The Independence Of Meta Cinema And Authorship

It has been argued that the German expressionist movement has had an influence on many later filmmakers and genres. I agree with this argument and in this essay I will be explaining why I believe this to be the case by discussing the common traits of expressionism and applying them to later films and genres.

An auteur director is viewed as prime mover in creative filmmaking, whose work is considered to have a distinctive style and innovative. Wes Anderson exemplifies the concept of auteurism due to his personal influence, and artistic control in his movies. His films feature a continuity of technical aspects with similar themes of familial drama and disgruntlement. From his well-composed mise en scene to classic pan shots, his style has surely become an acclaimed signature. The Grand Budapest Hotel, The Darjeeling Limited, and The Royal Tenenbaums are chosen from Anderson’s filmography to show that the use of these features has remained constant since his earliest work.

Article Three – Author: David Bordwell / Title of Article: The Art Cinema as a Mode of Film

In Jean-Louis Comolli and Jean Narboni’s essay “Cinema/Ideology/Criticism,” they put forward the central argument that film is a commercial product in the capitalist system and therefore also the unconscious instrument of the dominant ideology which produces it. In opposition to the classic film theory that applauds camera as an impartial device to reproduce reality, they argue that what the camera reproduces is merely a refraction of the prevailing ideology. Therefore, the primary and political task for filmmakers is to disrupt this replication of the world as self-evident and the function of film criticism is to identify and evaluate that politics. Comolli and Narboni then suggest seven categories of films confronting ideology in different ways, among which the second category resists the prevailing ideology on two levels. Films of this group not only overtly deal with political contents in order to “attack their ideological assimilation” (Comolli and Narboni 483), but also achieve their goal through breaking down the conventional way of depicting reality.

“A true film auteur is someone who brings something genuinely personal to his subject, instead of producing something tasteful, accurate but lifeless rendering of the original material,” a quote by Francois Truffaut. Auteur Theory was bold and risky for Francois Truffaut and Orson Welles to carry out throughout their film, but doing so led to having a wider audience and creating impressive memorial films. This New Wave of cinema had inspired many film makers to go outside the box and has led to the creation of idolizing films. An example would be Tim Burton, who has created many loved fantasy films from his unique out-there approach to directing. Auteur Theory has really shown us the importance of creating subjects of work that really reflect

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

The essay film, as contextualized in this course by Agnès Varda and Ross McElwee, has been defined by many traits, perhaps most notable in the physical presence of said directors in their films; at times on screen, at times in voiceovers, sometimes a combination of thereof. Over the span of several class meetings, this particular trait (the film maker’s presence a la Varda and McElwee) and its implications became the epicenter of most discussions, as well as the assumed baseline by which other directors would be critiqued. In this paper, the argument advanced is that by the standard(s) that emerged from the class’ discussions and evaluations of the aforementioned directors, Errol Morris—specifically in his films The Thin Blue Line and The Fog of War—technically is not an essayistic film maker. However, this stance also states that Morris is a film-essayist by other means, in that Morris simply implements Laura Rascaroli’s thoughts on reflectivity and subjectivity in a form dissimilar to Varda and McElwee.

In Notes on the Auteur Theory (1962), film critic Andrew Sarris formalised auteurs theory by explaining the auteur, the main creative force behind a film, must consistently demonstrate three premises: technical competence, personal style and interior meaning (Sarris, 1962). Wes Anderson accomplishes all of these criterions of value. Each of his films, which are inspired by personal experiences, are concerned with triggering nostalgia through “...common themes of childhood, adolescence, maturity, desire, friendship, male bonding...”, the trappings of wealth/luxury and familial dysfunction (Dilley, 2017, pp16). As such, by analysing key scenes from throughout Anderson’s oeuvre of work, one can see how Anderson’s auteur status is justified. For the purpose of remaining succinct, key scenes will be drawn from only Rushmore (1998),

She asked why not judge a film on its own merit? This spat began a culture war with two seemingly opposed camps ‘Sarrisite Or Paulette’ that continues today. Implications of auteur theory can be seen in modern films, for example, Fans of the Star Wars trilogy will attest that the first trilogy is superior to the second because it offered a more balanced input from different directors, George Lucas directed A New Hope (1977) but the second a third films in the trilogy were directed by Irvin Kershner and Richard Marquand respectively The second trilogy was too lucas-y. Sarris finished his essay by saying " At this late date I am prepared to concede that auteurism is and always has been more a tendency than a theory, more a mystique than a methodology, more an editorial policy than an aesthetic procedure… ”(Sarris, A.

After WW1 the Great Depression had a very late impact on the major film companies in France, when it did, it unfortunately caused several film studios to go bankrupt, then in the late 1920’s to 1930’s many small film companies and groups emerged giving birth to the tendency called poetic realism. Because the large companies who made films with a focus on making money were gone the filmmakers and artists were able to concern themselves with the art of film, they often took poetic innovations that we can associate with impressionism or surrealism and combined them to create a more realistic style of narrative filmmaking. Therefore these films stylistic techniques have been influenced by the political and economical historical contexts that took place in France that has enhanced these films aesthetic. The growth of political awareness had then reflected in the films of this time, thus the enormous historical impact that effected France’s films and industry. The question can be asked, how did these social, political and economic issues of France at the time come thought the arts and cinema and start a very impactful thread of films.

This film analysis will delineate the diverse directorial decisions of The French New Wave cinema movement, and how they have been utilised and developed to challenge and subvert the typical Hollywood filmmaking conventions and techniques of the 1950s and 60s Hollywood cinema, in François Truffaut’s The 400 Blows (1959). Hollywood produced films of the time used a very limited variation in film techniques such as camera, acting, mise-en-scene, editing and sound. This can be mainly attributed to the low innovative thought of creative and expressive camera movements, angles, etc… due to technological hindrances. In particular, this film analysis will de-construct the filmmaking elements of the revelatory French New Wave movement in Truffaut’s The 400 Blows ending scene (01:34:42 – 01:39:32) portraying the main character Antoine Doinel’s escape from juvie and trek to the bespoken beach.

Many critics have noticed that Mulvey’s application of psychoanalysis and filmmaking appears in an ironic return to Freud and Jacques Lacan. Mulvey uses the gaze to examine male pleasure in narrative cinema, but Lacan

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.

According to film theorist Thomas Schatz, “a genre approach (to film) provides the most effective means for understanding, analyzing, and appreciating the Hollywood cinema (Schatz vii).” His approach to film is strongly supported by theorist Edward Branigan’s and the narrative representation of character interaction (Branigan), and André Bazin’s arguments that the objective reality pressed against audience interpretation.

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.