Auteurism

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.

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.

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.

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.

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.

© 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.

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

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.

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

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.