Jump to ContentJump to Main Navigation
Popular Music and the New AuteurVisionary Filmmakers after MTV$
Users without a subscription are not able to see the full content.

Arved Ashby

Print publication date: 2013

Print ISBN-13: 9780199827336

Published to Oxford Scholarship Online: January 2014

DOI: 10.1093/acprof:oso/9780199827336.001.0001

Show Summary Details
Page of

PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 14 October 2019

“Without Music, I Would Be Lost”

“Without Music, I Would Be Lost”

Scorsese, Goodfellas, and a New Soundtrack Practice

(p.31) Chapter 1 “Without Music, I Would Be Lost”
Popular Music and the New Auteur

Julie Hubbert

Oxford University Press

The centrality of music in the methodology of Martin Scorsese is most famously apparent in his extensive oeuvre of music-related documentaries. However, his characteristic synthesis of carefully chosen soundtracks, jarring variations in both visual and auditory pacing, and definitive subtext communicated throughcarefully chosen musical selections features perhaps most prominently inhis narrative films. Informedby the time-honored concepts of Direct Cinema and cinémavéritéas well as the music videos that dominated popular culture throughout his career, Scorsese worked to develop a style that was at once classic and novel. He used unique juxtapositions of moving images and both diegetic and non-diegetic music to create multilayered narratives that drew onaesthetic conventions from earlier decades butwere progressive in concept. This chapter explores how Scorsese’s simultaneous rejection of growing commercial influences in cinema and espousal of narrative devices beyond dialogue and the physical scene gave rise to a distinctive aesthetic that amounted to his acceptance of cinematicmodernity on his own terms.

Keywords:   martin scorsese, film music, direct cinema, cinémavérité, goodfellas

Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .