Is there an issue? Send a MessageReason:
None
Changed line(s) 6,11 (click to see context) from:
To begin with, there's the word, "auteur", French for "author". The beginning of the movement is an innocuous enough article in the famous French cultural journal ''Cahiers du Cinéma'' titled ''Une certaine tendance du cinéma français'', which translates as "A Certain Tendency of French Cinema". The article was written by none other than Creator/FrancoisTruffaut, and as its name suggests, its original context was specific to French cinema in the '50s. At the time, the general claim against cinema being TrueArt was that it was "art by committee" and lacked the individual expression of writers, poets, {{painters}}, musicians, and architects to their mediums. The movies that had cultural cachet then were the French version of OscarBait -- films with prestigious literary pedigree, which the ''Cahiers'' critics noted were often flat as cinema, with little creativity in-camera and editing technique compared to, say, a film by Creator/AlfredHitchcock which abounded with invention.
Truffaut argued in favor of directors like the independent (for France, that is) Robert Bresson, who were driven by their strong identification with the material and shaped a film in the same way that authors shaped books.
He and his friends argued that the director was the chief visionary of the film, and any good or great film was a matter of how the director expressed his style or personality on a film through their choice of camera set-ups, compositions, editing strategy, and direction of actors. This is the Auteur Theory.
Truffaut argued in favor of directors like the independent (for France, that is) Robert Bresson, who were driven by their strong identification with the material and shaped a film in the same way that authors shaped books.
He and his friends argued that the director was the chief visionary of the film, and any good or great film was a matter of how the director expressed his style or personality on a film through their choice of camera set-ups, compositions, editing strategy, and direction of actors. This is the Auteur Theory.
to:
To begin with, there's the word, "auteur", French for "author". The beginning of the movement is an innocuous enough article in the famous French cultural journal ''Cahiers du Cinéma'' titled ''Une certaine tendance du cinéma français'', which translates as "A Certain Tendency of French Cinema". The article was written by none other than Creator/FrancoisTruffaut, and as its name suggests, its original context was specific to French cinema in the '50s.The50s. At the time, the general claim against cinema being TrueArt was that it was "art by committee" and lacked the individual expression of writers, poets, {{painters}}, musicians, and architects to their mediums. The movies that had cultural cachet then were the French version of OscarBait -- films with prestigious literary pedigree, which the ''Cahiers'' critics noted were often flat as cinema, with little creativity in-camera and editing technique compared to, say, a film by Creator/AlfredHitchcock which abounded with invention.
Truffaut argued in favor of directors like the independent (for France, that is) Robert Bresson, who were driven by their strong identification with the material and shaped a film in the same way that authors shaped books. \n\n He and his friends of the MediaNotes/FrenchNewWave argued that the director was the chief visionary of the film, and any good or great film was a matter of how the director expressed his style or personality on a film through their choice of camera set-ups, compositions, editing strategy, and direction of actors. This is the Auteur Theory.
Truffaut argued in favor of directors like the independent (for France, that is) Robert Bresson, who were driven by their strong identification with the material and shaped a film in the same way that authors shaped books.
