{"href":"https://api.simplecast.com/oembed?url=https%3A%2F%2Fdraft-01-gdm.simplecast.com%2Fepisodes%2Fx-UI97C24V-xlThPY_4","width":444,"version":"1.0","type":"rich","title":"تاكسي درايفر │ في الحضارة","thumbnail_width":300,"thumbnail_url":"https://image.simplecastcdn.com/images/333dd04a-10a0-4cdf-bfa7-42d6fee8d4ed/7aede50c-c872-4b42-bbb4-cf3e03c3c1ab/cropped_1791713098899.jpg","thumbnail_height":300,"provider_url":"https://simplecast.com","provider_name":"Simplecast","html":"","height":200,"description":"#في_الحضارة #محمد_السعدني #دوستويفسكي\nHow did the creative genius of Dostoevsky and Martin Scorsese come together in the film \"Taxi Driver\"? What is the dramatic background of Travis Bickle that we didn't see in the film? What does a person do when the way others perceive them is the only proof of their existence? How do they face a society that despises them yet simultaneously needs their validation? And what do they do when they get the chance for that validation from the girl of their dreams? Will they even be able to see her for who she truly is? What if you discover that your tendency to self-destruct is stronger than your love? How will you deal with the moment of rejection? The moment of falling in the eyes of the one you love? Are the standards of masculinity and femininity fixed or do they change with evolving social norms? How does society's perception of a person shift from criminal to hero, even though it's the same person with the same motives and the same actions?\n\nSources 👇\n\nTaxi Driver (1976) — Directed by Martin Scorsese, Written by Paul Schrader\nhttps://catalog.afi.com/Film/67969-TA... Taxi Driver Screenplay - Written by: Paul Schrader\nhttps://bluecatscreenplay.com/wp-cont...\nNotes from Underground (1864) — Fyodor Dostoevsky\nhttps://www.gutenberg.org/files/600/6...\nNotes from Underground - Fyodor Dostoevsky — Translated by Anis Zaki Hassan, Al-Ahliya Publishing and Distribution, 2017.\n\n / 25897305 \nBeing and Nothingness, Jean-Paul Sartre, Translated by Abd al-Rahman Badawi, 1966, Dar al-Adab - Beirut. / 9518625 \nSimon Weil: The Gap and Compensation, translated by Ahmed Fathi Ismail, Boring Books website, February 7, 2021\nhttps://boringbooks.net/2021/02/simon...\nPerformative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory, Judith Butler, Theatre Journal, Vol. 40, No. 4 (Dec., 1988), pp. 519-531, published by The Johns Hopkins University. https://www.jstor.org/stable/3207893\n“La crisi dell’eroe: Rappresentazione cinematografica del sottosuolo”\nThe Crisis of the Hero: The Cinematographic Representation of the Underground (2023) — Michelangelo Socci\nhttps://riviste.unimi.it/index.php/it...\nScreen Writer: Paul Schrader (1976) — Interview by Richard Thompson, filmcomment.\n\nA discussion about translating the European existential hero into an American context, Travis's crisis, and directing his destructive impulse toward others.\n\nhttps://www.filmcomment.com/article/p...\nMartin Scorsese Tells All: Blood and Guts Turn Me On! (1976) — Richard Goldstein and Mark Jacobson\n\nhttps://www.villagevoice.com/martin-s...\nSource of Scorsese's statements about the film's ending, the character's military background, and the story behind the mohawk hairstyle.\n\nFinancial Control Board, New York State — New York State Archives\n\nhttps://www.archives.nysed.gov/node/3...\nA historical reference on the 1975 New York financial crisis and the institutional response to it."}