Quentin Tarantino An Auteur

An auteur is a singular artist who controls all aspects of a collaborative creative work, a person equivalent to the author of a novel or a play. The term is commonly referenced to filmmakers or directors with a recognizable style or thematic preoccupation.

The director is responsible for overseeing creative aspects of a film. They develop the vision for a film and carry the vision out, deciding how the film should look. The director may also be heavily involved in the writing and editing of the film, as well as managing the script into a sequence of shots, coordinating the actors in the film and supervising musical aspects. The Auteur Theory suggests that films contain certain characteristics or ‘signatures’ that reflect the director’s individual style and give a film its personal and unique stamp. Hayao Miyazaki is one such auteur whose entertaining plots, compelling characters

An auteur is a director who personal creative vision and style is expressed through films. The term auteur is originated in France and is French for author. There are different ways in which a director can express their vision in films and show who they are. There are many directors that are considered to be a auteur such as: Quentin Tarintino, Tim Burton, Kathryn Bigelow, Stanley Kubrick and Woody Allen. The director I have chosen as an auteur is Spike Lee.

Smith has taken everyday occurrences, added humor and a bit of obscenity and crafted them into scripts. Smith has then taken these scripts and directed, and produced full-length films in which he also acted. After the film was fully shot, Smith then edited all of his films (with the exception of “Mallrats”). Because of all of the work that Smith single-handedly put into his independent films that ended up drawing a huge crowd of fans, he can surely be called an auteur.

Orson Welles was born on the 6th of May in 1915 and died in 1985, on the 10th of October. He used to play magic, paint, and play the piano as a child, a later on he found himself directing, producing, writing and acting. Orson Welles performed in Romeo and Juliet, and started a radio career at the same time in 1934.

Anyone who is even vaguely aware with film usually has a favorite director. Why? What distinguishes one director from another? A director is “the person who determines and realizes on the screen an artistic vision of the screenplay; casts the actors and directs their performances; works closely with production design in creating the look of the film…and in most cases, supervises all postproduction activity, especially editing” (Barsam and Monahan 496). Clearly, the director of a film is lead visionary in how the film is made. But what makes some directors truly memorable and instantly recognizable? Those directors take advantage of all different kinds creative possibilities and signatures to become the true “author” of the film, also known

A film director controls a film's dramatic and artistic aspects, and over a number of their films, they produce recurrent themes or characteristics of style seen throughout their creations by the use of repeated subject matter, being referred to as their 'preoccupations'. When a director's style is recognizable, they are considered an ' auteur', denoting that they influence their films so strongly, to the extent that they are considered a kind of author of their movies. This is supported by the quote "Over a group of films a director must exhibit certain recurrent characteristics of style, which serve as his signature.”, from Andrew Sarris, a Prevailing Film Critic of the Late 1900's, whom pioneered the auteur theory. Many directors were reviewed by Andrew Sarris, namely established and popular director Tim Burton, who is deemed as an auteur, particularly for his preoccupation with Gothic Horror literature, and its common elements. Some of his famous movies of the last fifty decades, include 'Alice In Wonderland', 'Edward Scissor Hands' and 'Big Fish'. Burton's preoccupations are prominent in all previously mentioned films.

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,

The commercial auteur theory supports the idea that the author is what a person has cultivated to represent themselves. Catherine Grant, the writer of www.auteur.com, calls this cultivation of an intentional self an “aura.” She presents the idea that the creation of an aura is central to the success of one’s commercialism. This creation will result in a sort of “cult” following that will find the author’s work to be a commodity. This cult will begin to seek after certain films just because it was created by this author. This author does not have to be a director. He or she could be an actor or anyone else involved in the filmmaking process. This theory definitely fits the career of Walt

The auteur theory states that a film expresses the individual characteristics and styles of a director, as noted with David Cronenberg’s films. Burton always brings a certain type of dark quirkiness to the films he is a part of (whether he is directing, screenwriting or producing). According to Tim Burton’s biography from Biography.com, he was a fan of Roger Corman’s classic horror films.

The term Auteur seems to bless a privileged group of filmmakers with an almost messiah-like legacy. Men such as Alfred Hitchcock, John Ford and Fritz Lange are believed to inhabit the ranks of the cinematic elite, and not surprisingly most critics are more than willing to bestow upon them the title of Auteur. By regarding filmmaking as yet another form of art, Auteur theory stipulates that a film is the direct result of its director's genius. With the emerging prominence of auteur based criticism in the 1950?s, the role of the director became increasingly integral to a film's success. However most would argue that this form of criticism didn't reach its apex until 1960s, when Andrew Sarris released his

Many people may have a specific style in which they like to dress. A woman might have a signature lipstick she enjoys wearing, a man might have a distinct cologne that stands out from the rest. Movies are not too far apart in comparison. Sometimes people find films more enjoyable than others, and often do not realize they come from the same director. The Auteur theory is a that defines the director as the sole author of the entire film, adding his or her own personal style. When it comes to the world of animation, director Hayao Miyazaki is a pioneer in auteur. His specific directorial style is seen in many of his films in which he manages to make films enjoyable to adults of all ages. Kiki's Delivery Service was one of director Miyazaki's

“When people ask me if I went to film school, I tell them, 'no, I went to films” - Quentin Tarantino These are the words of filmmaker, Quentin Tarantino. Tarantino is one of the most influential directors of our generation: a winner of two academy awards, who’s been praised for his original style, pop culture, and pushing the envelope for films to come.

Auteur Theory is based on three premises, the first being technique, the second being personal style, and the third being interior meaning. Furthermore, there is no specific order in which these three aspects must be presented or weighted with regard to a film. An Auteur must give films a distinctive quality thus exerting a personal creative vision and interjecting it into the his or her films.

The intention of this essay is to discuss the romantic notion of a film director who has etched their own cinematic vision into the body of their film work, and whether the theory and practice is dead and an infringement of the spectator’s imagination and is it the spectator who finds meaning in the film. I will be closely looking at critical material, primarily André Bazin and Roland Barthes and applying them to several case study films directed by Christopher Nolan including The Following (1998), The Prestige (2006) and Inception (2010), to examine whether Nolan possesses the qualities of an auteur and if so, does that imply an ideological view of what the auteur resembles or an artistic one.