The most renowned filmmaker of his era, Martin Scorsese virtually defined the state of modern American cinema during the nineteen seventies and eighties. A consummate storyteller and visual stylist who lived and breathed movies, he won fame translating his passion and energy into a brand of filmmaking that crackled with kinetic excitement. Working well outside of the mainstream, Scorsese nevertheless emerged in the seventies as a towering figure throughout the industry, achieving the kind of fame and universal recognition typically reserved for more commercially successful talents. A tireless supporter of film preservation, "Scorsese has worked to bridge the gap between cinema's history and future like no other director." (Rottentomatoes.com) Channeling the lessons of his inspirations primarily classic Hollywood, the French New Wave, and the New York underground movement of the early nineteen sixties into an extraordinarily personal and singular vision, he has remained perennially positioned at the vanguard of the medium, always pushing the envelope of the film experience with an intensity and courage unmatched by any of his contemporaries.  The films of his I am most interested in are: Hugo, The Departed, Raging Bull and Goodfellas. Besides the charming tale of Hugo, all of these films have something in common, extreme violence. Scorsese seems to have worked largely in the medium of violence for most of his career. However, unlike a blockbuster director such as Michael Bay, he doesn't use violence to draw crowds in with explosions. Scorsese uses violence to portray cultural feelings and to show the hardships of many of the characters in his movies. He uses themes such as Roman Catholic guilt, machismo and gang violence. I believe what drives Scorsese and his films is the want to show how violence exists. He wants to show the emotions and complicated scenarios in which violence arises.  Scorsese career breaks down into three successive phases. Scorsese leapt on to the Hollywood scene in 1973 with the film mean streets, a gritty crime drama. It was hailed with critical appeal, but little commercial success. Unfortunately, this period is also associated with his addiction to cocaine in the late 70's. "I was always angry, throwing glasses, provoking people, really unpleasant to be around,"​ he recalls. "I always found, no matter what anybody said, something to take offense at." (Sotinel, 70) His films during the time reflected that, with the violent Taxi Driver (1976) and Raging Bull (1980) earning him more critical acclaim despite protest from moviegoers about the violent nature of the films.  Scorsese then transitioned into a middle period of his career. Scorsese's next project was his fifth collaboration with Robert De Niro, The King of Comedy (1983). A satire on the world of media and celebrity, it was an obvious departure from the more emotionally committed films he had become associated with. (Rotten Tomatoes) Scorsese during this per ...

1. The most renowned filmmaker of his era, Martin Scorsese
virtually defined the state of modern American cinema during
the nineteen seventies and eighties. A consummate storyteller
and visual stylist who lived and breathed movies, he won fame
translating his passion and energy into a brand of filmmaking
that crackled with kinetic excitement. Working well outside of
the mainstream, Scorsese nevertheless emerged in the seventies
as a towering figure throughout the industry, achieving the kind
of fame and universal recognition typically reserved for more
commercially successful talents. A tireless supporter of film
preservation, "Scorsese has worked to bridge the gap between
cinema's history and future like no other director."
(Rottentomatoes.com) Channeling the lessons of his inspirations
primarily classic Hollywood, the French New Wave, and the
New York underground movement of the early nineteen sixties
into an extraordinarily personal and singular vision, he has
remained perennially positioned at the vanguard of the medium,
always pushing the envelope of the film experience with an
intensity and courage unmatched by any of his contemporaries.
The films of his I am most interested in are: Hugo, The
Departed, Raging Bull and Goodfellas. Besides the charming
tale of Hugo, all of these films have something in common,
extreme violence. Scorsese seems to have worked largely in the
medium of violence for most of his career. However, unlike a
blockbuster director such as Michael Bay, he doesn't use
violence to draw crowds in with explosions. Scorsese uses
violence to portray cultural feelings and to show the hardships
of many of the characters in his movies. He uses themes such as
Roman Catholic guilt, machismo and gang violence. I believe

2. what drives Scorsese and his films is the want to show how
violence exists. He wants to show the emotions and complicated
scenarios in which violence arises.
Scorsese career breaks down into three successive phases.
Scorsese leapt on to the Hollywood scene in 1973 with the film
mean streets, a gritty crime drama. It was hailed with critical
appeal, but little commercial success. Unfortunately, this period
is also associated with his addiction to cocaine in the late 70's.
"I was always angry, throwing glasses, provoking people, really
unpleasant to be around," he recalls. "I always found, no matter
what anybody said, something to take offense at." (Sotinel, 70)
His films during the time reflected that, with the violent Taxi
Driver (1976) and Raging Bull (1980) earning him more critical
acclaim despite protest from moviegoers about the violent
nature of the films.
Scorsese then transitioned into a middle period of his career.
Scorsese's next project was his fifth collaboration with Robert
De Niro, The King of Comedy (1983). A satire on the world of
media and celebrity, it was an obvious departure from the more
emotionally committed films he had become associated with.
(Rotten Tomatoes) Scorsese during this period was considerably
less focused on reckless violence films. He made comedies (The
King of Comedy in 1983), religiously themed films (The Last
Temptation of Jesus Christ in 1989) and even a 19th century
period romance (The Age of Innocence in 1993.)
Hailed as one of the most significant and influential filmmakers
in cinema history, Scorsese has directed landmark films such as
Mean Streets (1973), Taxi Driver (1976), Raging Bull (1980),
and Goodfellas (1990) - all of which he collaborated on with
actor and close friend Robert De Niro. He won the Academy
Award for Best Director for The Departed (2006). With eight
Best Director Oscar nominations to date, he is tied with Billy
Wilder for most.

3. There is no doubt that Scorsese is well loved by critics. AMC
ranks him as the 12th best director of all time. Famed critic
Roger Ebert considered him a good friend. However, it was not
always this way. When he first started directing, many critics
were off put by the incredible violence of his films. Taxi
Driver, in particular, raised a lot of concern over its whole
hearted use of violence.
Scorsese based his movies off the following sources: The
Invention of Hugo Cabret, by Brian Selznick
Selznick, the oldest of three children, was born and grew up in
East Brunswick Township, New Jersey. His grandfather was a
cousin of Hollywood producer David O. Selznick. He graduated
from the Rhode Island School of Design and then worked for
three years at Eeyore's Books for Children in Manhattan while
working on The Houdini Box, about a boy's chance encounter
with Harry Houdini and its aftermath. It became his debut work,
a 56page picture book published by Alfred A. Knopf in 1991.
Selznick won the 2008 Caldecott Medal from the American
Library Association for the year's best illustrated picture book,
recognizing The Invention of Hugo Cabret. At the time it was
"by far the longest and most involved book I've ever worked on.
The book of Hugo was inspired by a passage in the book
Edison's Eve by Gaby Wood that tells of the collection of
automata that belonged to Georges Méliès. After his death they
were thrown away by the museum that he donated them to.
Selznick, a fan of Méliès and automata envisioned a young boy
stealing an automaton from the garbage. The Invention of Hugo
Cabret was adapted as a film, Hugo by director Martin Scorsese
and released in November 2011. Selznick cites Maurice Sendak,
author of Where the Wild Things Are, and Remy Charlip, author
of fortunately, as strong influences on his books. Prior to
winning the 2008 Caldecott Medal, Selznick had been a runner-
up in 2002 for The Dinosaurs of Waterhouse Hawkins: an

4. illuminating history of Mr. Waterhouse Hawkins, artist and
lecturer. Other awards include the Texas Bluebonnet Award, the
Rhode Island Children's Book Award, and the Christopher
Award. Hugo was his first full-length book written entirely by
him.
Hugo is an orphan who lives in a Paris railway station, tending
to the station clocks during his uncle's mysterious absence. He
scrounges food from the vendors and steals mechanical parts
from the owner of a toy shop, Georges Melies. In fact, Hugo's
father was a watchmaker and he has inherited his father's talents
for all things mechanical. Years before, Hugo's father found an
intricate mechanical man, but they could never figure out how it
worked. Hugo befriends Melies's ward, Isabelle, and together
they have an adventure, one that centers on Melies himself.
They end up stealing a necklace, and finding out that the Melies
was a once famous filmmaker. The book contains almost as
many pictures as it does pages of text. This is because Selznick
was enthralled by the movies, so he wanted to paint a scene of
this book, literally.
The movie has a fair amount of imagery in it. At one point, the
automaton draws a picture of The Man on the Moon, one of
Mieles movies. There's a reason the automaton draws that
particular scene instead of any other image from the movie. For
one thing, that image of the moon, with a spaceship landing in
its eye, is one of the most famous shots in all of cinema. It's a
nod to the wonderful history of the silver screen and a tribute to
one of movie making's great innovators-Georges Méliès. Plus,
it's a hint of what's to come. Those movies, and the automaton,
were some of George's greatest accomplishments. So when he's
reunited with them, thanks to a little help from Rene Talbard
and Hugo, he can finally accept his past and be proud of his
history, failures and all. Although Hugo and George Melies
eventually become friends, this part would show the viewer that
Melies was a very bitter and angry old man before Hugo won

5. him over.
As for the cinematography, this scene would have several
beautiful images. We would see and empty train hall, usually
busy but now devoid of all life. The snow would fall softly to
the earth. The dialogue between George and Hugo would be
tense. George is getting more and angrier with Hugo for
following him around. He finally snaps at Hugo. He threatens to
take Hugo to the station inspector (the train policeman.) For the
actor who plays George, it would be a nice moment to show
anger and exasperation. For the child actor of Hugo, it would be
a great moment to show fear.
Goodfellas ,1990:
Goodfellas also has no shortage of gang violence. The movie
follows Henry Hill, and up and comer in the Italian mob. It
traces his history, from an innocent boy to a coke snorting,
gambling murderer. Along the way, Scorsese portrays the tough
life decisions Hill made because of societal pressure to turn out
that way. He also uses lighting and camera movement to capture
the setting that turned young boys into mobsters in New York
during the 60's.
Goodfellas implemented several techniques of the formalist
style. Many are used to impress upon the audience the gravity
of the brutal and anxious events of this true story depicted on
film. First and foremost, the opening scene, that when more of
the film is viewed seems to be out of position, places the
characters, Henry Hill (Ray Liotta), Jimmy Conway (Robert De
Niro), and Tommy DeVito (Joe Pesci), in the woods standing
behind a car in a long shot. The camera switches to zooming in
on the trunk of the car for a close-up while loud noises seem to
come from inside it. It then switches to zooming in for a
medium shot of De Niro and Pesci as they prepare to take some
sort of action against the thumping resonating from their trunk
as the shot pans over to Liotta's character opening the trunk

6. with his keys. When the trunk is open it is revealed that a man
is occupying it and Tommy DeVito lunges at him with a huge
kitchen knife with the violence being shown in medium shots as
well as the shooting of the body by Conway with the blood
splattering on the camera, a deliberate choice of Scorsese.
Henry Hill then enters into view again as narration begins while
he slams the trunk shut and the camera tilts up. It is an
incredibly violent opening scene, and it is set in the middle of
the actual story. The violence depicted here is continued
throughout the entire film. Scorsese throughout his career was
never afraid of using violence to show the characters inner
emotions, and for this film, it worked quite well.
Raging Bull, 1980:
In Raging Bull, the violent Biopic of boxer Jake la Motta,
Scorsese uses black and white footage, slow motion and
exaggerated boxing glove sounds to evoke the pain and brain
dead feelings of la Motta's boxing career.
Some of the best cinematography in Scorsese films is from the
various boxing fights la Motta fights throughout the film.
Scorsese makes us feel pure joy as la Motta beats another boxer,
showing why la Motta would box, even if the potential for
injuries is large. Consequently, we also feel the pain when la
Motta's face in beaten and bloodied during the fights in which
he lost. During his winning fights, Scorsese used music and
faster motion to make the fights seem glorious. During the
fights in which la Motta lost, Scorsese would use lengthy shots,
slowed down with the exaggerated sound of a boxing glove
coming into contact with la Motta's face. It was hard, and
painful to watch, and it showed why la Motta was bitter and
unmotivated for the rest of the movie. (Hugo 2011): Hugo is a
rarity in a Scorsese movie. Not a SINGLE person gets shot or
killed. Amazing. Even though Scorsese didn't have to use his
cinematic talents to show violence, he used them for other
purposes in Hugo, to show the emotions of Hugo, the

7. protagonist. Hugo is an orphan, and thus is sad for much of the
first part of the movie. Scorsese shows these feelings with
darker camera shots of the train station where he lives in the
first half of the movie. When Hugo meets George Mieiles, his
eventual caretaker, the lighting brightens up, showing lighter
images of old film and of bright Parisian streetlights.
"Scorsese exceeded boundaries in visual aesthetics as it relates
to fantastic storytelling. He used the magical quality of 3D to
enhance the story."(TCM.com) Scorsese made the resurrection
of the past all the more phenomenal. Today's digital technology
allowed Scorsese to create his elaborate illusion of 1930s Paris,
and to add haunting depth and vibrancy to the images.
Theatrical aspects:
Raging Bull:
Raging Bull was one of Scorsese crowning achievements in
terms of acting and diction. Scorsese got marvelous
performances out of Robert de Niro, Joe Pesci and newcomer
actress Cathy Moriarty. he did this by emphasizing the accents
and going deep into the characters. Scorsese also made de Niro
actually train to be a boxer. De Niro spent hours in the gym to
get the physique and technique of a boxer down perfectly.
Scorsese also forced the actor to gain weight for his role as his
50 year old self in the movie. "De Niro gained weight for the
later scenes by going on a culinary tour of Italy and France,
binging on three large meals per day, with lots of pasta, meat,
butter, ice cream and beer."(FilmJournal.com) The weight gain
gave de Niro real health problems, and was considered harsh by
Scorsese critics.
Goodfellas, 1990:
While most of Scorsese films are known for their powerful
characterization and method acting, Goodfellas combined those
aspects with fantastic set design and props. The film Goodfellas
was extremely well done theatrically. All of the locations where
the film was shot were immaculately designed. Kristi Zea
designed all of the sets, under Scorsese direction, and she went

8. into very fine detail doing so. From the house of Henry Hill,
with all the glitzy 70's decor you could think of, to the
nightclub with its sleazy booths and more liquor than you can
shake a stick at, the sets were above all else, believable. The
sets, along with the tremendous acting of Oscar winners Robert
de Niro, Joe Pesci and Ray Liotta, put you in 1970's queens, or
Brooklyn, or wherever the gangsters happened to be. Personal
Reflections: These films have opened me up to a whole style of
filmmaking that I had not been aware of. It's not necessarily
that these films make me joyful. The Departed, Goodfellas and
Raging Bull leave you feeling terrible. However, it's not terrible
in the sense that the movies were poorly directed. Scorsese is
such a good director that he makes me feel vast array of
emotions such as sadness, remorse and anxiety. Scorsese has the
ability to twist the audience's emotions at a snap of his fingers.
This project was great for me because I got to learn how he did
that.
Conclusion:
Martin Scorsese is a master of the cinematic dark arts. He takes
the sophisticated topic of violence and inverts it. He shows the
roots and beginning of violence, and shows the viewer why and
how these acts of violence could be committed. He then makes
the audience believe the story by making his actors breathe the
story. He uses complex cinematography, such as lighting,
camera angles and sound (as previously discussed) to solidify
the horrifying images into their brains. He makes the audience
feel unwanted emotions, and the audience thanks him for it, by
going to see his renowned films by the millions.
Resources
Bibliography: Sotinel, Thomas, and Imogen Forster. Martin
Scorsese. Paris: Cahiers Du Cinéma Sarl, 2010. Print.
Scorsese, Martin, and Peter Brunette. Martin Scorsese:
Interviews. Jackson: U of Mississippi, 1999. Print.

9. Duncan, Paul. Martin Scorsese. Harpenden: Pocket Essentials,
2004. Print.
Internet Sources: Figgis, Cyril. "Raging Bull." Rotten
Tomatoes. Rotten Tomatoes, 06 Feb. 2011.
Web. 1 Apr. 2014. Tunt, Cheryl. Tcm.com. Turner Classic
Movies, 4 Jan. 2009.
Web. 2 Apr. 2014. Kreiger, Adolph, M.D. "Peter Pan Complex
Global Advanced Personality Test Trait Descriptions."
Similarminds.com. 18 Nov. 2012. Web. 05 Apr. 2014.
Running Head: INFERENTIAL STATISTICS AND FINDINGS
1
INFERENTIAL STATISTICS AND FINDINGS
4Inferential Statistics and FindingsInferential Statistics and
Findings
Using the research question and two variables your learning
team developed for the Week 2 Business Research Project Part 1
assignment, create a no more than 350-word inferential
statistics (hypothesis test). Include:
(a) The research question
(b) Mock data for the independent and dependent variables
Determine the appropriate statistical tool to test the hypothesis
based on the research question.
Conduct a hypothesis test with a 95% confidence level, using
the statistical tool.
Interpret the results and provide your findings.
Format your paper consistent with APA guidelines.
Submit both the spreadsheet and the paper.

10. Click the Assignment Files tab to submit your assignment.
Research Question and Hypothesis Statements
Is there a decline in profitability (DV) due to the amount of
spoilage food of Kudler Fine Foods (IV)?
Null hypothesis (H0) - There’s not a decline in profitability
(DV) based on the amount of spoilage food (IV) of Kudler Fine
Foods.
Alternative hypothesis (Ha) - There is a decline in profitability
(DV) based on the amount of spoilage food (IV) of Kudler Fine
Foods.
Hypothesis Test
Will conduct a hypothesis test with a 95% confidence level
Month
Gross Profit After Expenses
Spoilage (in thousands)
1
January
193,000
4.3
2
February
194,000
3.6
3
March
195,000
4.5
4
April
180,000
2.8
5
May
185,000
3.3
6

11. June
186,000
2.7
7
July
194,500
4.2
8
August
187,000
3.9
9
September
194,500
3.6
10
October
187,500
2.2
11
November
224,000
3.1
12
December
200,869
2.9
Total
2,321,369
41.1
References