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  1. Auteur Theory. Developed by French cinéphiles in the 1940s and 1950s. Argues that a film's director is the primary creative source (the author or auteur) and that his/her vision expresses a distinctive world vision. challenged the prevailing view of the aesthetic superiority of European cinema over American.

  2. Study with Quizlet and memorize flashcards containing terms like To call Truffaut's "politique des auteurs" a theory was a mistake because authorship in such a collaborative medium can be tough to discern. a) true b) false, The name of the woman who was the main critic against the Auteur Theory. , One of the arguments against the Auteur theory from one of the main critic against it is that the ...

  3. Study with Quizlet and memorize flashcards containing terms like How did auteur theory develop?, What were the conditions that allowed auteur theory to develop?, True or False: Auteur Theory can be interpreted and applied broadly and more.

  4. Dec 14, 2012 · The three premises of the auteur theory may be visualized as three concentric circles: the outer circle as technique; the middle circle, personal style; and the inner circle, interior meaning. The corresponding roles of the director may be designated as those of a technician, a stylist, and an auteur….

  5. Jun 29, 2022 · Auteur theory derives from the concept, started by Alexandre Astruc, of the ‘camera-stylo’ — of course translating to ‘camera-pen’. This concept suggests that the camera is to the ...

    • Reece Beckett
  6. Oct 18, 2024 · film. New Wave. auteur theory, theory of filmmaking in which the director is viewed as the major creative force in a motion picture. Arising in France in the late 1940s, the auteur theory—as it was dubbed by the American film critic Andrew Sarris—was an outgrowth of the cinematic theories of André Bazin and Alexandre Astruc.

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  8. "The auteur theory values the personality of a director precisely because of the barriers to its expression" (Sarris, 1968, p. 31). Sarris conceded studio domination of Hollywood cinema but argued that producers were more likely to tamper with scripts than with visual style; further, genre filmmaking was likely to provide more freedom from studio interference for filmmakers.

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