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The Independence Of Meta Cinema And Authorship

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Chapter 2

This chapter will examine the independence of meta-cinema and authorship. As Valck and Hagener stated in An Introduction to Cinephilia, auteurisim - a cinematic practice set up due to the prominence of the film director - emerges from passionate attendance and critiques on films in Cahiers du Cin?ma, and further aims to cultivate cinematic literacy among the audience (Valck and Hagener, 1999). Thus, auteurist concerns can be summarised as appealing to the articulation and reception of filmmakers? self-reflexivity. David Bordwell has indicated in his analysis on European art cinema that the stress of authorship covers the distinct style of art cinema practices (Bordwell, 1979). In his essay, representative art films are introduced as models conveying authorial marks, among which are Day for Night (La Nuit Am?ricaine, Truffaut, 1973) and 8 ? (Fellini, 1963). In order to demonstrate this, I will take in this chapter these two films together with Tout Va Bien (Godard and Gorin, 1972) as illustration. Determined by Bordwell as adversary to art cinema, the third reflexive work balances the discussion on the projection of auteurism in meta-cinema as an interrogating approach. All examples reflect the process of filmmaking and embody or question the auteurist concerns on directors? individuality and the uniqueness of cinema as an art. These concerns have been stated in film critiques and have embraced post-war European cinema. First coined by Fran?ois Truffaut as
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