This provides us with an immediate contrast between love and fighting. In his father’s home, Jake and Vickie begin kissing, as their date transitions into the fight itself. Jake LaMotta’s first meeting with Sugar Ray Robinson is introduced immediately after Jake meets Vickie. The wide ring allows for an objective filming style of the fight between both boxers. The boxing ring in their first meeting (Detroit, 1943) is surprisingly unproportional. Martin Scorsese brings his camera into the ring with this film and stages each fight differently the first fight consists mainly of objective shots, whereas their final fight consists of subjective shots, showing us Jake’s personal reaction within the boxing ring. Jake LaMotta’s main rival inside the ring is Sugar Ray Robinson, and in analyzing their first and final encounters, we are provided with an understanding of how space is used. The wider boxing ring allows for maximum camera movement, such as wide shots and circling around the fighters, whereas a smaller boxing ring is used for close-ups of the fighters, allowing for an emphasis in the details of their punches. The size of the boxing rings also influence camera movements. In the course of the film, as his personal and professional life declines, he is placed in wider and larger boxing rings, creating the impression that he his physical strength is deteriorating. Jake LaMotta is placed in small boxing rings when he is dominating, which accentuates his physical size and strength. The various shapes and sizes of the boxing rings in Raging Bull emphasize either Jake LaMotta’s domination or deterioration. Martin Scorsese uses elements of visual design as a method of commenting on Jake’s rise and fall. The film focuses on Jake LaMotta (Robert De Niro), a boxing champion whose professional life spills into his personal life. The film demonstrates his artistic skill, but it's also a showcase for visual design in cinema. Martin Scorsese has stated, “I put everything I knew and felt into that film, and I thought it would be the end of my career.” The filmmaker calls this a “kamikaze” way of making films, in which he would pour everything he knew about cinema into this film and then move on and find another way of life. The filmmaker assumed this would be his final motion picture and thus put his heart and soul into the film. Raging Bull (1980) was Martin Scorsese’s swan song. Raging Bull (1980) Director: Martin Scorsese
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