Everything

Every written note, newest first. The 45 further books indexed from the Reel library are listed separately.

• scene Alice — the prologue Ninety seconds of counterfeit 1940s Hollywood, built at real 1940s expense, existing to be destroyed by one cut.
• scene Psycho — the opening A crane over Phoenix, captions stamping time and place, then in through a half-open window. The audience enters as a trespasser.
• scene Psycho — the parlour scene Norman and Marion eat sandwiches while the mise en scène quietly explains the entire film.
• scene Psycho — the shower scene Three minutes, dozens of cuts, no knife ever shown entering flesh. Violence assembled entirely in the audience's head.
• scene Taxi Driver — the mirror "You talkin' to me?" — the most quoted line in the film is not in the film's script. De Niro wrote it standing up, in a derelict building, over traffic noise.
• scene Taxi Driver — the phone call Travis begs Betsy down a payphone and the camera walks away from him, into an empty corridor. Scorsese thought of this shot first and filmed it last.
• scene Taxi Driver — the shoot-out Three men dead in a stairwell, a camera that floats out through the ceiling, and an audience that cheered. Scorsese wanted a catharsis; he got applause, and it frightened him.
• source Biskind — Easy Riders, Raging Bulls (1998) The New Hollywood chronicle: how the directors briefly took over the studios, told through interviews and gossip.
• source Bordwell & Thompson — Film Art The standard textbook. Where this wiki's definitions default to when nothing fancier is needed.
• source Burstyn — Lessons in Becoming Myself (2006) Ellen Burstyn's memoir: the Alice collaboration from the side of the star who commissioned it.
• source Criterion — At Home in the World The Criterion release essay on Alice: production history, the prologue fight, and the film's place in 1974.
• source Durgnat — A Long Hard Look at Psycho (2002) A shot-by-shot, scene-by-scene reading of the whole film. The model for what a maximal close reading looks like.
• source Ebert — Alice review (1974) A first-run review: what a sympathetic 1974-75 critic saw before the film had a reputation.
• source Stuart Hall — Encoding/Decoding Eleven pages that gave audience study its vocabulary: encoding, decoding, and the three reading positions.
• source Stuart Hall — Representation: Cultural Representations and Signifying Practices The constructionist account of representation, and the chapter on stereotyping that most of the wiki's Values work rests on.
• source O'Shaughnessy, Stadler & Casey — Media & Society The Australian media studies textbook. The closest thing on the shelf to the wiki's own framework, in a VCE-shaped vocabulary.
• source Mulvey — Visual Pleasure and Narrative Cinema (1975) The essay that named the male gaze. Sixteen pages that reorganised film theory.
• source David Bordwell — Narration in the Fiction Film Bordwell's theory of narration. Only the Soviet montage chapter is in the library — read the shelf mark before citing.
• source Geoffrey Nowell-Smith — The Oxford History of World Cinema The standard one-volume history. Where to go when a film needs its industry, its movement or its decade.
• source Rebello — Alfred Hitchcock and the Making of Psycho (1990) The production history. Where nearly every behind-the-scenes claim about Psycho should be checked.
• source Roger Ebert — Scorsese by Ebert Roger Ebert
• source Aaron Baker — A Companion to Martin Scorsese Aaron Baker (ed.) (Wiley Blackwell)
• source Mary Pat Kelly — Martin Scorsese: A Journey Mary Pat Kelly (Hachette Books, 1991)
• source Scorsese on Scorsese (1989) The director's own account, film by film, assembled from interviews. Intention straight from the source — with the usual caveats.
• source Christopher Kenworthy — Shoot Like Scorsese Christopher Kenworthy (Michael Wiese Productions)
• source Truffaut — Hitchcock (1966) The book-length interview. Hitchcock's own theory of directing the audience, in his own words.
• film Psycho (1960) Hitchcock's cheap, fast, black-and-white shocker — the richest single text for teaching codes, conventions and contexts.
• film Taxi Driver (1976) A returned soldier drives nights through a city he wants to wash away. Scorsese's first acknowledged masterpiece — and the wiki's best case of point of view doing the work of an argument.
• idea The $85,000 backdrop The Alice prologue set cost $85,000 of a $1.8M budget and shot for one day — five per cent of the film spent on announcing what the film is about.
• idea Bickle sees through glass The windscreen and the rear-view mirror are the film's two apertures. Travis is a viewer before he is an actor, and the film is careful about which passengers he is allowed to see.
• idea Bresson's hands, Travis's guns The gun-handling sequences copy the pickpocketing in Bresson's Pickpocket. The debt is Schrader's; Scorsese admits he finds Bresson hard to watch.
• idea Chapman pushed the night stock Taxi Driver's wet neon look came from over-developing night-rated Technicolor stock — a 1970s laboratory habit, not a lighting package.
• idea De Niro wrote in the margins De Niro's annotated shooting script rewrote Travis's dialogue, and the changes reached Schrader's final draft. The film's most quoted line has no screenwriter.
• idea The first flushing toilet Psycho is generally credited with the first toilet flushed on screen in a mainstream American film — and the flush is a plot point.
• idea Herrmann scored the shower against orders Hitchcock asked for the murder to play unscored. Herrmann wrote the strings anyway, and Hitchcock conceded on the spot.
• idea Herrmann finished the score and died that night Bernard Herrmann took some persuading to score a film with a title he disliked. He completed it on Christmas Eve 1975 and died the same night.
• idea In every city there's one man Columbia sold Taxi Driver on loneliness, not violence. Scorsese expected audiences to reject the film outright.
• idea Killing the protagonist at minute 47 Psycho spends its first act building a protagonist by the book, then murders her at the mid-point of act two.
• idea The money dies with Marion The $40,000 sinks into the swamp wrapped in newspaper, and no surviving character ever learns it was there.
• idea Ms. Magazine and the twenty-five per cent Alice's warmest feminist review ran in a magazine part-owned by the studio that made it — reception and commerce in one fact.
• idea Norman among the birds The parlour's taxidermy is the film's thesis statement in set decoration: predators, prey, and a man already stuffed.
• idea Overhead shots are the priest's-eye view Scorsese's flat overhead inserts come from watching a priest lay out the implements of the Mass on an altar — not from any film.
• idea The red tint over the bloodbath The muted colour of Taxi Driver's massacre is regularly praised as a stylistic choice. It was the price of an R rating.
• idea Schrader and Scorsese disagree about the ending Ritual suicide or tabloid item? The writer and the director give incompatible accounts of the same scene, and the film supports both.
• idea The shower scene is built from 78 setups Commonly cited: about 78 camera setups and 52 cuts in roughly 3 minutes — and the knife never enters flesh on screen.
• idea The Wrong Man taught the camera to be paranoid Scorsese names one Hitchcock film as the source of Taxi Driver's camera moves — and it is the documentary-flat one, not the famous ones.
• idea You'll Never Know, then Mott the Hoople Two songs across one cut: 1943 crooning smashed into 1974 glam — the whole backstory of a life told in an audio transition.
• person Martin Scorsese The wiki's first person hub: the filmmaker as walking film archive — personal context made visible.
• context Control The institutional context: censorship, classification, editorial power, gatekeeping — who may say what, to whom.
• context Personal The individual context: a maker's own history and style; a viewer's own position and memory.
• context The Production Code and Psycho Control context, production lens: Psycho was made by negotiating with a censorship system that was visibly dying.
• context Psychoanalysis in postwar America Values context: Psycho's 1960 audience had been primed by a decade of pop-Freud to accept a psychiatrist as the film's final authority.
• context The returning veteran, 1976 Taxi Driver never says the word Vietnam after its first ten minutes. The war is in the jacket, the scar and the insomnia — and the film's authors disagree about whether it is there at all.
• context Selling Psycho: the no-late-admission policy Commerce context, reception lens: Hitchcock engineered how the film would be watched, not just what it contained.
• context Values The social and cultural context: whose stories count, what audiences assume, and how both drift over time.
• context The women's picture, 1974 Values context, both lenses: Alice made inside the women's movement, marketed by a studio, and argued over by everyone.
• film Alice Doesn't Live Here Anymore (1974) Scorsese's studio women's picture: a widow, a kid, a road east, and an argument with every film Alice grew up watching.
• concept Acting Performance as a symbolic code: face, voice, body and the gap between what is said and what is shown.
• concept Audio Everything heard: dialogue, effects, music, silence — and the line between sound the characters share and sound they can't hear.
• concept The camera as voyeur The argument that narrative cinema's default camera position is a watcher who wasn't invited.
• concept Camerawork Where the camera stands, how it moves, and what that position makes the audience.
• concept Character How films build people: introduction, goal, flaw, change — and the machinery of sympathy.
• concept Chronology The order of telling versus the order of events: flashback, ellipsis, and time folded on purpose.
• concept Colour Palette as meaning: what the frame's colours claim before the story does.
• concept Conflict The engine: who wants what, what stands in the way, and on how many fronts at once.
• concept Continuity The form convention that makes cuts invisible: the 180° system, matches, and the grammar audiences never notice learning.
• concept Editing The join between shots: cinema's only invisible code, until it decides to be seen.
• concept Format The shape of the product itself: medium, runtime, ratio, episode or feature — conventions that precede the first frame.
• concept Formula The genre convention of expected shape: the plot beats a genre's audience arrives already knowing.
• concept Iconography The genre convention of recognisable things: objects, costumes, spaces and images that carry a genre's memory.
• concept Lighting Light as language: key, fill, shadow, and who the film chooses to illuminate.
• concept Mise en scène Everything placed before the camera — and the discipline of reading it as deliberate.
• concept Montage Meaning made between shots, not within them. The editing code at its most assertive.
• concept Non-diegetic sound Sound the characters can't hear. The audio code's licence to address the audience directly.
• concept Point of view Whose experience organises the narrative — and how films reassign it without telling you.
• concept Printed language Words the audience reads: titles, captions, signs, headlines, credits — the written code inside the frame.
• concept Setting Where and when. The symbolic code that answers the first question a frame gets asked.
• concept Spoken language Dialogue, voice-over, accent and idiom — what is said, how, and what the saying conceals.
• concept Structure The architecture of the telling: acts, setups, payoffs, and the contract a shape makes with its audience.
• concept The MacGuffin The thing the characters care about and the film doesn't. Hitchcock's name for a structural decoy.
• concept Themes The genre convention of recurring meaning: the questions a genre exists to keep asking.
• context Commerce The money context: who pays, what they expect back, and how both shape the text — in production and in reception.