Quentin Tarantino Auteur Theory

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

Quentin Tarantino’s movies are best known for their disjointed narratives and romanticized depictions of violence. Django Unchained is no exception. However, Django Unchained does provide an interesting example of how thoughtful approaches to diegetic and non-diegetic sounds, the narrative frame, and a character’s point of view can keep an audience interested for over 2 hours of runtime.

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.

In the film industry, there are directors who merely take someone else’s vision and express it in their own way on film, then there are those who take their own visions and use any means necessary to express their visions on film. The latter of these two types of directors are called auteurs. Not only do auteurs write the scripts from elements that they know and love in life, but they direct, produce, and sometimes act in their films as well. Three prime examples of these auteurs are: Kevin Smith, Spike Lee and Alfred Hitchcock.

Alfred Hitchcock is widely regarded as a prime example of an auteur, a theory that emerged in the 1950s by Truffaut, in the ‘politique des auteurs’ of Cahiers du Cinema (Tudor 121). The auteur theory, as defined by Andrew Tudor, is premised on the assumption that “any director creates his films on the basis of a central structure”(140) and thus, if you consider their films in relation to each other, commonalities can be found within them. These commonalities work to demonstrate the view of the director as “the true creator of the film” (Tudor 122). Evidence of an auteur can be found in examining a director’s creative tendencies, in their distinctive themes and motifs, stylistic choices,

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

Pulp Fiction by Quinton Tarantino falls into the genre of a Gangster film but has elements of other genres as well like Film Noir and Black Comedy. Pulp Fiction has a balance of drama and comedy along with hard to watch scenes like rape, violence, gore and heavy drug use. Tarantino’s style of movie making help make Pulp Fiction the classic it is today. The mise-en-scene, cinematography and other elements of movie, including sound effects and round characters leave us intrigued as well as content with the story structure as well as its ending.

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 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

Blood, gore, and a lot of language; you will find this is most Quentin Tarantino movies. Although, this is what makes him such a writer and director. Quentin Tarantino is not only a fantastic screenplay writer, but he also pushes the limit of intense plots of drama, and mostly violence. As a great director, who changes the world of filmmaking, Quentin Tarantino is one of the most unique directors/writers, today.

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.

something that is ‘real’ as such. Another example can be observed in the blatant display of selfreflexivity when Mia makes eye contact with the camera and “draws” a square with her finger.