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Sep 19, 2023 · The concept of the auteur has been a source of impassioned debate ever since the term was coined by French film critics in the 1950s. While the idea that a director’s singular vision shapes the ...
about the theory (much of it from original French sources) in the hope of gaining a better understanding of what the theory was intended to be and do and what it might mean to serious students of film today. The development of the auteur theory and the subsequent controversy over it can be traced both chronologically and geographically. It can ...
Auteur theory is a critical framework in film studies that views the director as the primary creative force behind a film, often likened to an “author” of a book. This theory suggests that a film reflects the personal vision, style, and thematic preoccupations of its director, making him the central figure in its creation and interpretation.
Apr 18, 2024 · Meaning and Examples. Published: April 18, 2024 | Last Updated: October 10, 2024. Definition: Auteur theory is a critical framework used in film studies that attributes the director of a film as its primary author (auteur). The theory argues that the director’s personal influence and artistic control over a movie are so significant that they ...
- Ascertaining Authorship in Cinema
- Authorship and Us Cinema
- Authorship and Postwar French Criticism
- Authorship and Mise-En-Scène
- Authorship and Film Criticism in Britain and The Us in The 1960s
- Auteur Structuralism and Beyond
- The Impact of Auteurism on The Development of Film Studies
- The Triumph of The Director as Auteur
- Further Reading
Cinema poses its own problems. Commercial filmmaking, which accounts for most of the films—European and world as well as American—shown in cinemas and reviewed in print, as well as most of the material made for television, is justifiably seen as a collaborative activity, involving the skills and talents of many different film workers. At the same t...
Apart from Griffith, US cinema certainly was looked at rather differently than European cinema—especially after the entrenchment of the studio system and the coming of sound. (Cinemas other than the US and European barely registered with US and European critics and audiences at this time.) Hollywood cinema came to be seen as more industrialized, mo...
In terms of international recognition—industrially and critically as well as in terms of audiences—European cinema was seen rather differently than US cinema. If US cinema was produced in factorylike conditions for mass consumption and entertainment, European cinema was seen much more in relation to, and as the equal of, the other arts. But it is a...
However, although French cinema and American cinema were very different in some respects, in others they were not. The more personal and individual French cinema that Truffaut and the others admired—Jean Renoir (1894–1979), Robert Bresson (1901–1999), Jacques Tati (1909–1982), Jean Cocteau (1889–1963), Max Ophuls (1902–1957), Jacques Becker (1906–1...
The tastes of both Movie in Britain and Andrew Sarris in the US were clearly influenced by those of Cahiers, and they shared similar ideas and emphases. The British magazine Movie, whose main editors and contributors included Ian Cameron, V. F. Perkins, Mark Shivas, Paul Mayersberg, and Robin Wood, opened its first issue (May 1962) with an assessme...
Given the debates and arguments about authorship in cinema, and given the changing cultural context, it was inevitable that auteurism would be put under pressure and evolve. Peter Wollen, influenced like Movie and Sarris in his tastes by those of the Cahiers's critics, wrote in the early 1960s in New Left Review and developed his ideas in the 1969 ...
For many writers on film for whom auteurism had been in many ways liberating, these post-structural theoretical debates were a step too far. One of the main results has been that, having been central to debates about the nature and function of film criticism and film studies for twenty-five years or more, since the 1980s questions about authorship ...
Outside of academic and other serious film writing and teaching, auteurism in relatively uncritical form has been much more obviously triumphant. Perhaps because it was always more critical—and evaluative—than theoretical, early auteurism was very readily assimilated into filmjournalism, relatively untroubled by later debates about the theoretical ...
Cameron, Ian. "Films, Directors and Critics," Movie 2 (September 1962): 4–7; reprinted in Movie Reader,edited by Ian Cameron, 12–15. London: November Books; New York: Praeger, 1972. Caughie, John, ed. Theories of Authorship: A Reader. London and Boston: Routledge and Kegan Paul, 1981. Editors of Cahiers du Cinéma. "John Ford's Young Mr Lincoln." In...
Oct 2, 2020 · What Is an Auteur? The concept of the auteur—of the filmmaker as artist and author of his or her works—began in Paris, where filmmakers and critics reacted to the industrialization of filmmaking in the United States and Europe. The French word auteur literally translates to the English, “author.”. Within the context of cinema, the word ...
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the human subject being "'defined as a locus of relationships' and hence im-possible to totalize, to define in any way but as a place of intersection of multiple functions, 'of other voices.' "' Nevertheless, the conflict over authorship in film continues. The success of the auteur theory, which presupposes a unity of meaning
