You are not currently logged in.
Access your personal account or get JSTOR access through your library or other institution:
If You Use a Screen ReaderThis content is available through Read Online (Free) program, which relies on page scans. Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Le New York de Martin Scorsese, le New York de Woody Allen
Revue française d'études américaines
No. 56, IMAGES DE L'AMÉRIQUE DANS LE CINÉMA AMÉRICAIN (mai 1993), pp. 135-144
Published by: Editions Belin
Stable URL: http://www.jstor.org/stable/20872348
Page Count: 10
Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Preview not available
New York is at the core of the works of Martin Scorsese and Woody Allen. Their relationships to the city they love are, however, basically different. Scorsese's mise en scène brings out the conflict between the city and the often marginal antagonists in search of themselves and of success; Woody Allen's protagonists tell about their perfect urban integration. The two visions of the city may not be superimposed. Scorsese's camera, starting from Little Italy, explores all five Boroughs; Allen feels more comfortable in Manhattan, especially around Central park, with occasional excursions to Brooklyn. Both filmmakers use the roofs of NY in similar ways, in homage to the Hollywood tradition. yet they diverge in their original uses of bridges, the El, and the Manhattan skyline. Two contrasting symbolic images emerge. Allen's small town, filmed and loved as a woman, is a unique place where nature is integrated into the heart of civilization. In Scorsese's NY, there is no place for couples; it is a city not unlike LA, an abstract asphalt jungle which comes to symbolize all cities.
Revue française d'études américaines © 1993 Editions Belin