1. 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 Helpwriting.net ...
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
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3. 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
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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
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4. 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
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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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5. 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, afilm
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 ...
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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
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6. 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 thefilm 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
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7. 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 ofauteur 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
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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),
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8. 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. ...
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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
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9. 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–scГЁne (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–scГЁne. 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–scГЁne) 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
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10. 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 content on Helpwriting.net ...
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
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11. 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 thefilm". 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
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13. 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 more content on Helpwriting.net ...
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
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14. 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
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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
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15. 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
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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
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16. 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 theauteur 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,
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17. 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
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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'
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18. 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
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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
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19. 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
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20. 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
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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
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21. 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
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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
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22. 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
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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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23. 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 content on Helpwriting.net ...
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
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24. 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 Helpwriting.net ...
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
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26. 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
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27. 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
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28. 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
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29. 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
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31. 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 theFrench 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
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33. 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
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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
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34. 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
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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
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35. 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
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36. 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
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37. 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
39. 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,
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40. 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". ... Show more content on Helpwriting.net ...
"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
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