The Influence of Auteur Theory in Spielberg and Saving Private Ryan

The Auteur Theory In Saving Private Ryan
With any successful business, the boss and management play a very essential part when
coordinating a specific task. In a film, the director plays the same role and holds just as much
importance. The director is in charge of making "crucial decisions about performance, staging,
lighting, framing, cutting, and sound" (Bordwell). At some point during the 1950's, the French
brought forth the term auteur for those directors at the time in Hollywood which they felt had a
unique approach to film. From this, the term "auteur theory" was conceived. The auteur theory
simply means that "holds that the director, who oversees all audio and visual elements of the motion
picture, is more to be considered the "author" of the movie than is the writer ... Show more content
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His films are classics and many render them as a form of art. During his early days, he pioneered
special effects and enabled graphics to reach where they are today. Spielberg's films encompass his
directorial skills because of his ability to use the mise–en–scene element of film, primarily setting
and set staging. His films also contain an outstanding use of cinematography because of the unique
and complex camera angles that enhance his films' realism. Writers are people who make brilliant
and distinctive pieces of art. In the case of filmmaking, Spielberg is deemed an artist who has
changed the film industry forever. The work that goes into his films are based on sophistication and
hard work; all of which have paid off for him. When people think of art, most think of a painting or
a book. However, Spielberg is able see the "big picture" and treats his films as the piece of art in
which they
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Auteur Theory Continues to be an Important Part of...
Auteur Theory Continues to be an Important Part of Filmmaking
The auteur theory is an idea or principle, which states that the film is a reflection of a director's
creative personal vision, as if to say the he or she is the primary author (which in French, means
"auteur"). This theory first came to be in 1954, by a French film director named Francois Truffaut.
The auteur theory's birth was through the French New Wave, which was a group of new French
filmmakers during the 1950's and 1960's. In the beginning, the theory received positive and negative
responses. And to this day, it will create a heated debate. Many have questioned the theory, because
there are usually multiple people involved in the development of a film. Ultimately, a film ... Show
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One was fiction and the other non–fiction, but they both was a piece of art displayed by Spike Lee.
When we view these two films from an auteur theory point of view, we are able to capture Spike
Lee's voice. One of the biggest traits you will witness in Spike Lee's films is the ability to zoom in
on a character and talk to the viewer. In Do the Right Thing and Malcolm X, Spike Lee would focus
on a particular character, as if to zone out everyone else within the film. In doing so, he was able to
get his point across because the viewer had no choice but to take in what was being said and the
image remained in the back of our minds. I know for a fact that more than 20 years later, the close–
up of those films are still present in mind. This was a unique, personal, and creative vision of Spike
Lee.
At the same time, Spike Lee had a way of focusing on specific areas or backgrounds within the film.
A great example is a scene in Do the Right Thing, where Spike Lee, himself was walking down the
sidewalk, delivering a pizza. The point of him delivering the pizza didn't really mean much. What
stood out about the scene is when Spike Lee left the scene and the camera remained. Those seconds
of footage displayed a sidewalk with an image, written by kids with chalk. Another great display of
Spike Lee's vision is how he could change scenes in the middle of conversation. A character could
be talking to someone, turn away from the person, look in the other direction, and what

Tim Burton's Auteur Theory
According to Andrew Sarris Notes on the Auteur Theory in 1962, there is no definition of the auteur
theory in the English language. Outgrowing the cinematic theories of Andre Bazin and Alexandra
Astruc, arising in France in the late 1940s, auteur theory became the theory of filmmaking where the
director is deemed as the major creative force in a film. A foundation stone of the French Cinematic
movement known as the 'novelle vague', or 'New Wave', the theory of director–as–author was
principally advanced in Bazin's periodical 'Cahiers du cinema' founded in 1951 (Britannica, 2015).
So what truly makes a director an auteur? As it's believed that an auteur is the author of their film,
there are three premises of the auteur theory that makes a director ... Show more content on
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Over a group of films, a director must exhibit certain recurrent characteristics of style, which serves
as his signature. The way a film looks and moves should have some relationship to the way a
director thinks and feels. (Sarris) Tim burton's vision of the world is reflected in themes that are
strongly shown throughout in his films. The gothic imagery with his ghostly music and misfit theme
is a predominant part of Burton's signature making his films easily recognisable. Being a misfit is
one of Burton's most concentrated themes. In his films such as: Edward Scissorhands (1990), Alice
in Wonderland (2010), Corpse Bride (2005), and Vincent (1982), the gothic imagery and misfit is a
recurring theme where the protagonist is a misfit in their society and isolates themselves from
society until finally finding a way embrace themselves and their differences to the social norm.
Edward Scissorhands being the most resounding evidence of pure auteur–ship shows that Burton did
not only direct it but conceptualise and commission the screenplay, in this way, the attitudes toward
the themes and combination of the specific themes, can be understood as pure creations of the
director. Though not only does Burton utilise this constant theme of gothic imagery and misfit but
he is also known for collaborating with the same actors when creating his films, such as Johnny
Depp and Helena Bonham Carter who are both featured in Dark Shadows (2012),Ed wood
(1984),Charlie and the Chocolate Factory (2005) just to name a few. Burton also has the recurring
use of the same composer Danny Elfman to set a tone that is easily recognised as Burton's films. By
collaborating with the same people who have assisted in the production of his films creates
consistency within Burton's

The Influence Of The Film Auteur
According to the Oxford Dictionary of Film Studies, authorship is defined as 'an approach to film
analysis and criticism that focuses on the ways in which the personal influence, individual
sensibility, and artistic vision of a film's director might be identified in their work' (Annette Kuhn
and Guy Westwell 2012:25). The theory at the root of this concept, was first developed in France, in
the 1950s, under the name of politique des auteurs, by director and critic François Truffaut, in his
illustrious essay A Certain Tendency of the French Cinema (1954), originally published in Cahiers
du Cinéma. Throughout this article, Truffaut sided against metteurs en scène, considered mere
technicians, affirming that filmmakers should rather be auteurs ... Show more content on
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However, the fundamental subjects of the oeuvre are no more than four. As Kieslowski himself
declared: 'all my films, [...] are about individuals [...] who don't quite know how to live' (1993:79). It
is hence clear, that the theme of individuality is essential in the director's work. In fact, even though
his pictures deal with highly debated issues such as death penalty and the universal values of liberty,
equality and fraternity, they are only concerned with them 'on a very human, intimate and personal
plane and not a philosophical [...] a political or social one' (Kieslowski and Stok 1993:212). Indeed,
the director's chief interests are the feelings and emotions of his characters, the exploration of their
interiority and of their quest to find meaning in life, thus the melancholic contemplative mood of
films such as Blue and Red.
In line with the motif of individuality, is the theme of loneliness. All the protagonists of Kieslowski's
pictures are alone and isolated, often because they have experienced an emotional trauma, such as
abandonment – as in A Short Film About Love – or the loss of a loved one – as in Blue. They live in
big cities, like Paris and Warsaw, but are nonetheless unable to truly connect with others, and limit
themselves to observing life with a voyeuristic

Auteur Theory
The Signature Style of Auteur's Truffaut and Hitchcock
Auteur theory is among the most controversial film studies theories proposed, because of the ways
that it connects to a framework for understanding film that is inherently rooted in literary studies and
because it focuses on the idea of the auteur as the central source of meaning. Within the academic
community, there were many academic arguments and conversations about the implications of
auteur theory. However, some of the most typically "auteur" filmmakers represent the quintessential
view of the director as the author of the film–text. Truffaut and Hitchcock are among the best–
known auteurs, and their signature styles help to support the claim that film is a fundamentally
auteur–driven ... Show more content on Helpwriting.net ...
Auteur theory "...was a product of several ideas which coalesced in French film criticism at the end
of the forties..." (Hess 29). The idea was that by understanding the film as a product of one
individual person, critics could better access "...the revelation of a transcendent reality" (Hess 29)
about the central meaning of a film. After all, auteur theory "valorize[s] the film director as artist,
gave strong impetus to the European art film movement, and, in so doing, aligned itself with the
traditions of high modernism in the arts – privileging the uniqueness of artistic self–expression as an
oppositional force in the face of industrialized society" (Burke 36). Thus, it was an important
strategic movement in the field because of how it created a sense of continuity within film studies
and other academic fields. Auteurism is a theory that ensures that film is taken seriously as an art
form and that the contributions of all to a production are perhaps problematically distilled into the
work of just one person with a singular vision. Although critics of this theory have noted that it
allows for critics to focus on "...what was really of significance: the discovery of recurring themes,
characters, and situations in film after film of one's chosen hero" (Petrie 27). Truffaut was an
interesting choice to carry the vanguard of the Nouvelle Vague (New Wave) moment. One of the
most conservative filmmakers in this movement, Truffaut's iconic use of the freeze frame at the end
of The 400 Blows, combined with cutting and the elliptically styled narrative, helps to establish his
oft–parodied style. As an auteur, Truffaut's films represent stylistic innovations that served as both
unique artistry as well as a commentary on the limitations of other cinematic

The Auteur Theory By Francois Truffaut
The auteur theory first began in the 1950s by a group of young French scholars who wrote for the
journal Cahiers du Cinema. Most significant of these scholars was Francois Truffaut who wrote an
article that served as the touchstone for auteurism. The auteur principle is used as a descriptive
method that focuses not on whether a director is a great director but rather on the fundamental
composition of a director's work. This principle therefore focuses on a director's thematic and
stylistic uniformity, established filming method, personal artistic vision, recurring themes and most
significantly his control over a film's production. Auteur films are distinctive due to the unique
artistic vision of its director and the fact that it imbues his personality. The auteur term is
consequently used to distinguish directors whose works are distinguishable from others. It is
important to note that not all directors can be auteurs. Only certain directors were able to express
their personality through their works with the use of themes and style and would therefore to
continuously produce the same types of stories. Looking at all of a director's work was the only way
to identify their individuality and to be able to place their mark on a film suggested the strength of
the director as an artist. The style and overall form is the primary concern of an auteur film, not the
content. The best directors were able to do this so skillfully that their talents allowed them to
artistically reshape

Batman An Auteur Analysis
The question at hand states, "In evaluating a film, should we interpret and evaluate it by considering
how the film is the creative work of a single author or auteur?" (Yenter, "Essay Information").
Understanding my claim requires an understanding of what an auteur is. The original "auteur
theory" is the idea that the director is the sole author of the film. There are three different strategies
that are typically used to argue for the theory of single authorship. Those strategies are as follows:
the restriction strategy, the sufficient control strategy, and the construction strategy. By assessing
these various strategies attempting to defend single authorship as well as assessing the
poststructuralist theory, I will show how the director alone ... Show more content on Helpwriting.net
...
The Harry Potter movies have not been evaluated based on the work of the director(s). According to
the auteur theory, each of the movies would need to be evaluated and interpreted based on the
creative work of the director each specific movie. This would be as if we are saying each Harry
Potter movie is separate and distinct from the Harry Potter movies created by a different director. As
Harry Potter is meant to be evaluated and interpreted as a unified series, the auteur theory
interpretation would make utterly no sense. Obviously, by using Harry Potter as an example, many
opponents would make that claim that J.K. Rowling wrote the books. Even if we can compare
literature to film and J.K. Rowling is also said to be the author of the films, she is not the director.
But because of her role in creating these novels, she had a say in how the movies portrayed them,
and in some cases, similar to Thor, her vision overruled the director's vision. As intertextuality
makes clear, films are collaborative efforts, not the sole work of the

Auteurs Film Analysis
The idea of auteurship is one that is surrounded by the domineering presence of the white male, with
little exception: a simple Google search of "film auteurs" produces thousands of results of websites
listing off the likes of Paul Thomas Anderson, Quentin Tarantino, Martin Scorsese, and David
Lynch. However, one early female filmmaker–who, like too many other important women of the
past, has been mostly buried by history–stands above the rest. Often viewed in the same regard as
male contemporaries such as D. W. Griffith, Lois Weber used her platform as a universally
acclaimed creator (at the time) to make socially conscious films that advocated the underprivileged.
Although her works are heavily influenced by her belief in Christian charity, they never seem to
steer into the dreaded "preachy" territory that so many other religiously motivated films fall victim
to. ... Show more content on Helpwriting.net ...
and Hop, The Devil's Brew, respectively). Despite these decidedly solemn moral topics, Weber
possessed a deft talent for tempering her serious mission with the understanding that entertainment
is necessary to convey that point. For example, aside from exposing "the blot" on society caused by
underpaying educators and clergy members, The Blot also has a sense of humor–shown mostly
through snarky title cards– as well as scenes of suspense (such as Mrs. Griggs attempting to steal a
chicken from her neighbors'

Auteur Recognition Essay
The auteur theory was introduced in the film industry in 1954 when Francois Truffaut claimed that
directors are significantly using their films to express their personal ideas (Thompson and Bordwell
33). The importance of the theory has been under criticism in the recent past. Critiques have
questioned the basis for which a director would be recognized as "author." Moreover, there have
been concerns on whether the auteur is recognized more based on the creative aspects of the film or
on the scripts that he/she chooses to display in the film. This paper would seek to assess the
components of a director's film that are highly influential in his recognition as an auteur.
Auteur theory became a predominant issue in the film industry during ... Show more content on
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It states that for consideration, the director must have had a collection of films to be evaluated to
determine whether there exist ongoing themes to be evaluated. Besides, the collection would also be
examined to identify the particular differentiating style that is identical with the film maker
(Thompson and Bordwell 105).
The theory seems reasonable at first glance. From the perspective of the state laws, directors are the
people responsible for the film in case of injunctions. Accordingly, it would be logical for the film
makers to be assessed in regards to the auteur theory. However, the basic issue the opponents of the
theory raise is why the director would be accorded such high status from the many people who work
on a film. The theory actually tends to demean the role that other people played in the film creation.
Contrary to the provisions of the auteur theory, a movement in Germany considered the script
writers as the main persons behind the film. They argued that script writers have control over every
other contributor including the director. The directors would be forced to work under the stipulation
and conditions of the script writer. However, to counter this proposition the proponents of the auteur
theory argue that the director has the ultimate control and responsibility to influence the final output
of the film (Thompson and Bordwell 105).
The opponents of the theory have also argued that it fosters discrimination

Auteur Theory: Who Are The Real Authors Of Films
Auteur theory, theory of filmmaking, considers the director as an author of the film and gives most
credit to the director. "Auteur means who the chief creator force behind the film. If it is a book it is
easier and it is usually one person product but in a film it is a lot more complicated" (Jonathan
Berman Week 7 lecture). I think the key word are here "the chief creator force behind the film". If
we are asking who wrote the story originally then the answer to the question "who are the real
authors of films?" would be the writers since the writers are the authors. However, if we are looking
for a person who is the chief creator force behind the film then writers are not authors of the film.
The writer has no control over the story's being put in a film unless writer is also the director of the
film. ... Show more content on Helpwriting.net ...
It really reasonable to think the director is the one who knows the story best because he cuts the
scenes, he plays the scenes, and tells actor what to do, and how to act. For the movie Casablanca the
author would be the director of the Casablanca, Michael Curtiz. According to our lecture the movie
Casablanca was first written as a stage play and it was edited as they were shooting the film.
(Jonathan Berman Week 7 lecture). Writers often have no control in the interpretation of their story.
So the original story of Casablanca that was written as a stage play is not same anymore and it was
controlled by the

Essay on Hitchcock Deserves His Status as an Auteur
Hitchcock Deserves His Status as an Auteur
Alfred Joseph Hitchcock was born August 13, 1899, Leytonstone, England, and died in 1980 in Los
Angeles, USA, of liver and heart problems. He went to Ignatius College in London, to the School of
Engineering and Navigation, and then to the University of London. He started his film career in
1919 illustrating title cards for silent films at Paramount 's Famous Players–Laskey Studio in
London. There he learned scripting, editing and art direction and rose to assistant director in 1922.
By 1925, he had directed his first finished film, " The Pleasure Garden" shot in Munich. His
breakthrough film, "The Lodger", came a year later. Alfred Hitchcock directed over ... Show more
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The film begins with Marion, who steals $40,000 so she can afford to get married. She drives from
the city to her lover and, on the way, stops at the Bates Motel where she meets the owner, Norman, a
very nervous but friendly young man. After hearing over tea with Norman about his relationship
with his mother, Marion retreats to her room where she has a shower before bed. While in the
shower she is brutally murdered by what seems to be Norman's mother. Later, when a private
investigator goes looking for Marion, he is also horrifically murdered by the "mother" and only
when Marion's sister, Leila, accompanied by Marion's lover, Sam, comes looking for her do we
discover that the "mother" is actually Norman. He had been dressing up as his mother since killing
her, along with her second husband, many years earlier.
The Parlour Scene =================
A key scene in Psycho is the parlour scene. Nothing horrible happens in this scene but it provides
the audience with clues that something is not quite right. In particular, it begins to reveal the darker
side of Norman's personality and his pathological obsession with his mother. Hitchcock uses camera
work, lighting and mise en scene, particularly birds, to create a sense of menace.
The scene

The Auteur Theory Of Film Directed By Francois Truffaut...
It might be apparent when watching the credits at the end of a movie that there are a lot of people
who partake in the development in what you just watched. Although a director can't usually create
and perform all the aspects involved when making a film, the Auteur Theory focuses on the idea that
the director is the true author, and creditable for the final look of the film. Auteur Theory is a
philosophy of film created by Francois Truffaut, a film director and critic, in 1959. "Truffaut noted
that 'the directors are, and wish to be, responsible for the scenarios and dialogues that they
illustrate.'" said in Society for Cinema & Media Studies by Donald E. Staples. Auteurism was
considered to flow in film work from France to England over ... Show more content on
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Even the young actor Jean Leaud playing Antoine Dionel shared a similar misunderstood youth.
This incorporation of the recreation of Truffaut's personal experience into his work gave it
individuality, thus an true expression of the directors vision. This use of personal resemblance was
also used in his later film The Wild Child (1969), as "the filmmaker identifies not only with the
child character, but also with the father figure, Dr. Itard, whose part he chose to interpret himself."
(Colvile 448). Francois Truffaut's skills with the technical competence was also a high light for his
unique Auteurism. The 400 Blows takes the audience through a trouble young boys life, and his
remarkable use of subtle camera technique and sense of composition enhance the aspects of the
Poignant film. The long shot of the final running sequence in the film is really interesting and
unique. Unlike other very satisfying resolutions with a strong degree of closure, the protagonist
makes it to the beach, where his mother had always wanted him, but once he reaches the water the
camera zooms on his face and the frame freezes. This leaves the audience with a sense of openness
to ponder "well what next?", which is a common question asked once a chapter in life ends. Also
like Truffaut, Alfred Hitchcock also doesn't mind avoiding the usual parts of storytelling. The main
point that stands out in Hitchcock's work is the recurrent characteristic that give his films, as a
whole, a distinct

Wes Anderson As An Auteur
What exactly is an auteur? According to Graham Roberts and Heather Wallis, 'film's generic ideas
produced creative conventions in cinema language which could then be exploited and developed by
individual artists into a personal vision' (127). That individual artist is the auteur; someone who,
through their work, displays several key qualities that are uniquely their own, namely: reoccurring
themes and plotlines throughout their movies; specific stylistic qualities in their films such as mise
en scene and cinematography styles; similar character attributes and traits; and narrative structure
and features (Roberts and Wallis 128). Throughout cinema's history, only several directors have ever
been referred to as an 'auteur'. Some names that are ... Show more content on Helpwriting.net ...
While The Royal Tenenbaums is a clear example of how the entire movie is structured around the
family, his other works also incorporate the same family–orientated structure. Take The Darjeeling
Limited (2007) for example. The movie surrounds three estranged brothers, Peter, Francis and Jack,
all with their own personal conflicts – which as mentioned earlier, is another common Anderson
theme – as they travel together to meet their mother. In The Life Aquatic with Steve Zissou, Ned,
whose mother has recently passed away, believes that Steve is his father. Even his stop–motion film
Fantastic Mr Fox (2009) was an adaptation of Roald Dahl's novel that surrounded a family of foxes.
Wes Anderson's continued use of the idea of family as part of the storyline for his movies is another
key trait of his which makes him qualify as another of film's

Tim Burton's Auteur Theory
During the 1940's, the idea of the auteur theory arose. It was crafted by Andre Bazin, who was a
French film critic, and Roger Leenhardt, a filmmaker. They stated that a film should represent the
directors vision. Another French film critic, Alexandre Astruc, enhanced the auteur theory by
expressing that directors with their camera should be like writers with their pen. This would make a
director's films all have the same type of aspects. Once a director makes a number of films, a certain
"finger print" can be seen throughout his creations.
In 1962, an American film critic, Andrew Sarris, wrote the "notes on the auteur theory." He stated
that the "first premise of the auteur theory is the technical competence of a director as a criterion of
... Show more content on Helpwriting.net ...
In both Charlie and the Chocolate Factory and Alice in Wonderland the underlying meaning can
come from the character's curiosity. In Alice in Wonderland, the whole premise of the movie is
based on Alice's curiosity as a person. This is what leads her down the rabbit whole (1:35:53–
1:35:04). In Charlie and the Chocolate Factory, Charlie's curiosity about Willie Wonka and this
Factory is what leads him to buying the chocolate bar (1:26:16–1:25:47). The curiosity of both
characters eventually leads them so something great. One theme that is portrayed in both of these
movies is that if one is curious about the world they will find something that they love. Another
meaning that is in the interior of Charlie and the Chocolate Factory is that the prize in life comes
from hard work and sacrifice. Charlie wins the prize from Willie Wonka because Willie sees that
Charlie is a hard worker and honest. Charlie gets his hard working personality from his parents and
understands hard work because of his poor economic circumstances. The most noticeable interior
meaning that is shown in all of Burtons movies, including Charlie and the Chocolate Factory and
Alice in Wonderland, is that the outcast in the beginning of the film ends up being the hero by the
end of the film. In Charlie and the Chocolate Factory, Charlie becomes the hero by being able to
take over the factory for Willie Wonka. In Alice in Wonderland, Alice is

Auteur Theory: Howard Hawks and Martin Scorsese Essay...
Use a range of auteur theories to examine the work of two significant directors you have studied on
this module. One director should have produced the majority of their work prior to 1960 and the
other should have produced it from the 1970s onwards.
Discuss the origins and main developments of auteur theory then examine the works of Howard
Hawks and Martin Scorsese with relevance to their status as auteur directors.
In having their films examined as auteurs of the cinema, both Howard Hawks and Martin Scorsese
have been described as great artists whose body of work demonstrates repeated themes and motifs,
that put in context reveals a particular belief and world view that is held by the director. In fact,
Hawks was among the first ... Show more content on Helpwriting.net ...
Astruc, along with Andre Bazin and the other reviewers of the Cahiers du Cinema developed these
principles into what is known as the politique des auteurs. These critics wanted great film to be
considered as an art form worthy of the attention given to great literature, music or art. The
emphasis behind the politique des auteurs was to oppose the "established French film criticism with
its support for a 'quality' cinema of serious social themes" (Cook and Bernink, 240). Though it also
stressed that a director could transcend the industrial nature of filmmaking to stamp a unique vision
and world view on their films and so deserve consideration comparable to an artist of the classical
forms. This is highlighted by Jean–Luc Godard's boast that "having it acknowledged that a film by
Hitchcock, for example, is as important as a book by Aragon. Film authors, thanks to us, have
finally entered the history of art" (Godard, 147). Godard was one of the critics who were known as
the 'young Turks' which also included Francois Truffaut. A certain tendency of the French Cinema
(1954) was the article that for many confirmed auteurism as a theory and gave the Cahiers a sense of
direction that it was lacking.
Principle to this new

Comparing The Auteur Theory: Francois Truffaut And Alfred...
The Auteur Theory is a concept that is viewed as a major creative force in motion picture. It has
allowed the directors to oversee all the audio and visual elements they used in their motion picture.
Francois Truffaut and Alfred Hitchcock are two well–known directors that use the Auteur Theory in
their own unique way that makes each of their films very special. It can be seen the way Francois
Truffaut wants us to be part of the film and experience what the characters are feeling and doing in
400 Blows. Though Alfred Hitchcock is seen as getting to the point and fast moving in Psycho.
Francois Truffaut is a director that displays the auteur theory is in his own specific style that is seen
in the film 400 Blows. In 400 Blows, Truffaut tries to bring in a sense of realism that ... Show more
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However, the scene that captures Truffaut's style and his take on the auteur theory is the last scene,
which is with Antoine, who has escaped and is running to the ocean, a place that he had always
wanted to see. This part of film indeed takes Truffaut's view on the auteur theory by the lack of
cinematography that is seen by the lack of camera movement, which is referred to the high angle,
and low angle, which Truffaut doesn't use in this particular scene and instead put the camera angle at
eye level feeling like we are part of the scene. Though Truffaut is also known for filming with
natural light and backlights, which is where realism comes in again. Truffaut wants it to be as real as
possible and to it he sacrifices not to have high studio lights in most of the films that he has directed.
Another skill Truffaut presents is the timing of each moment is shown that is grasped by the moment
Antoine is running to get to the beach but Truffaut shows the way of getting to the beach instead of
cutting to the beach right away which most is seen in most films. In the end, Truffaut shows auteur
theory in his own special way that is appears in 400

Truffaut's Auteur Theory
For nearly the length of time that the film industry has existed, theorists have extensively speculated
about the authorship of film and who should receive credit for the creative capital that is created. In
the United States, as the executive studios in New York expanded and began to exert more control
over Hollywood, speculation emerged about how much control these studios had over the films
being produced. It was in the midst of this environment that auteur theory originated–with French
theorist Truffaut's concept of politique de auteurs. Auteur theory argues that films are characterized
by the styles of their directors, who are the "authors" of the films. However, there are many other
theories about who should be credited as the authors ... Show more content on Helpwriting.net ...
The main reason auteur theory is popular because it personalizes the author of films (in comparison
to the de–humanization of saying that a big studio is responsible); however, this unnecessarily
makes directors into heroes that they aren't and celebrating them only as a more desirable alternative
to the studio explanation. Schatz points to multiple authors, mostly arguing against the director–as–
author focus of auteur theory; by rejecting auteur theory, he is advocating for broadening the scope
to consider the larger system by which films are produced. "The closer we look at Hollywood's
relations of power and hierarchy of authority during the studio era, at its division of labor and
assembly–line production process, the less sense it makes to assess filmmaking or film style in terms
of the individual director–or any individual, for that matter" (Schatz, 459). Films are not simply the
product of an individual's human expression, but a conglomerate of institutional forces. The "style"
of any individual–a star, director, writer, costumer designer, light operator, or cinematographer–
fuses with the studio's resources–its staff, history, and institutional focus (genre, stars, etc.). He says
that famous examples which people cite to prove that the directors are the true authors of films
(John

The Auteur Theory In The 1960s
Auteur theory supports the director as a singular author of a film: this is a term that essentially
means, "author" comparable to a writer that is an author of a novel. Andrew Sarris, who is a film
critic from the US states, "The strong director imposes his own personality on a film; the weak
director allows the personalities of others to run rampant." (Sarris, 1968) This suggests that a good
director leaves his/her personal signature or mark on his artwork, a distinct style or a constant theme
throughout that will be seen as unique in the film community. This could be achieved through the
consistent use of similar subject matter, related themes, repeated cast or a reoccurring visual and
aesthetic style.
The History
The significance of ... Show more content on Helpwriting.net ...
An extraordinary amount of structural art, emphasising colour, arrangements and grain, displays
evidently in every scene. His signature is seen through the "challenging shots" cinematography, and
the fantasy worlds in his narratives.
Colour palette
The Colour palettes in Anderson's films are significant as it can be used to recognise his films from
the rest. The frequent use of vibrant colours that occasionally clash with each other (yellow and
orange) constructs a theatre like a backdrop, eliminating it from the current period. It is no surprise
Anderson is passionate about the 50s/60s from his choice of props and complex theatre like set
designs, which isn't something we see in films today. An example would be in his film The Life
Aquatic; only half a set was built to allow the camera to transport freely to different rooms.
Collaborating
For many years, Anderson has gathered a great collaborative group of actors/actresses, which have
recurred in his past films. Casts, such as Owen Wilson, Bill Murray, Jeff Goldblum etc. This allows
Anderson to have great control over his work due to the cast being familiar with his directing style
and narratives. Also, he chooses to work with the same DOP (Robert Yeoman) and hasn't changed
since. Since Yeoman already recognises the director's preferences, this also allows the independence
to create a movie to his own personal

Auteur Theory Essay
The dictionary defines an Auteur as a filmmaker whose individual style and complete control over
all elements of production give a film its personal and unique stamp. The auteur theory states, the
director that overseas all the audio and visuals elements of a film is considered it's author. Even
though the definition of an auteur has been highly debated since the 1940's, the director is the one
that brings a film to life and uses it as an opportunity to express their views on the matter in
discussion. The auteur I choose to study was Martin Scorsese, a highly acclaimed director behind
some of the most iconic films ever made. After he left his job as a teacher at NYU, Scorsese
released his first feature film Who's that knocking at my door?. ... Show more content on
Helpwriting.net ...
Taxi Driver was released in 1976 and focused on Travis Bickle, a mentally unstable war veteran
working as a Taxi Driver in New York without an outlet for his deeply disturbing and violent
thoughts. The second focus film was Good Fellas, which revolved around Henry Hill and his
journey from a local boy turned gangster in neighbourhood of the roughest criminals in New York,
released in 1990. The most recent of the three films, released in 2002 was Gangs of New York.
Gangs of New York is a film about Amsterdam Vallon, who returns to scene of his father's murder
years later amid violence and corruption to gain power among the locals and avenge his father
death. Taking apart Scorsese's films piece by piece you discover a certain pattern to his film making,
the camera angles he uses, his consistent use of the same setting through most films and the dark,
gritty themes he displays as well as his unique way of storytelling. Although there are a lot of
aspects of Martin Scorsese film that make him an Auteur three of the most important reason are,
Scorsese's love for New York as a setting in a lot of his films, his unique use of narration in a film
and most importantly his constant use of dark and gritty

The Definition Of Auteur
The debate about the definition of auteur has been going on since the 1940's, the original writers of
the theory consist of a group of French cinema enthusiasts such as; Truffaut, Jean–Luc Godard, Eric
Rohmer and Claude Chabrol. The theory first emerged in their magazine Cahier du cinema. It was in
this magazine that they wrote the basis of the theory. As John Caughie explains "Traditionally, the
reference to the auteur in French film criticism had identified either the author who wrote the script,
or, in the more general sense of the term, the artist who created the film. In the work of Cahiers the
latter sense came to replace the former, and the auteur was the artist whose personality was 'written'
in the film" (Caughie, 1981). Also many of them believed in that the auteur should be the audio–
visual voice who uses the cinema to show a personal statement and also depict their version of
reality. Alexandre Astruc and the writers of Cahiers André Bazin and François Truffaut ... Show
more content on Helpwriting.net ...
But after this there is little sense of social context. The society only appears as background figures.
Not only does the society barely exist, but after we see an editor of a newspaper yelling for exposing
outrages, the film still doesn't show society in outrage or panic over the rise in mob brutality. The
'naturalism' in Hawks' film is very selective, he simply eliminates society. In Scarface where society
should be threatened by the gangsters, it isn't actually threatened at all. After scenes where the
mobsters gun down people at restaurants or bomb explosions we see nothing of human suffering,
much like the scene were Tony goes to finish off Meehan in the hospital, we only see a quick
reaction from the horrified nurse in the

Hitchcock's Auteur Theory
The auteur theory commonly used within Hitchcock's limits his films from being seen within a
larger set of films that were produced during the same period, rather they are taken as part of a
collect as his work. This theory discourages the study of Hitchcock's films as part of a larger
grouping or style such as film noir. Hitchcock's Strangers on a Train (1951) fills both the roles of a
film noir and a Hitchcockian thriller, leading to the conclusion that the genres or film types share
more than they diverge. The tradition of film noir stems from French film critics post World War II
where, due to the influx of four years worth of American films entering their cinemas at the same
time, they drew connections between the films styles and content. ... Show more content on
Helpwriting.net ...
Visual tropes include the use of camera angles and lighting. For example, Dutch angles or scene
where the grid of the camera fail to line of with a grid onscreen creating a sense of unease became
prevalent along with unusual shots like filming a scene from behind. Dutch angles come from a
history of Weimar expressionism that continued into the film noir visual lexicon as a way to create
unease or tension onscreen. Within Strangers on a Train, Dutch angles are used to show the tension
that the scene merits. For example, when Guy Haines (Farley Granger) sneaks down the hall of
Bruno Antony's (Robert Walker) house the camera tilts to the left. Strangers on a Train also makes
use of the characteristic night scenes or low lighting of the film noir style. During the murder of
Miriam (Kasey Roger), Hitchcock makes use of the night setting at the carnival to create a dark,
low–lit sequence that leads up to and portrays Bruno's crime. Many key scenes of the movie take
place at night including the moment of the murder, Bruno's confession to Guy, Guy's confrontation
with Bruno, and the final chase scene at the carnival where the truth is finally revealed to everyone.
In the scene depicting Bruno's confession and entrapment of Guy, Bruno leads Guy behind a gate
that cast a shadow of bars onto their faces in the low light. This fulfills another film noir trope of
creating bars of light to implicate or show guilt, usually done using venetian blinds. The movie also
uses mirrors or reflections to portray different scenes throughout the film. For instance, the viewer
witnesses part of the murder in the reflection of Miriam's glasses and later on again in Barbara's
glasses as Bruno strangles a woman at the party. Bruno also wears very distinctive fashion or style,
especially in the opening scene that compares his clothing to that of Guy. The shot for shot
comparison starts

Auteur Theory Essay
Is Auteur Theory a Valid Film Theory? When watching films by Quentin Tarantino, Nicholas Ray,
James Cameron, and John Hughes there is a certain style that is attached to each director no matter
the credit roll. There are specific stylistic fingerprints that each director has and some are more
prominent and popular than others. The auteur theory can be identified through the ambiance created
by the presentation of the film within the frame, the storyline, and the visual aesthetics that enhance
the director's vision of the film as well as preserve his/her individual signature. The auteur theory
relies of the aspects of audience view of the film and the director's stylistic endeavors within the
frame. In order to a director to achieve the title ... Show more content on Helpwriting.net ...
The director of a film is made to present his/her personal signature and expression within the frame
of the film in order to become an auteur. The fundamentals of the auteur theory demonstrate that the
director needs to have basic directing skills as well as the ability to express his/her vision through
the visual management and choices of the film rather than the specific content of the film. The use
of techniques within the frame make the difference between and director and an auteur for each film
a director

What Are Wes Anderson's Auteur Theory
Auteur Theory – Wes Anderson Case Study
Wes Anderson, an American director widely known for his idiosyncratic films, is the epitome of an
auteur. However, what does being an auteur entail, and why are directors like Anderson (and e.g.
Woody Allen, Akira Kurosawa or Alfred Hitchcock) separate from metteur–en–scenes or those
simply regarded as filmmakers? To even begin justifying Anderson's auteur status, prior knowledge
of the history of auteur theory and its intended function is essential. Authorship was introduced by
filmmaker Francois Truffaut, a catalyst of the French New Wave (1958 – 1962), to advocate that
"...a great director speaks through his films no less than a master novelist speaks through his
books..." (Powell, 2010, para 8). It is also used to address the ... Show more content on
Helpwriting.net ...
In Notes on the Auteur Theory (1962), film critic Andrew Sarris formalised auteurs theory by
explaining the auteur, the main creative force behind a film, must consistently demonstrate three
premises: technical competence, personal style and interior meaning (Sarris, 1962). Wes Anderson
accomplishes all of these criterions of value. Each of his films, which are inspired by personal
experiences, are concerned with triggering nostalgia through "...common themes of childhood,
adolescence, maturity, desire, friendship, male bonding...", the trappings of wealth/luxury and
familial dysfunction (Dilley, 2017, pp16). As such, by analysing key scenes from throughout
Anderson's oeuvre of work, one can see how Anderson's auteur status is justified. For the purpose of
remaining succinct, key scenes will be drawn from only Rushmore (1998),

Wes Anderson's Auteur Theory
Auteur Theory – WES ANDERSON
Auteur is sourced from the French word "author". The idea centered on the auteur theory is that a
filmmaker maneuvers and authors over his work. His authorship can be exhibited in his or her
established film. The theory was developed with a cinema which is recognized as the French New
Wave Cinema from 1958 to 1962. This essay will apply the auteur theory to Wes Anderson who is a
director and a modern. For the past years, Anderson has directed eight films without including any
of his short films. He is an ultimate example to demonstrate the necessity of the auteur theory. Some
collaborators who have worked with the director that can be acknowledged are Bill Murray, Jason
Schwartzman, and Owen Wilson among others. Such collaboration favors the auteur methodology
because they believe that a great director can marshal the events of a creative ensemble. Besides, he
can influence the artistic team to achieve their vision. Nonetheless, Anderson has always stuck to his
themes, technical and entertaining styles. Being an independent filmmaker, he does not create
margin which he is supposed to contain himself. His film has characters who are often frontal ...
Show more content on Helpwriting.net ...
They grow as unhappy children due to lack of love. Their odd father who had left them during their
teen age tries to recover for lost time after he had come back stating that he was dying of cancer. It
was not for the guidance and support of their mother Etheline, the children would not have been able
to acquire the standards they were expected to attain and to get back to the family home. Each
family member was fostered with a sense of identity may be issued to them by the media who
referred them as the prodigies or in other words, the security and the segregation within the family
where each child was more successful and intelligent. Therefore, a family was the epic of every film
he

Auteur In Film Analysis
Question 8: Take one contemporary director and analyse in detail, discuss and debate how they can
be considered to be an auteur. In your discussion refer to the different ways auteur have been
discussed in film studies.
Introduction:
The term of an auteur has been discussed ever since 1950s and even today it is still as much as
evaluative, as it is also pretty vague and unclear. Many scholars and film studies academics took this
topic into consideration and many of them came up with similar, but significantly different
conclusions or felt that some aspect of already existing theories had to be deepened and expanded.
Nevertheless, even today who is an auteur and who can say so, leads to a very heated argufies. In
this essay I will look at ... Show more content on Helpwriting.net ...
In English: reprinted in Jim Hillier (ed.), 'Cahier du cinema, vol.1:1950s', London, BFI/Routledge &
Kegan Paul, 1985.
Bazin Andre, 'Que–est–ce que le Cinema?', Paris, 1958–1965 (4 volumes). In English: Grant Hugh
(ed.), 'What is cinema?' vol.1, Berkley, University of California Press, 1967
Cavallaro Dani, 'The Anime Art of Hayao Miyazaki', London, McFarland, 2006
Cook Pam (ed.), 'The cinema book', London, BFI, 2007 (third edition)
Lu, Alvin, 'The Art of Miyazaki's Spirited Away.' Miyazaki, Hayao introd. Viz Communications,
(2002 ed.), p. 15
McCarthy, Helen, 'Hayao Miyazaki Master of Japanese Animation' Berkeley: Stone Bridge Press,
(2002 ed.).
Sarris Andrew, 'Notes on the auteur theory in 1962', Film culture 27, 1962/1963 (see 'Film culture
reader', Cooper Square Press; 2nd edition, 2000)
Truffaut Francois, 'A certain tendency of the French cinema', Cahier du cinema 31, January 1954. In
English: Nichols Bill (ed.), 'Movies and Methods Vol.1', Berkley, University of California Press,
1976.
Online resources: http://studioghibli.wikia.com/wiki/Princess_Mononoke [online, accessed
6.01.2015]
Films:
The Castle of Cagliostro, dir. Hayao Miyazaki, 1979
Nausicaä of the Valley of the Wind, dir. Hayao Miyazaki, 1984
Castle in the Sky, dir. Hayao Miyazaki,

Examples Of Auteur Theory In Memento
Auteur Theory is defined in the dictionary as a theory that the director is the chief creator of a film
and gives it an individual style that is evident in all aspects of the finished product. Andrew Sarris,
an american film critic, coined the term "auteur theory" in an article he wrote in 1962. Sarris'
understands there to be three premises of auteur theory. The first premise is the technical
competence of a director as a criterion of value. The second premise of the auteur theory is the
personal style and personality of the director. The director uses certain characteristics of style that
reoccur throughout their films which serves as their trademark, or signature. The last premise is
about interior meaning, which refers to tension between ... Show more content on Helpwriting.net ...
His opening scenes are usually a flashback or a piece of a scene from the middle or end of the
movie. Throughout his movies he consistantly uses flashbacks and flash forwards, which add even
more depth to the film. An interesting Nolan signature is that he begins his movies and introduces
his main characters with a close up of their hands performing an action. In Memento the opening
scene is of Leonard developing a picture, where he continuously shakes the polaroid until it is
developed. In the opening scene we see a crime scene that shows a man dead. Then the film plays
backwards showing us Leonard shooting Teddy. This clearly gets the audience attention right off the
bat, leaving them eager to learn more about this murder and why it took place. This technique of
Nolan's was not only shown through The Memento but also in his other films such as The Prestige,
Following and Batman Begins. In the Batman trilogy each movie opens up with a flashback, The
Dark Knight opens up with a flashback to a robbery that is mentioned at the end of Batman Begins.
Not only does this demonstrate his use of flashbacks but also how he tends to have the opening
scene, of his films, be an action scene. Nolan's use of nonlinear narrative challenges the audience to
put the pieces together, which requires thinking while watching the

The Place of an Auteur Director in the Nigerian Video Film...
Introduction
Films are the product of many individuals working together. This is evident in the credits that are
scrolled at the end of each finished work. I could easily say that it takes a village to make a movie.
Consequent upon the above stated, it becomes shocking to find out that there is a significant
tendency among film scholars to treat films as the product of a single individual. To toe this line of
interpretation goes to mean that the director of the film is the creative intelligence who shapes the
entire film in a manner parallel to how we think of literary works being authored.
In his essay, 'Notes on The Auteur Theory in 1962,' Andrew Sarris, one of the key proponents of
Auteur theory corroborates the above position ... Show more content on Helpwriting.net ...
In agreement with this position, Sarris, in the beginning of his essay, states:
As far as I know, there is no definition of auteur theory in English language, that is, by any
American or British critic. Truffaut has recently gone through great pains to emphasize that the
auteur theory was merely a polemical weapon for a given time and a given place and I am willing to
take him by his word. But lest I be accused of misappropriating a theory no one wants anymore, I
will give the Cahiers critics full credit for the original formulation of an idea that reshaped my
thinking on the cinema (Sarris, p.585).
This lack of theory within auteur criticism has been recognized from nearly its beginnings. Andre
Bazin, for example, complained that despite the fact that the writers of Cahiers Du Cinema have
practiced for three or four years, they have not yet produced the main corpus of its theory (emphasis
mine). Little wonder why many new books in film theory pay little or no attention to auteur theory.
One of the more influential intellectual currents which has contributed to the criticism and rejection
of auteur theory is structuralism, and following it, post structuralism. Both structuralists and
poststructuralists reject one of the

Auteur Theory Essay
Andrew Sarris' "Notes on the Auteur Theory in 1962" lays out the argument of three levels required
for a filmmaker to meet the criteria to be a full fledged auteur. In this essay, I will argue and provide
evidence for which support Sofia Coppola's place as an auteur. Sofia Coppola is a screenwriter,
director, producer, and former actress. She is notable for her use of pastel mise en scene and
clothing, high fill lighting, and mix of daydreams and reality. Coppola's background working in high
fashion and nearly a decade practicing photography seem to have helped mold her as a distinct
filmmaker. Her father's skill may have contributed to her passion and enthusiasm for the same line
of work. However, his fame does not take away from her autonomy as both a skillful filmmaker and
as an auteur. ... Show more content on Helpwriting.net ...
Coppola's usage of tying visuals to music and sound are one of her strengths. She often uses a
handheld camera adding to the beautiful, visceral aesthetic she creates with her films. This adds to
the dizzying effect of the gorgeous pastel, candy colors she chooses to feature. Utilizing knowledge
of lighting schemes, often selecting high fill or natural looking lighting setups skillfully. In order to
have the distinct style discussed in the next level of auteur theory, one must be able to master the
first. Coppola plays upon beginner filmmaker expectations in this first premise by shaking up
expectations and standards. Handheld cameras are used significantly less modernly unless to give a
shaky, amateur or frightening affect. However, Coppola's use of this technique adds to proof of her
talent in this first level of auteur theory. The film Lost in Translation (2003) exemplifies her
camerawork well with 'brass in pockets' scene. The movement emphasizes the exciting, fun, and
haziness of singing karaoke at a

Auteur Theory: Directors Of The French New Wave
The term 'Auteur Theory', coined by Andrew Sarris in 1962, was originally developed from a group
of film critics who wrote for the magazine Cahiers du Cinéma. Critics who would then later become
the directors of the French New Wave. Auteur Theory was the idea that help encouraged cinema to
be considered as an art from, at the same level as literature, rather than just mass culture
entertainment. It brought the director to attention by saying that he was the sole author and creative
force of a film, whereas before films were mainly identified by their stars or studios that produced
them. Many film critics including Sarris, consider Alfred Hitchcock, Orson Welles and Howard
Hawks to be auteurs due to the recurring themes and personal stylistic choices within their films. ...
The first rule of the auteur theory was that the director must have technical competence with the
production of the film, the second rule, that the director had a distinct personality which was put
across, and lastly an interior meaning, which meant that the directors innermost soul must come
through in their work. Probably the most identifiable way of seeing if a director could be an auteur
is the "recurrent characteristics of style, which serve as his signature" (Sarris, 2009, p. 452) This is
clearly demonstrated in the work of John Ford, in particular with his films in the genre of the

Why Was Hitchcock Considered An Auteur
Every film that is made has a collective group of people who lend their vision to a film. The term
auteur theory, originating in France in the 1950's, is a French word that means "author" and in the
world of cinema that would mean the director is the one who is the major creative force behind the
film. As stated in the article The Auteur Theory, "the term "author" carries another association–
namely, the idea of a lone, individual creator." With the word auteur being involved it means that the
director is not only the one in charge of directing the film, he would have say or input of other
mediums like for instance a painter or a writer. They are rebels against a collective group effort and
instead go rogue in making decisions on their own disregarding input from the team and most
importantly the studio backing the film. The directors choice to take on full ownership of films
leaves ... Show more content on Helpwriting.net ...
I had seen his version of Psycho and really loved it. Watching Shadow of a Doubt, it proved why
Hitchcock is considered an auteur in many ways. While the term was coming into play, Hitchcock
had a unique vision in his films that differentiated with other filmmakers. He is a superb master of
building suspense and mystery, keeping the audience's nerves always on high alert. His cinematic
technique exemplified camera viewpoints, editing, suspense building. His shot of facial expressions
in the film is startling especially in Shadow of a Doubt because it showed changes in personality in
an instance. When you have films that have strong structure and shows that he is the one who has
complete control over the films he makes. This is his way of making all his films his, putting a
stamp on them. I think what separates him from others is the fact that he had cameo appearances
where he can have his image promoted in his own way. It's like an artist putting their signature on a
painting. Thus making it their own work of

The Auteur Theory
"The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom
shooting a film constitutes a wonderful and thrilling adventure." Francois Truffaut. Auteur Theory
suggests that the best films will bear their maker's 'signature'. Discuss
The Auteur Theory was born out of a group of influential french filmmakers and critics of the 1950s.
Its origins stem from a french film magazine Cahiers du Cinema and in particular an article written
by Francois Truffaut titled 'A Certain Tendency of the French Cinema.' Truffaut was a french
director, screenwriter, producer, actor, as well as a film critic and is also credited as being one of the
founders of the French New Wave.
"Auteur Theory suggests that a director ... Show more content on Helpwriting.net ...
"Each film in a different genre still touches upon similar themes and has the signature style of
filmmaking that we would expect to see." (Roper, 2014) Through his films, Kubrick was able to
create something original, and, shining through overall were his signature cinematic

Anderson's Auteur Theory
The first premise of auteur theory, which acts as a criterion of value to identify directorial talent, is
technical competence in all aspects of mise–en–scène (Sarris, 1962, pp 562). Although Sarris does
not specify what constitutes 'good' filmmaking, technical competence implies a director's efficiency
to manage the production stages (Morley & Silver, 1977) with an "...elementary flair of the medium
and a technical mastery..." of "...sets, costumes, cinematography, editing, music and so forth"
(Chaudhuri, 2013, pp 23). By expertly manipulating these technical aspects, Anderson creates a
balanced, stylised reality in many of his films known as formalistic classicism. Moonrise Kingdom
(Moonrise) is a prime example of Anderson's impeccable ... Show more content on Helpwriting.net
...
In keeping with auteur theory, Anderson's oeuvre's stylistic choices and thematic elements are a
self–reflection of personal experiences such as his childhood. Familial dysfunction, in particular, has
a prominent thematic consistency across Anderson's work due to the director experiencing "...the
single most traumatic event in his childhood...the divorce of his parents" (Dilley, 2017, pp 17). This
is strongly evident in Moonrise, which sees such childhood experiences transcribed directly into the
characters, narrative and mise–en–scène. In Moonrise the protagonists Khaki Scout Sam Shakusky
and love interest Suzy Bishop are children from dysfunctional families – just like Anderson.
Audiences blatantly see this theme included within the narrative when Sam's foster parents reject
ownership of him over the phone, and also (as well as in the mise–en–scène) when an upset Suzy is
in a bathtub reading a book titled 'Coping with the Very Troubled Child' (as she says "I hate you" to
her unfaithful mother). This prop, Suzy's book, is a direct reference to when an eight–year–old
Anderson stumbled upon a pamphlet at home titled Coping with the Very Troubled Child (Mottram,
2012). Anderson portrays his past feeling of upset through Suzy's character and the bathroom's
gloomy colour palette which is a grungy yellowy–green. Despite the negative connotations
associated

The Auteur Theory And Tragic Love
1. Introduction:
The Auteur Theory is suggesting about which the director should be therefore regarded as an auteur,
which means that how the director presenting their mind into the movie. It can mainly divide into
how the directors well–using the film technology, how the audience are able to identify the director
personality and style, which serve as a signature, and the interior meaning in the film. For Auteur
Theory, Francois Truffaut (1954) suggested that a good director exerts such a distinctive style or
promotes such a consistent theme that his or her influence is unmistakable in the body of his or her
work. Later on, Andrew Sarris have made a concrete definition in "Notes on the Auteur Theory"
(1962) suggested that "Over a group of films must exhibit recurrent characteristics of style". ...
"Time" and "Tragic Love" are the main motif of Wong Kar Wai's series of film, with the narrative
filming technique he used to express with the feeling of loneliness, rejection, loss and unrequited
love. In this paper, we would based on the movie "Days of being wild" (1990) and "Chungking
express" (1994) to discuss the degree of consistency of his uniquely personal point of view of love
and time expressed through the characters, filming techniques, story theme and visual language.
2. Wong's obsession on loss and unrequited

What Is an Auteur?
What is an auteur? Answer this question with detailed reference to one film director: Alfred
Hitchcock
Studies of the Auteur Theory in film have often looked toward Alfred Hitchcock as an ideal auteur:
an artist with a signature style who leaves his own mark on every work he creates. According to the
theory, it does not matter whether or not the director writes his own films, because the film will
reflect the vision and the mind of the director through the choices he makes in his film. In the case
of Hitchcock's earliest films when he was still under the control of his producers, there is still a
distinct stamp upon these images. Hitchcock has said that he was influenced by the German
Expressionists, and admired their ability "to ... Show more content on Helpwriting.net ...
He is clearly entangled in the sheriff's deception, and the web on the wall behind him helps to show
Hannay's emotional state. Later, when from outside we see Hannay jump out the window, the
windows fly open and cast the distinct web–like shadow again, now on the outer walls of the police
station. Hannay is breaking free of the trap of the web, jumping and breaking through it. In a later
shot of the police station it reveals the web, but with the hole of light left in it by Hannay, in the
form of the open window. Through this web, Hitchcock enhances the feeling of confinement by the
power of the police. Hannay escapes from the police by breaking through this web. Hitchcock also
strategically uses camera angles in order to present the correct psychology. The sheriff, throughout
the sequence, is associated with diagonal lines. Throughout films diagonal lines have been used to
create the sense of instability and corruption. An example is a close–up of the sheriff, again in
profile, looking out the window. Behind him is a blank wall, except for a shadow in the form of a
diagonal line on the wall. The next shot is a point–of–view shot of the sheriff's view out the window.
From the sheriff's point of view, the horizontal bars of the window actually appear to run diagonally.
These lines demonstrate an altered view. In the reaction shot, there are now

The Role Of Auteurs In Wes Craven's Films
[Intro sentence] These film makers are called auteurs, the French word for 'author'. This is exactly
how the French film theorist first described these film makers during the French New Wave of the
1950's. They saw, that much like a writer, an auteur controlled may aspects of the film and they gave
it just as much character as its screenplay did. Well known auteurs include Tim Burton, for his re–
use of Johnny Depp and ghoulish themes as well as Alfred Hitchcock, coined 'the master of
suspense' for his array of plot twists within his films. This video essay will cover another great
auteur, Wes Craven, whose work on films such as "The Hills have Eyes (1977)", "Nightmare on Elm
Street (1984)" and "The Serpent and the Rainbow (1988)", is a legacy in the horror genre today.
Wes Craven as an Auteur
Wes Craven began directing films after leaving his job teaching philosophy at ... Show more content
on Helpwriting.net ...
His first film 'The Last House on the Left' was a pinnacle in the horror genre as it was thought to be
a dead genre, meaning no one wanted to watch horror. After its success, he created many more
horrifying and nightmare fuelling films and rekindling people's passion for horror.
Real Life Examples
Despite his background in the horror genre and his words "The first monster you have to scare the
audience with is yourself.", the actors and crew that worked with Craven often noted his kind nature,
which is not a trait expected from the mind that brought the 1996 Scream franchise. ["Horror films
are not me, or they're not all of me. They're a very thin slice of me."] This is because Craven often
used real–life scenarios for the basis of his

The Implications Of Auteur
The concept of Auteur was first introduced by Andre Bazin in an essay featured in a 1954 edition of
Cahier du Cinema, often referred to as 'camera stylo' or 'signature style' as a way of critiquing
French new wave cinema. This theory allowed film to be criticised and analysed in the same way as
other creative platforms such as art and literature. By identifying the director as auteur as opposed to
just 'Metteur–en–Scène' it transformed them into an artisté, by assuming creative control they in turn
gave a film a certain style. The auteur was a director "consistently expressing his own unique
obsessions, the other was a competent, even highly competent, filmmaker, but lacking the
consistency which betrayed the profound involvement of a personality" ... Show more content on
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Today, with the growing celebrity culture, influence of production companies and high budgets
designated to films nowadays the idea that a director can be an auteur is merely a fantasy. Godard
himself in a recent interview said "I am not an auteur, well, not now anyway...we once believed we
were auteurs but we weren't. We had no idea, really. Film is over. It's sad nobody is really exploring
it. But what to do? And anyway, with mobile phones and everything, everyone is now an auteur."
(Godard,) The actuation behind films is sales. Even 'artistic' films are driven by sales. The auteur
that exists in today's Hollywood is one designed by production companies such as the crew Tim
Burton works with on each of his films so that each movie is instantly recognisable or character
building the director such as Scorsese appearing to live the 'gangster' lifestyle so that when we
watch his films we feel we are getting a sense of who he

Wes Anderson's Auteur Theory
There are many theories explaining what an auteur is, but I am not going to chose a specific theory
to correct or criticize, instead I am merely going to use the term to prove that Wes Anderson has
been and still is considered an important director whose work is made in a consistent manner yet
still manages to be new and exciting.
The auteur theory for some is considered 'outdated', so it seems strange to be using such term to
describe a director who is recognized as an indie, contemporary American auteur, however for those
who choose to believe that the auteur theory is evolving, it is useful. Wes Anderson, himself, "resists
overarching theories about his works" (Empire Magazine issue 297, March 2014), believing that he
is not an auteur, ... Show more content on Helpwriting.net ...
Wes Anderson's films consistently include family matters. It is normally the centre of any of the
eight feature films. Even if you have only seen a few of his films, it is obvious that they all stories
maintain a dysfunctional family and the disappointing quality of adulthood through flawed but
redeemable characters. He likes to glorify the dysfunctional family, as that is what defines the
atmosphere and tone of his works. This is evidence of Anderson's love for Truffaut, as the films all
centre on precocious children and stunted adults. Storylines have included parents divorcing,
children push their parents away and parents push their children away. However, he likes to play
with variations of comeuppance and reconciliation, highlighting the line between the children and
adult characters, although, every film has a different way of getting there. For instance, Royal
Tenenbaum, after years of separation from his children and wife, finally understands their
importance in his deteriorating life. Another example from The Royal Tenenbaums would be that the
audience would first see a feud between parents and siblings, which ends with much reconciliation.
Although, in some films, they characters revolve around family strife and are very much the heart of
his works. Other themes for the characters include alienation, the childlike man,

François Truffaut's Auteur Theory
The significance of auteur theory and how it was directly a product of post–war French cinema has
shaped film forever. This paper will analyze the beginnings of auteur theory and the theories of
François Truffaut and his group of film critics as well as the effects of post–war France had on film.
More specifically, this paper will help link the ideas of auteur theory with the works of Jean–Luc
Godard, a noted French filmmaker that revolutionized the idea of what an auteur is. To define auteur
theory is impossible as it has no set definition. Many of defined and theorized on auteur theory, the
results have been assorted. However, François Truffaut's 1954 essay Une certaine tendance du
cinéma français first coined the phrase "la politique des Auteurs" ... Show more content on
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These critics and theorist were not just interested in film, they were displeased with French cinema.
Mainly due to the fact that many of these theorists thought French cinema had become watered
down and to similar to Hollywood cinema. The idea of the Tradition of Quality changed cinema
forever in France. The tradition of quality was theorized by Bazin to be Hollywood films that were
usually literary adaptation, musicals, high romance and had high production value. Bazin also was
critical of the Hollywood film being to stagey, not dynamic and cinema is importantly about the
screenwriter and not the director. Bazin's call–out towards Hollywood cinema sparked the rebellious
nature of French cinema. Bazin called for low–budget filming, contemporary relevance and
something that was dynamic. His call–to–arms was answered by young, opportunistic film critics
and filmmakers like Jean–Luc

If Hitchcock Auteur Analysis
The auteur theory holds that a director's hand is clearly and consistently evident in their work,
regardless of involvement in the rest of the production process. It's not uncommon for artists to have
a signature or quirk––– Author Stephen King uses simplistic writing and significant world building
to frame his often dark and fantastical stories, and some painters choose to put their own hair or
saliva into their work rather than a signature. In the same way, an auteur's films have an instantly
recognizable atmosphere, motif, or even color palette––– and, just as importantly, such an
impression can give insight into an auteur's life and mind, lending that much more weight to a body
of work. Two such auteurs are thriller and suspense master ... Show more content on Helpwriting.net
...
His films are known for their heavy surrealism and dream imagery, things that fascinated Lynch, as
he feels that "waking dreams" are the most important kind, and the closest you can get to showing
an audience your dreams is through film. Lynch is obsessed with the dark underbelly of otherwise
cheery landscapes, like the little suburbs he grew up in. He felt that beneath the veneer of pleasant
suburban life was a "black ooze" that would be visible if only you could find a crack through which
to peer. We look again to Blue Velvet, which features a young man (Jeffery) who seems to be the
embodiment of pure curiosity, and who plunges himself into a world of incredible darkness and
violence during a visit with his ill father. The film opens with him coming across a severed ear in a
field, and the camera spirals downward into the severed ear's canal before cutting to the next shot.
Every event thereafter is nearly unbelievable; he happens upon a tortured jazz singer whose family
has been taken captive and who is raped and beaten repeatedly by a grotesque drug kingpin named
Frank. The young man finds all of this out from watching her from a closet–––face lined by the
shadows cast by the slats in the door, giving him the appearance of being behind bars as he absrobs
the horror before him, now a voyeur himself. Everything is unreal, from Frank's almost insect–like
appearance–––constantly sticking an oxygen mask over his pinched face to inhale some kind of
ether–––to Rosselini's character making a disturbingly violent sexual advance toward Jeffery. The
action is punctuated by a love scene, but not one that is tender or appealing. Lynch slows and blurs
the subjects on film so that actions are not clearly visible, and the sound is slowed down immensely
so that any noises made by the lovers are rendered monstrous and grating. The shot reads like a
dream–––or a nightmare, but not anything

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