Auteur Essay

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

but instead being made specifically for festivals (Staples). Traffaut wanted something to be done to fix this, and soon he created the auteur theory. Auteur Theory is the theory that the auteur, French for author, is the person that brings a film to life and uses the film to express their thoughts and feelings about the subject matter. The theory is that the auteur of a film would be a film’s director. The director can use sound, lighting, camerawork, mise-en-scene and editing to create their vision

screenwriter, and producer who is considered an auteur. He has been a part of countless unforgettable films such as Beetlejuice (1988), Edward Scissorhands (1990), The Nightmare Before Christmas (1993), Charlie and the Chocolate Factory (2005), Corpse Bride (2005), and Alice in Wonderland (2010). Most of these films incorporate Burton’s fascination with the frightening/dark and unconventional stories. There are common elements he reuses in many of his films. The auteur theory states that a film expresses the

Tim Burton: An anomalistic auteur In the study of media such as film and television, the existence of an auteur, or the media artist comes into question through the auteur theory. The auteur theory was first developed in France by the concept of Alexandre Astruc’s “camera-stylo” concept of film and later achieving recognition in America through Andrew Sarris, an American film critic. The theory holds true the belief that it is “…the director, who oversees all audio and visual elements of the motion

theory of authorship as applied to film directors is a subject that is argued extensively throughout the film world. The auteur theory was first introduced in the French film journal Cahiers du Cinema. Andrew Sarris who suggested that there are a group of filmmakers who fit into this category brought the theory to America. It states that in order for a director to be considered an auteur, there must be a consistency of style and theme across a number of films. Very few contemporary filmmakers fit into

For our final project, we interpreted the filmmaking works of Martin Scorsese. Our interest in doing Scorsese is reflective of how influential he has been as a longstanding filmmaker and innovator in the industry. Considering Scorsese’s filmography is quite large, we decided to narrow down what aspects of his films are to most prominent. With this in mind, we decided to drive most of our focus on his 1990’s crime drama GoodFellas, while incorporating similar elements from his other works such as

The French New Wave was a style of film used during the 1950s through the mid 1960s by French directors such as Francois Truffaut and Jean-Luc Godard. During the French New Wave, directors used an independent style of filmmaking called cinéma-vérité to portray a very realistic outlook on the lives of people who were living in France during the era of the New French Wave. In Francois Truffaut’s The 400 Blows, we see right away in the opening scene a prime example of cinéma-vérité. The opening scene

For my Analytic Project, I would like to examine how Alain Resnais’ directorial skills helped create a certain ‘mise-en- scene’ to helped depict certain themes alive in the film. A French/ Italian play screen written by Alain Robbe-Grillet about an unconventional French drama, a group of unnamed aristocrats interact at a palatial château, resulting in an enigmatic tale told partially in flashback. X is convinced that he has met the beautiful A before in the Czech resort town of Marienbad, and implies

offering layered characters and perplexing situations which gives sense and is very relatable to the people's world .Comical, flamboyant and often very controversial; their multiple films mark a remarkable transition from the classic style to the auteur cinema of today. The corporation of English director Powell and Hungarian writer Pressburger was one of the most significant events in the history of British cinema. They created a body of movies notable for their

Spielberg: Postmodern Auteur and Constructor In a 1977 interview with Steven Spielberg, the young filmmaker mused, “I think in a way I’m two different people; my instincts always commandeer my sensibilities, or my intellect is always beaten down by my instincts” (36). Spielberg’s prognosis is accurate – Spielberg’s creative instincts and business sensibilities balance each other, laying the foreground for his present prominence as both a postmodern constructor and postmodern auteur. 40 years later, today