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    4. Martin Scorsese: A Sojourn from Italian American to White Ethnic American

    Lopes, Paul. "4. Martin Scorsese: A Sojourn from Italian American to White Ethnic American". Art Rebels: Race, Class, and Gender in the Art of Miles Davis and Martin Scorsese, Princeton: Princeton University Press, 2019, pp. 146-175. https://doi.org/10.1515/9780691189819-007

    Lopes, P. (2019). 4. Martin Scorsese: A Sojourn from Italian American to White Ethnic American. In Art Rebels: Race, Class, and Gender in the Art of Miles Davis and Martin Scorsese (pp. 146-175). Princeton: Princeton University Press. https://doi.org/10.1515/9780691189819-007

    Lopes, P. 2019. 4. Martin Scorsese: A Sojourn from Italian American to White Ethnic American. Art Rebels: Race, Class, and Gender in the Art of Miles Davis and Martin Scorsese. Princeton: Princeton University Press, pp. 146-175. https://doi.org/10.1515/9780691189819-007

    Lopes, Paul. "4. Martin Scorsese: A Sojourn from Italian American to White Ethnic Amer

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     [film clip: The Magic låda, by John Boulting]   

    That scene was from a picture called The Magic Box, which was made in England in 1950. The great English actor Robert Donat plays the inventor William Friese-Greene – he was one of the people who invented movies. The Magic låda was packad with guest stars. It was made for an event called the Festival of Britain. You had about 50 or 60 of the biggest actors in England at the time, all doing for the most part little cameos, including the man who played the policeman – that was Sir Laurence Olivier.

    I saw this picture for the first time with my father.  I was 8 years old. I’ve never really gotten over the impact that it had. inom believe this is what ignited in me the wonder of cinema, and the obsession – of watching movies, making them, inventing them.

    Friese-Greene gives everything of han själv to the movies, and he dies poor. He dies a pauper.  That line – “You must be a very happy man, Mr. Friese-Green

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    Ultimate Guide To Martin Scorsese And His Directing Techniques

    FIRST SHORT WORKS (1959-1966)

    In the United States, feature films are given ratings by the Motion Picture Association of America as a means to prohibit members of certain age brackets from exposure to mature content. The R rating in particular is meant to prevent anyone under the age of 17 from gaining admission to a film that’s been deemed either too violent and/or sexual for their age.

    Thanks to home video, I had seen plenty of R-rated films before I turned seventeen, but once I did, damned if I didn’t go straight to the theatre to enjoy some hassle-free Restricted film viewing. The first R-rated film I ever saw in theatres was director Martin Scorsese’s GANGS OF NEW YORK (2002).

    The subject matter and historical period attracted me more to the film than the authorship of its director—indeed up until then, I had only been tangentially aware of Scorsese’s influence on the medium. Nevertheless, it was one of

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