The Assembly Line

Decent Essays
Bazin, Sarris, Kael, and Corrigan all have differing opinions on auteur theory, but the common thread is the commercialization of film (and director). I found the studios coopting Fords model of the assembly line the perfect catalyst for auteur theory. The assembly line style of filmmaking doesn’t seem to inspire the ideal of the creation of art. The assembly line (by its nature) requires collaboration and the classic image of the artist is that of an individual. A lone writer or painter struggles for inspiration and the discovery of new means of perception. One person’s view of the world: their own themes, voice, and style.
An assembly line can’t produce with a lone artist manning each station. It requires collaboration. The assembly line conjures a different image of the arts, a working-class factory floor laid out for efficiency, one where each step is repeated the
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It appeals to the audience’s desire for familiarity. To know that their choice of film will provide them with the expected entertainment. But what if your goal isn’t to recreate the same spark, but to forge ahead and always strive to create something new?
While, “the Cohens make no distinction between art and entertainment” (?????), the critic certainty does. So, if films are assembled by committee, who is the real artist?
To answer this question critics created auteur theory. A response not only to the commercial elements of film, but a response to form of art built by a community. I wonder if the transition from the individual to collective is too large of leap in the conversation of the artist. That auteur theory is (partially) in response to the classical idea of the lone artist. If it is easier to disregard the writer and actors as masons and electricians, toiling in construction, in pursuit of a single architects view of a building. The director is king, simply because he is an
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