Introduction
Starting point for my term paper was the question of how to approach such a complex work of art, since I had no previous experience or theoretical knowledge in the analysis of films. It quickly dawned on me that a literal analysis of the film´s plot and its characters under particular consideration of the author´s intention, that I was used to in the field of literary studies, would be dysfunctional, since there were too many creative sources involved in the genesis of a film. To further complicate matters, I became in my search for appropriate secondary literature quickly acquainted with some post-modern scholars such as Robin Wood, who sees Paul Schrader as a
“neo-fascist”, “whose films amount to a systematic
repudiation of all minority groups and any possible social alternative, in order to re-assert a quasi-mystical sense of male supremacy, heterosexual superiority, and a total spurious "transcendence". [...] the film's interest is inseparable from its sense of confusion, its failure to define a coherent attitude towards its protagonist.“ (Wood)
Since I was convinced that there was more to Taxi Driver than its „sense of confusion“ and, that a coherent, clear analysis was possible, though coming to a definite conclusion might not be possible due to its character´s ambivalence, I intended my term paper to be a step out of this academic mingling of terms by the use of an integral approach. I use the word integral in a Wilberian sense, which is “to include as many perspectives, styles, and methodologies as possible within a coherent view of [a] topic“. (“integral thought” -Wikipedia) Part one of my paper is generally a brief summary of the main underlying motives that I identified in the secondary literature on Taxi Driver. These motives are: Travis Bickle´s ambivalence, the creative tension between Paul Schrader and Martin Scorsese, cinematic and literary influences on Taxi Driver as well as Taxi Driver´s influences. Part two comprises a look at Taxi Driver from three fundamental perspectives – the psychological, the social and the cultural- and is introduced by the question “How to approach Taxi Driver?”, which is basically
a reflection on my original dilemma.
Table of Contents
1. Introduction
2. Travis Bickle – “a walking contradiction”
3. Influence
3.1 Cinematic and literary influences on Taxi Driver
3.2 Taxi Driver´s influence
4. How to approach Taxi Driver?
5. The psychological perspective
6. The social perspective
7. The cultural perspective
8. Conclusion
Objectives and Topics
The primary objective of this academic paper is to provide an integral analysis of Martin Scorsese’s film "Taxi Driver" by moving beyond purely literary or literal plot interpretations. It investigates the complex interplay between the film's psychological depth, social commentary on 1970s America, and cultural archetypes to resolve the moral ambiguity surrounding its protagonist, Travis Bickle.
- The psychological examination of Travis Bickle's trauma and isolation.
- The creative tension and philosophical divergence between Paul Schrader and Martin Scorsese.
- The cinematic and literary roots of the film, including existentialist influences.
- The socio-political context of the 1970s and the film's portrayal of urban alienation.
- The critique of American cultural archetypes, specifically the shift from cowboy to nihilistic outsider.
Excerpt from the Book
The psychological perspective
Other more skilled critics were more consequent in working out the details of Travis´ “case study” and more empathic in portraying his loneliness. For many viewers Taxi Driver´s “lasting impression [was] that this psychopath doesn't really look any different from the vast majority of folks out there.” (DVD Movie Guide) and so many have emphasized in their descriptions his (all too) human traits, portraying him as a sympathetic looser and outsider rather than a raging monster. Martin Scorsese compares him to Saint Paul gone astray but also to Charles Manson, driven by a dark spiritual desire to clean the world and his soul. (Thompson and Christie 99)
Most critics were wise enough to restrict their efforts to a humanist portrayal of Travis Bickle since the film´s overall outlook does not really invite for a realistic, psychological analysis. The film´s expressionistic style as well as some other actualities e.g. that Travis never sleeps and that Scorsese has two cameos, remind us that this is not a psychological documentary though it undoubtedly contains psychological elements.
Summary of Chapters
Introduction: Outlines the author's struggle to find an appropriate methodology for film analysis, leading to the adoption of an "integral approach."
Travis Bickle – “a walking contradiction”: Characterizes Travis Bickle as a cipher and a complex figure, likely a Vietnam veteran suffering from post-traumatic stress.
Influence: Explores the creative tension between Paul Schrader and Martin Scorsese and the various cinematic and literary sources that shaped the film.
Cinematic and literary influences on Taxi Driver: Discusses specific parallels to films like "The Searchers" and literary influences such as Dostoevsky and Sartre.
Taxi Driver´s influence: Analyzes the cultural legacy of the film, including its impact on punk culture and its reception as a cautionary tale.
How to approach Taxi Driver?: Reflects on critical failures to analyze the film's complex narrative structure and moral ambiguity.
The psychological perspective: Critically evaluates the attempts to pathologize Travis Bickle, highlighting the limitations of psychological diagnosis in an expressionistic film.
The social perspective: Examines the film as a sociological horror story and a reflection of the alienation experienced in 1970s American society.
The cultural perspective: Interprets Travis Bickle as a failed American archetype, specifically comparing the loss of the cowboy myth to the reality of the 1970s.
Conclusion: Synthesizes the integral approach, arguing that psychological, social, and cultural perspectives are inextricably linked in film analysis.
Keywords
Taxi Driver, Martin Scorsese, Paul Schrader, Travis Bickle, film analysis, integral approach, psychological perspective, social alienation, Vietnam veteran, American culture, cinematic influence, existentialism, moral ambiguity, psychopathology, urban squalor.
Frequently Asked Questions
What is the core focus of this work?
This paper focuses on conducting an integral analysis of Martin Scorsese’s "Taxi Driver" to better understand its protagonist and the film's broader cultural and social significance.
What are the primary themes discussed?
Key themes include Travis Bickle’s psychological state, the influence of post-war American society, the creative tension between the director and screenwriter, and the deconstruction of the American hero myth.
What is the central research question?
The research seeks to determine how to effectively approach the analysis of a complex film without reducing it to a simplistic plot summary or a singular, dysfunctional disciplinary perspective.
Which scientific methodology is applied?
The author utilizes an "integral approach," a concept derived from Ken Wilber, which attempts to synthesize multiple perspectives (psychological, social, and cultural) into a single, coherent view.
What does the main body of the paper cover?
The main body investigates the background of the character, the origins of the script's tension, literary and cinematic precursors, and a multi-dimensional critique of the film's narrative themes.
Which keywords best describe the paper?
The most relevant keywords include "Taxi Driver," "integral approach," "Travis Bickle," "psychological perspective," and "cultural archetype."
How does the paper address the film's depiction of violence?
It argues that violence in the film is not just an "orgy of blood" but a narrative tool reflecting the protagonist's internal struggle and the society's own moral ambiguity regarding vigilante justice.
How does the author interpret the ending of the film?
The author views the ending not just as a triumphant rescue, but as an ambiguous, enigmatic event that highlights the societal contradictions of the 1970s.
- Quote paper
- Daniel Roth (Author), 2006, An Integral Analysis of Martin Scorsese´s 'Taxi Driver', Munich, GRIN Verlag, https://www.hausarbeiten.de/document/189161
