Auteurism

And to Melville, the fate of the gangster-movie hero is inseparable from his style or his morality: it's part of the form he occupies, just as his Cadillac and his chivalrous manners are. A man has no choice; if he's in a gangster picture, he looks at certain way, behaves a certain way, and dies a certain way. Genre is destiny-and ethics. In fact, Melville's lms express a philosophy that only a Frenchman could have dreamed up-and only a movie-mad Frenchman at that: it's genre existentialism. ()(1) I believe that you must be madly in love with cinema to create lms. You also need a huge cinematic baggage. () (2) Jean-Pierre Melville's highly in uential and playful 1955 gangster lm, Bob le ambeur, contains a scene in which the central protagonist, Bob Montagne, a nocturnal, worldly gambler and intermittent criminal, returns home to his apartment some time just after dawn. Earlier in the lm it has been established that a young woman has become somewhat smitten by Bob and that he also has a protégé who attempts to copy his actions, attitudes and tastes; actions and occurrences characteristic of Melville's 'world' which is full of sincere copies, templates, pared-back archetypes, silhouettes and seeming 'cut-out' patterns. On entering his apartment Bob glimpses the young woman and man asleep together in bed. In most lms this would be cause for a dramatically charged

Abstract: The increasing visibility of independent films during the 1990s and early 2000s has led some critics to announce the rebirth of alternative cinema. As a prominent member of this' new wave'of directors, Wes Anderson's work is analysed in this dissertation as an ...

O Sétimo Selo, Gritos e Sussurros e Sonata de Outono, três importantes obras do cineasta sueco Ingmar Bergman, oferecem, respectivamente, a religião, a doença e a família como objetos de estudo, uma vez que são os principais condutores da narrativa de cada filme. Pretende-se vincular os acontecimentos de cada enredo a seus elementos norteadores por meio de um estudo teórico e da desagregação e remontagem de fragmentos técnicos (fotografia, cenário e roteiro) em cada obra. A investigação do conhecimento acadêmico já produzido auxilia na contextualização do universo de Bergman, enquanto a separação e a junção dos elementos técnicos originam interpretações singulares que estendem o conhecimento sobre este recorte do universo cinematográfico. Por ser uma pesquisa crítica, ela não visa a produzir teorias que se aplicam a toda a extensão de uma área do conhecimento (como o cinema), mas a desenvolver interpretações sobre uma delimitação de um tema abrangente.

Auteur yönetmen kavramı, 1950’li yıllar da Cahiers du Cinema Dergisi yazarları tarafından gündeme getirilmiştir. Derginin bünyesinde Bazin, Truffaut, Godard gibi ünlü sinema yazarları bulunmaktaydı.
Kişiselliğini filme aktarabilmiş, kendi öyküsünü yaratabilen, filmleri arasında temasal bütünlükler oluşturabilmiş, özgünlük ve yaratıcılığı ile üst seviyeye çıkmış ve filme kendi damgasını vurabilmiş yönetmenler, auteur olarak değerlendirilir.
Auteur eleştirmen, filmin sanatsal niteliklerinden ziyade, yönetmenin kişiselliği bağlamında filmlerini inceler. Yönetmenin kişisel üslubuna ulaşmayı ve deşifre etmeyi amaçlar.
Çağan Irmak, filmleri arasında temasal bütünlük oluşturabilmiş, kendi öyküsünü yaratabilen bir yönetmendir. Özgünlük ve yaratıcılığı üst seviyededir. Sinemanın teknik olanaklarıyla, kendi öykü anlatım tarzını oluşturabilmiş birisidir. Bu nedenle Çağan Irmak, Türk Sineması’nın auteur yönetmenlerindendir.

Auteur theory was introduced by the writers of Cahiers du Cinema magazine in the 1950s. Famous film critics such as Bazin, Truffaut and Godard were among the writers of the magazine.
The directors who can reflect their personal creative visions, write their own stories, establish thematic integrity between their films, leave their mark on the film and have high level of authenticity and creativity are appreciated as auteurs.
The auteur critic analyzes the film within the context of the director’s personal view rather than the artistic quality of the film. He/she aims to reach and decipher the personal style of the director.
Çağan Irmak was able to establish thematic integrity between his films and create his stories as a director. He has a high level of authenticity and creativity. He has paved his own way of storytelling with the technical facilities of filmmaking. For this reason, Çağan Irmak is one of the auters of Turkish cinema.

Nel 1985 Federico Fellini si liberava dell'ossessione della memoria di un viaggio fatto nello Yucatan con lo scrittore Andrea De Carlo e l'antropologo-esoterico Carlo Castaneda, scrivendo (con Tullio Pinelli) il soggetto del "Viaggio a Tulun", che sarà pubblicato a puntate sul «Corriere della sera» nel 1986. Le matite di Milo Manara trasformeranno il soggetto che non poteva diventare un film in un fumetto sceneggiato dallo stesso regista riminese. Dapprima pubblicato a puntate sulla rivista «Corto Maltese», il fumetto di Fellini e Manara, "Viaggio a Tulum, da un soggetto di Federico Fellini, per un film da fare", ebbe un grande successo sancito dalle numerose edizioni che seguirono. "Approdo a Tulum. Le Neverland a fumetti di Fellini e Manara" è il saggio che intende analizzare il denominatore comune che ha legato i due artisti. Il testo ricostruisce, con attenzione alla storia e al costume, il rapporto che Fellini ebbe con il fumetto, da quando, prima di divenire regista, fu autore di vignette e storielle su periodici satirici, fino all'incontro fatale con il disegnatore Manara, la cui carriera attraversa un pezzo significativo di storia del fumetto italiano, anche questa ricostruita per il lettore con accurata dovizia.

The present thesis consists of an investigation concerning auteurism, as a critical practice, scrutinizing two Coen Brothers' films, The Big Lebowski (1998) and No Country for Old Men (2007), as objects of study. Auteurism is reviewed over the years, from the period prior to Cahiers du Cinéma to its takeover and undertaking during the 1950s in France; auteur criticism is also analyzed in the U.S. and in the U.K. An overview and focused features are rendered by critics and theoreticians who formulated, defended, and attacked this critical approach, it also questions what an auteur is. The following chapters aim at analyzing the two films abovementioned by the Coens, its characters and shot analyses, using auteurist perspectives allied to other theoretical standpoints, such as poststructuralism and intertextuality; therefore, the notions of "work," "text," and "author" are studied under the essays by Roland Barthes, Michel Foucault and Julia Kristeva. Moreover, adaptation is also tackled, acknowledged as both a process and a product, by Linda Hutcheon.

A Tale of Two Trilogies offers in-depth and wide-ranging analysis of the (then) two Star Wars trilogies in order to determine the validity of competing conceptions of film authorship. To wit: Can films be said to be the brainchild of a single overriding author (i.e., auteur theory), or are films more properly products of the time and place in which they are made (not to mention the larger teams/ensembles that contribute significantly and substantially to their conception, creation, and dissemination).

I propose that the Original Trilogy and the Prequel Trilogy – conceived, developed, produced, and distributed over three decades – are too aesthetically, narratively, and thematically incongruent to function as parts of a coherent whole. The two trilogies should, therefore, be decoupled and evaluated as separate texts. Perpetuating the precept of a preexisting, all-encompassing blueprint – with Lucas as omniscient architect – obfuscates a more accurate (and interesting) engagement with these films as products of the discrete time and place contexts in which they were created, and as multiauthored by collaborators participating in and informing the protracted and painstaking process of their development and production. Consequently, how do different multi-/pan-generational audience formations extrapolate, infer, and map meaning from the results? As the only extant film series curated by the selfsame artist/overlord within/across disparate epochs, the Star Wars trilogies represent a unique opportunity to evaluate a “single” “self-contained” film text diachronically, and ascertain the impact of the divergent cultural contexts in which it was created.

Sacha Guitry, during his long career in both theater and in cinema, made a point of being considered first of all as an "auteur" and after as screenwriter, director, actor and producer. Despite this preoccupation, Guitry always recognized the importance of the other "creator-actors" and technicians responsible for his multiple film works. His very personal cinematic creativity was often used to "write" filimic books. He is the author of those books, and simultaneously the main narrator, the protagonist and director, chaning role during the movie itself, thereby revealing the creative process. guitry exposes his own ego, hos vision of the world and of existence, dealing with historical, wordly and intimate topics. He controls the technical resources available with genius and adapts them to meet his own needs in the making of his movies. All these qualities make him a total auteur, wihc began to be recognized only at the end of his life.

A Presentation by Catherine Grant (University of Sussex) at the " Latin American Women Filmmakers on the Global Stage" Symposium, University of Portsmouth on May 10th, 2013

ABSTRACT:
“The name of Lita Stantic as producer has become a guarantee of truly important cinema.”
[B. Ruby Rich, Rencontres internationales de cinéma à Paris, Nov 7 – 17, 2002]

Auteurs are usually the “standout” figures in film studies and much contemporary film cultural discourse. Lita Stantic is, therefore, a very rare example of a standout producer (like Darryl F. Zanuck or Jerry Bruckheimer, say). Indeed, she is even rarer given her position as a female “indy producer” (like Christine Vachon, say, another woman whose reputation transcended a cinema movement and individual directors with which or whom she was associated). My presentation explores in detail how this rare cultural salience came about. It focuses particularly on the following three aspects of Stantic’s career:

1. The fact that she was known as a female, Argentine, “women’s producer” (if not exclusively) during and after international second-wave feminism as well as a "survivor" of the dictatorship at a time of cultural reflection on that period;
2. The national and, especially, international success of her produced films, and her career longevity, both characterised by an ability to adapt to evolving art cinema circumstances (such as “investing” in the “right auteurs” at the "right time");
3. Finally, the fact that she was an "opera prima film auteur" herself, and thus engaged in the re-articulatory signatorial practices of auteurism as much as any of the other directors whose films she has produced (including Bemberg, Martel, and Trapero).

Through the cinematic experience of heritage films' historical reconstitutions, audiences may acquire a vivid cultural memory of prior eras, where the powerful corporeal effect of the cinematographic language stimulates a lived sensation of the past. Yet the recreations of heritage cinema are, at times, refracted through the lens of auteurism, impacting the historical realism and effect of authenticity and in the case of adaptations transforming the original source text. This article considers key French heritage films to depict the July Monarchy in France, investigating how different auteurs influence the films' sensual audiovisual recreations and consequently spectators' filmic experience. Former new wave auteur Claude Chabrol's adaptation Madame Bovary (1991) and its recreation of 1830-1840s France is compared and contrasted with later-generation auteur Jean-Paul Rappeneau's Le Hussard sur le toit/The Horseman on the Roof (1995) and younger-generation auteur Catherine Breillat's Une vieille maîtresse/The Last Mistress (2007), exploring history via their unique authorial aesthetics and ideologies. The depiction of (semi-)fictional historical figures during events of the July Monarchy is analysed, in the films' portraits of past landscapes, focusing on the intimate settings of courtship, weddings, marriage, and adultery during the reign of Louis Philippe I. The article examines the adaptation of Chabrol's vision of Gustave Flaubert's canonical 1857 work, together with Rappeneau's interpretation of Jean Giono's 1951 novel and Breillat's recreation of Barbey d'Aurevilly's 1851 text. It explores the cinematic cultural memory of the past potentially acquired by spectators through the embodied experience of each auteur's powerful heritage adaptation.

Personaggio misterioso e controverso, autore di una produzione filmica eterogenea e insieme coerente, Kenneth Anger è fautore di una visione personalissima del mezzo cinematografico e della rappresentazione audiovisiva. Anger è senz'altro il regista della sua generazione che, con la propria opera e la propria personalità, ha favorito meglio di altri la percezione del cinema underground come linguaggio oscuro, emotivo e fuori dagli schemi, nonché ha costruito con sapienza la figura dell'artista visionario e maudit.

We live in global times where, at once, we enable the world to grow closer and become more unified, and are still separated through our ingrained fear of The Other; of movements and people different from ourselves. The current COVID-19 pandemic forces us to open our eyes to the potential and capacity of citizens of nations other than our own. In dire times this disconcerting new era has taught us to welcome a new world order. It highlights the need to think outside the box, welcoming different views and perspectives that, ultimately, prove beneficial to the collective ̶ across the board. In honour of Fellini on the 100th anniversary of his birth, this paper makes a sweeping comparison between our diverse society today and the bold and absurdist cinema of the post-neorealist filmmaker. Contextualising his cinema within an auteurist framework, we highlight how ground-breaking Fellini was in embracing the unconventional throughout his repertoire and argue that by analysing his films psychosocially we learn more about the world we live in, then and now, and learn to accept differences at a time when we must consider a range of types and individuals forces to be reckoned with. With films that stir, seduce and impress viewers worldwide, Fellini defied cinematic traditions and experimented with overlapping narrative styles. His films open our eyes to a new way of thinking and present us a world that steps away from the norm ̶ just like we now face a normality that is anything but normal.

In 1992, the year David Lynch’s cult television series Twin Peaks was pulled off air, Lynch released the film Twin Peaks: Fire Walk with Me, a prequel to the television series which filled in some of the gaps left from the series finale cliff-hanger. The film was received with unanimously negative reviews from critics and fans alike, condemning both its subtle and obvious deviations from the series and its inclusion of the character Laura Palmer, whose absence was a crucial narrative device at the centre of Twin Peaks. In film form, the Twin Peaks narrative suffers from thematic inconsistencies and aesthetic deviations. The scope of Twin Peaks seems much more capable in the setting of television and its gradual, episodic set-up. In recent years, however, with the announcement of a revival of the series, retrospective analysis of Fire Walk with Me has become more positive, and the film has also become an integral part of the overall Twin Peaks canon. Nevertheless, the transition from television to film in the case of Twin Peaks has remained a point of fan and scholarly controversy, with issues of continuity, narrative and aesthetics between the two different mediums continually being addressed and compared. In light of the news that the new season of Twin Peaks is set to be released in 2017, this article examines the significance of Fire Walk with Me as a cinematic counterpart and prequel to the original series, and how this has helped shape – whether positively or not – the overall narrative of Twin Peaks.

One thing that has never been discussed regarding cinematic auteurism is the film critic as auteur. But look back closely. Just as the "camera-pen" became a new medium for expressing artistic authenticity in Alexander Astruc's view, so the real pen played the same role for him as critic. Denouncing Dad's cinema as dead, François Truffaut not only consecrated original directors but also signaled the birth of a fresh, trenchant, passionate criticism by the son's generation. It only became wittier, more erudite and idiosyncratic in Jean-Luc Godard's hand. La politique des auteurs proposed by these Young Turks to advocate film authorship could also apply to themselves. They were literally authors, each of them leaving a palpable signature of their own perspective and style between the lines. Their writing made them writers.

© 2015 James Lashbrooke, Liverpool John Moores University

This paper discusses the issues concerning the pre-modern conceptualisation of authorship within its modern contexts in order to assess whether the term "auteur" is still applicable within popular music. This will be achieved by approaching issues such as creativity, originality, and genius in order to determine its validity. A considerable amount of debate within this paper will centre on the structuralist and post-structuralist debate when considering the theoretical approaches to the notions of creativity, originality, and genius within authorship and auteur theory.

In the fertile ground between cinema and video games, Hideo Kojima’s Metal Gear Solid saga stands out for its auteur’s clear tendency to use film language and aesthetics and for his evident inspiration from pop culture and the American cinematic tradition. Moreover, the series is rich in quotations meant to pay tribute to cinema and communicate with movie-cultured players intertextually. With regard to the process of localization, auteurist references to film culture represent a constraint for translators rendering Kojima’s game into different languages for a Metal Gear Solid-educated audience. This paper presents a comparative analysis of some film quotations in their English into Italian and Spanish localizations of Kojima’s Metal Gear Solid series in order to demonstrate the importance of loyalty to the game experience as a whole within a translational-cultural approach to localization.

Precipitated by advancing technology, the globally networked information society appears to be either clarifying or redefining what authorship means across fields of inquiry. The recent massive shift toward multiple authorship in the scientific literature, coupled with high-profile cases of abuse, has occasioned considerable effort to codify and standardize authorship norms in scientific journals, which has culminated in a high-level movement to completely redefine the concept of authorship for both empirical and theoretical research. Since it also goes without saying that the very concept of the author’s autonomy and authority has been under increasing scrutiny since the advent of poststructuralist philosophy, the current state of affairs thus provides an excellent opportunity for an interdisciplinary examination of the contributions of agents such as translators and revisers

This book can be a good resource for anybody who teaches contemporary cinema//European cinema and cultural studies//Eastern European cinema and cultural studies//Romanian cinema//film auteurs.

http://www.press.uillinois.edu/books/catalog/65srs4wx9780252040764.html

This article explores the dynamics of the 'spectre' or 'spectral body' of the auteurist figure of Agnès Varda, as a means of discussing the ethical practices of mourning and memorial in two of Varda's recent moving image works. It further elaborates on the motifs of 'spectral bodies' and 'temporalised spaces' to negotiate memorial practices between and across film viewing, filmmaking and the filmmaker. It does so using two interrelated projects by Varda; one in the realm of the plastic arts (her exhibition of 2006 entitled L'Île et elle, with a particular focus on the installation Les Veuves de Noirmoutier (The Widows of Noirmoutier, 2005) and the other in film format for cinema distribution, her most recent film, Les Plages D'Agnès (The Beaches of Agnès, 2008). Drawing upon Jacques Derrida's notion of the spectral return, or revenant, specifically in audiovisual media, I examine the processes of spectral embodiment and motile mourning at work in these autobiographical projects. The article concludes by reflecting upon the ethical possibilities of productive nostalgia and repetitive mourning, and how these gestures and sites of longing and bereavement offer an open and ludic space for shared flows and communities of affect and memory between filmmakers, artworks and audiences. Résumé: Cet article explore la dynamique du 'spectre' ou du 'corps spectral' chez la réalisatrice Agnès Varda dans le cadre d'une réflexion sur les pratiques éthiques du deuil et du souvenir dans deux de ses récentes productions. Il creuse aussi les deux motifs du 'corps spectral' et de l''espace temporalisé' pour analyser le fonctionnement de la mémoire entre (et à travers) visionnement, réalisation et personnalité de l'auteur. Pour ce faire, il s'appuie sur deux projets de Varda qui sont intimement liés: un projet dans le domaine des arts plastiques (une exposition de 2006, L'Île et elle, dans laquelle on mettra l'accent sur l'installation Les Veuves de Noirmoutier, 2005), et un projet diffusé de manière plus classique dans les salles de cinéma (son dernier film, Les Plages D'Agnès, 2008). Je m'inspire de Jacques Derrida et de son concept de retour du spectre (ou du revenant), plus spécifiquement dans les médias visuels, pour examiner comment le spectre prend forme et corps et quel type de deuil est à l'oeuvre Image & Narrative, Vol 12, No2 (2011) 32 dans ces projets autobiographiques. L'article se termine par une réflexion sur les possibilités éthiques de la nostalgie productrice et du deuil répété, ainsi que sur la manière dont les gestes et lieux de la perte et de la nostalgie créent de nouveaux espaces, à la fois ouverts et ludiques, où des flux et des communautés d'affects et de souvenirs entre réalisateurs, oeuvres et spectateurs peuvent voir le jour.

Jane Campion is one of the most celebrated auteurs of modern cinema and was the first female director to be awarded the prestigious Palme d'Or. Throughout her relatively short career, Campion has received extraordinary attention from the media and scholars alike and has provoked fierce debates on issues such as feminism; colonialism; and nationalism. In the first detailed account of Jane Campion's career as a filmaker, Deb Verhoeven examines specifically how contemporary film directors fashion themselves as auteurs - through their personal interactions with the media, in their choice of projects, in their emphasis on particular filmmaking techniques and finally in the promotion of their films Through analysis of key scenes from Campion's films, such as The Piano; in the Cut; Sweetie; An Angel at My Table; and Holy Smoke, Deb Verhoeven introduces students to the key debates surrounding this controversial and often experimental director. Featuring a career overview, a filmography, scene by scene analysis and an extended interview with Campion on her approach to creativity, this is a great introduction to one of the most important directors of contemporary cinema.