorsese often casts the same actors in his films, particularly Robert De Niro, who collaborated with Scorsese for eight films. Included are the three films (Raging Bull, Taxi Driver, and Goodfellas) that made AFI's 100 Years... 100 Movies list. Scorsese has often said he thinks De Niro's best work under his direction was Rupert Pupkin in The King of Comedy. Most recently, Scorsese has found a new muse with young actor Leonardo DiCaprio, with whom he has collaborated for four films, with two others confirmed to be in the works.^[107] Several critics have compared Scorsese's new partnership with DiCaprio with his previous one with De Niro.^[108][109] Other frequent collaborators include Victor Argo (6), Harry Northup (6), Harvey Keitel (5), Murray Moston (5), Joe Pesci (3), Frank Vincent (3) and Verna Bloom (3). Daniel Day-Lewis, who had become very reclusive to the Hollywood scene, Alec Baldwin, Ben Kingsley, Jude Law, Emily Mortimer, John C. Reilly, Frank Sivero, and Ray Winstone have also appeared in multiple Scorsese films. Before their deaths, Scorsese's parents, Charles Scorsese and Catherine Scorsese, appeared in bit parts, walk-ons or supporting roles, most notably in Goodfellas.

For his crew, Scorsese frequently worked with editor Thelma Schoonmaker,^[110] cinematographers Michael Ballhaus^[111] and Robert Richardson, screenwriters Paul Schrader Mardik Martin, and John Logan, costume designer Sandy Powell, production designer Dante Ferretti, and composers Robbie Robertson, Howard Shore^[112] and Elmer Bernstein.^[113] Schoonmaker, Richardson, Powell, and Ferretti have all won Academy Awards in their respective categories on collaborations with Scorsese. Elaine and Saul Bass, the latter being Hitchcock's frequent title designer, designed the opening credits for Goodfellas, The Age of Innocence, Casino and Cape Fear. He was the executive producer of the film Brides, which was directed by Pantelis Voulgaris and starred Victoria Haralabidou, Damien Lewis, Steven Berkoff and Kosta Sommer.

Actor/Actress	Who's That Knocking at My Door (1968)	Boxcar Bertha (1972)	Mean Streets (1973)	Alice Doesn't Live Here Anymore (1974)	Taxi Driver (1976)	New York, New York (1977)	Raging Bull (1980)	The King of Comedy (1983)	After Hours (1985)	The Color of Money (1986)	The Last Temptation of Christ (1988)	Goodfellas (1990)	Cape Fear (1991)	The Age of Innocence (1993)	Casino (1995)	Kundun (1997)	Bringing Out the Dead (1999)	Gangs of New York (2002)	The Aviator (2004)	The Departed (2006)	Shutter Island (2010)	Hugo (2011)
Victor Argo		N	N		N				N		N
Alec Baldwin																			N	N
Robert De Niro			N		N	N	N	N				N	N		N
Leonardo DiCaprio																		N	N	N	N
Barbara Hershey		N									N
Harvey Keitel	N		N	N	N						N
Ben Kingsley																					N	N
Emily Mortimer																					N	N
Murray Moston			N	N	N	N			N
Harry Northup	N	N	N	N	N	N
Joe Pesci							N					N			N
Catherine Scorsese	N		N					N				N	N	N	N
Charles Scorsese							N	N	N	N		N	N	N	N
Frank Sivero						N						N							N
Frank Vincent							N					N			N
Ray Winstone																				N		N