History UsefulNotes / TheAuteurTheory

9th Jul '16 1:21:40 AM KingClark
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-> ''"People are incorrect to compare a director to an author. If he's a creator, he's more like an architect. And an architect conceives his plans according to precise circumstances.''

to:

-> ''"People are incorrect to compare a director to an author. If he's a creator, he's more like an architect. And an architect conceives his plans according to precise circumstances.''"''
1st Jul '16 1:35:35 PM Anddrix
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The concept of the "auteur" had a great deal of vogue in the '60s and '70s, where it was used in magazines and the media as a catch-all shorthand of a "serious film-maker" or "great director". In America it was then, and remains in the Internet Age, a real BaseBreaker among movie geeks, because for some, it overestimates the importance of the film's director over his other collaborators, assigning him credit for a film over the writers who, in the majority of instances, come up with the story and characters, the actors who play the roles, the producers who fund the films, and the army of collaborators who play a role in shaping the product. There is, needless to say, much confusion about what "auteurism", or the "auteur theory", means and how its definitions shifted.

to:

The concept of the "auteur" had a great deal of vogue in the '60s and '70s, where it was used in magazines and the media as a catch-all shorthand of a "serious film-maker" or "great director". In America it was then, and remains in the Internet Age, a real BaseBreaker controversial subject among movie geeks, because for some, it overestimates the importance of the film's director over his other collaborators, assigning him credit for a film over the writers who, in the majority of instances, come up with the story and characters, the actors who play the roles, the producers who fund the films, and the army of collaborators who play a role in shaping the product. There is, needless to say, much confusion about what "auteurism", or the "auteur theory", means and how its definitions shifted.
25th Dec '15 4:28:24 PM nombretomado
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This idea didn't spread into the mainstream until the film school students at the time (who knew these concepts), like Creator/MartinScorsese, Creator/FrancisFordCoppola, Creator/StevenSpielberg, and others like Creator/WoodyAllen, became directors in their own right. The culmination of this was the NewHollywood era, also known as "the age of the director", where film directors received ProtectionFromEditors and had celebrity status comparable to the movie stars in front of the camera. On one hand, this produced a creative explosion in American cinema in TheSeventies, with many films frequently cited on "greatest of all time" lists having been made in the '70s by auteur filmmakers. On the other hand, a backlash eventually emerged against the idea, with some believing it enables the PrimaDonnaDirector mindset; expensive flops like ''Film/HeavensGate'' and ''One from the Heart'' were often cited as showing what happened when this idea went too far. But the concept endures as an ideal for independent filmmakers in America and around the world, and the core idea of film as an art form capable of individual expression despite its collective discipline has endured. In that respect, the idea was a success.

to:

This idea didn't spread into the mainstream until the film school students at the time (who knew these concepts), like Creator/MartinScorsese, Creator/FrancisFordCoppola, Creator/StevenSpielberg, and others like Creator/WoodyAllen, became directors in their own right. The culmination of this was the NewHollywood UsefulNotes/NewHollywood era, also known as "the age of the director", where film directors received ProtectionFromEditors and had celebrity status comparable to the movie stars in front of the camera. On one hand, this produced a creative explosion in American cinema in TheSeventies, with many films frequently cited on "greatest of all time" lists having been made in the '70s by auteur filmmakers. On the other hand, a backlash eventually emerged against the idea, with some believing it enables the PrimaDonnaDirector mindset; expensive flops like ''Film/HeavensGate'' and ''One from the Heart'' were often cited as showing what happened when this idea went too far. But the concept endures as an ideal for independent filmmakers in America and around the world, and the core idea of film as an art form capable of individual expression despite its collective discipline has endured. In that respect, the idea was a success.
6th Nov '15 9:17:03 PM kenaykash
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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 Cinema'' titled ''Une certaine tendance du cinéma français'', which translates as "A Certain Tendancy 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 cache 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.

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 Cinema'' titled ''Une certaine tendance du cinéma français'', which translates as "A Certain Tendancy 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 cache 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.
26th Aug '15 4:37:53 PM TARINunit9
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To begin with, there's the word. The beginning of the movement is an innocuous enough article in the famous French cultural journal ''Cahiers du Cinema'' titled ''Une certaine tendance du cinéma français'', which translates as "A Certain Tendancy 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 cache 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.

to:

To begin with, there's the word.word, "auteur", French for "author". The beginning of the movement is an innocuous enough article in the famous French cultural journal ''Cahiers du Cinema'' titled ''Une certaine tendance du cinéma français'', which translates as "A Certain Tendancy 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 cache 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.
21st Sep '14 7:12:21 PM Prfnoff
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For the French, their argument was important in getting cinema itself OutOfTheGhetto of not being TrueArt, and in making a case for "genre" directors in [[TheMusical musicals]], [[TheWestern Westerns]], {{film noir}}, and {{screwball comedy}} to be taken as seriously as arthouse directors as Creator/IngmarBergman, Creator/FedericoFellini, and Creator/JeanRenoir. To their SophisticatedAsHell tastes, there was no difference between liking a commercial film like ''Film/RearWindow'' and a serious film by Creator/SergeiEisenstein because, for them, both directors were just as rich in invention and technique. In their view, "genre" filmmakers were underrated because critics dismissed the content or the plot itself out of hand without looking at the {{subtext}}, the {{Meaningful Background Event}}s, and other {{Genius Bonus}}es these films were filled with, whereas someone like Eisenstein declared his artistic ambitions openly in his movies and so allowed people to admire him for [[RightForTheWrongReasons the wrong reasons]].

to:

For the French, their argument was important in getting cinema itself OutOfTheGhetto of not being TrueArt, and in making a case for "genre" directors in [[TheMusical musicals]], [[TheWestern Westerns]], {{film noir}}, noir}} (a term coined by French critic Nino Frank in 1946), and {{screwball comedy}} to be taken as seriously as arthouse directors as Creator/IngmarBergman, Creator/FedericoFellini, and Creator/JeanRenoir. To their SophisticatedAsHell tastes, there was no difference between liking a commercial film like ''Film/RearWindow'' and a serious film by Creator/SergeiEisenstein because, for them, both directors were just as rich in invention and technique. In their view, "genre" filmmakers were underrated because critics dismissed the content or the plot itself out of hand without looking at the {{subtext}}, the {{Meaningful Background Event}}s, and other {{Genius Bonus}}es these films were filled with, whereas someone like Eisenstein declared his artistic ambitions openly in his movies and so allowed people to admire him for [[RightForTheWrongReasons the wrong reasons]].
21st Sep '14 1:40:28 AM JulianLapostat
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-->-- '''Creator/John Ford'''

to:

-->-- '''Creator/John Ford'''
'''Creator/JohnFord'''
21st Sep '14 1:40:18 AM JulianLapostat
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Added DiffLines:

-> ''"People are incorrect to compare a director to an author. If he's a creator, he's more like an architect. And an architect conceives his plans according to precise circumstances.''
-->-- '''Creator/John Ford'''
16th May '14 5:02:03 PM TheRedRedKroovy
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The concept of the "auteur" had a great deal of vogue in the 60s and 70s where it was used in magazines and the media as a catch-all shorthand of a quote unquote "serious film-maker" or "great director". In America it was then, and remains in the Internet Age, a real BaseBreaker because for some it overestimates the film director over his other collaborators, assigning him credit for a film over the writers who, in the majority of instances, come up with the story and characters, the actors who play the roles, the producers who fund the films and the army of collaborators who play a role in shaping the product. There is needles to say much confusion about what ''auteurism'' or the ''auteur theory'' means and how its definitions shifted.

To begin with, there's the word. The beginning of the movement is an innocuous enough article in the famous cultural journal ''Cahiers du Cinema'' called ''Une certaine tendance du cinéma français'' which means ''A Certain Tendancy of French Cinema'. The article was written by none other than Creator/FrancoisTruffaut. Its original context was specific to the French cinema of the 50s. The general claim against cinema being TrueArt, at that time, was that it was art by committee and it lacked the individual expression of writers, poets, painters, musicians and architects to their mediums. The movies that had cultural cache then were the French version of OscarBait that is 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 Hitchcock 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.

For the French, their argument was important in getting cinema itself OutOfTheGhetto of not being TrueArt and making a case for genre directors in Musicals, TheWestern, FilmNoir, ScrewballComedy to be as serious as arthouse directors as Creator/IngmarBergman, Creator/FedericoFellini and Creator/JeanRenoir. To their SophisticatedAsHell tastes, there was no difference between liking a commercial film like Film/RearWindow and a serious film by Creator/SergeiEisenstein because for them both directors were just as rich in invention and technique but someone like Hitchcock is underrated because critics dismiss the content or the plot itself as boring not looking at the subtext, the MeaningfulBackgroundEvent and other GeniusBonus these films were filled with whereas someone like Eisenstein declared his artistic ambitions openly in his movies and so allowed people to admire him for [[RightForTheWrongReasons the wrong reasons]].

This idea was defined by the French as ''la politique des auteurs'' and the principle idea that Hollywood directors like Creator/AlfredHitchcock, Creator/NicholasRay, Creator/HowardHawks, Creator/SamuelFuller or even directors of B-Movies like Joseph H. Lewis (''Gun Crazy'') or Edgar G. Ulmer (''Detour'') were great artists was considered ridiculous by the Anglo-American cultural establishment who felt that the critics were RunningTheAsylum and made EntertaininglyWrong conclusions about how Hollywood worked driven by their youthful ForeignCultureFetish. However, once the critics started directing edgy, avant-garde films and became the FrenchNewWave and put many a ShoutOut to the same films they talked about in their writings, their arguments started being taken more seriously. In America, the critic Andrew Sarris introduced his translation of the French philosophy as ''the auteur theory'' or ''auteurism'' and he published a famous issue in ''Film Comment'' magazine that listed the best American directors which tended to include lesser known film-makers and made the same daring claims in English as his inspirations did in French.

This idea didn't spread into the mainstream until the film school students at the time(who knew these concepts), namely Creator/MartinScorsese, Creator/FrancisFordCoppola, Creator/StevenSpielberg and others like Creator/WoodyAllen formed the NewHollywood that defined it as "the age of the director" where film-makers recieved ProtectionFromEditors and directors had celebrity status comparable to the movie stars before their camera. This led a backlash in America against the idea with some believing it enables the PrimaDonnaDirector mindset and they later cited expensive flops lie Film/HeavensGate as showing what happened when this idea went too far. But the concept endures as an ideal for independent film-makers in America and around the world and the core idea of film as an artform capable of individual expression despite its collective discipline has endured and in that respect, the idea was a success.

In course of time, the idea of the auteur would spread to other fields which argued for medium specificity and its status as "serious art", namely the field of Comic Books and Video Games.

to:

The concept of the "auteur" had a great deal of vogue in the 60s '60s and 70s '70s, where it was used in magazines and the media as a catch-all shorthand of a quote unquote "serious film-maker" or "great director". In America it was then, and remains in the Internet Age, a real BaseBreaker among movie geeks, because for some some, it overestimates the film importance of the film's director over his other collaborators, assigning him credit for a film over the writers who, in the majority of instances, come up with the story and characters, the actors who play the roles, the producers who fund the films films, and the army of collaborators who play a role in shaping the product. There is needles is, needless to say say, much confusion about what ''auteurism'' "auteurism", or the ''auteur theory'' "auteur theory", means and how its definitions shifted.

To begin with, there's the word. The beginning of the movement is an innocuous enough article in the famous French cultural journal ''Cahiers du Cinema'' called titled ''Une certaine tendance du cinéma français'' français'', which means ''A translates as "A Certain Tendancy of French Cinema'. Cinema". The article was written by none other than Creator/FrancoisTruffaut. Its Creator/FrancoisTruffaut, and as its name suggests, its original context was specific to the French cinema of in the 50s. The '50s. At the time, the general claim against cinema being TrueArt, at that time, TrueArt was that it was art "art by committee committee" and it lacked the individual expression of writers, poets, painters, musicians musicians, and architects to their mediums. The movies that had cultural cache then were the French version of OscarBait that is -- films with prestigious literary pedigree pedigree, which the Cahiers ''Cahiers'' critics noted were often flat as cinema, with little creativity in camera and editing technique compared to to, say, a film by Hitchcock Creator/AlfredHitchcock which abounded with invention.

Truffaut argued in favor of directors like the independent(for France independent (for France, that is) Robert Bresson 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 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 strategy, and direction of actors.

For the French, their argument was important in getting cinema itself OutOfTheGhetto of not being TrueArt TrueArt, and in making a case for genre "genre" directors in Musicals, TheWestern, FilmNoir, ScrewballComedy [[TheMusical musicals]], [[TheWestern Westerns]], {{film noir}}, and {{screwball comedy}} to be taken as serious seriously as arthouse directors as Creator/IngmarBergman, Creator/FedericoFellini Creator/FedericoFellini, and Creator/JeanRenoir. To their SophisticatedAsHell tastes, there was no difference between liking a commercial film like Film/RearWindow ''Film/RearWindow'' and a serious film by Creator/SergeiEisenstein because because, for them them, both directors were just as rich in invention and technique but someone like Hitchcock is technique. In their view, "genre" filmmakers were underrated because critics dismiss dismissed the content or the plot itself as boring not out of hand without looking at the subtext, {{subtext}}, the MeaningfulBackgroundEvent {{Meaningful Background Event}}s, and other GeniusBonus {{Genius Bonus}}es these films were filled with with, whereas someone like Eisenstein declared his artistic ambitions openly in his movies and so allowed people to admire him for [[RightForTheWrongReasons the wrong reasons]].

This idea was defined by the French as ''la politique des auteurs'' and the principle idea that Hollywood directors like Creator/AlfredHitchcock, Hitchcock, Creator/NicholasRay, Creator/HowardHawks, Creator/SamuelFuller or Creator/SamuelFuller, and even BMovie directors of B-Movies like Joseph H. Lewis (''Gun Crazy'') or Edgar G. Ulmer (''Detour'') were great artists was considered ridiculous by the Anglo-American cultural establishment who establishment. They felt that the these critics were RunningTheAsylum and made EntertaininglyWrong conclusions about how Hollywood worked worked, driven by their youthful ForeignCultureFetish. However, once the these critics started directing the edgy, avant-garde films and became of the FrenchNewWave and put gave many a ShoutOut to the same films they talked about in their writings, their arguments started being taken more seriously. In America, the critic Andrew Sarris introduced his translation of the French philosophy as ''the "the auteur theory'' theory" or ''auteurism'' "auteurism", and he published a famous issue in ''Film Comment'' magazine that listed the best American directors which directors. This list tended to include lesser known film-makers lesser-known filmmakers, and made the same daring claims in English as his inspirations did in French.

This idea didn't spread into the mainstream until the film school students at the time(who time (who knew these concepts), namely like Creator/MartinScorsese, Creator/FrancisFordCoppola, Creator/StevenSpielberg Creator/StevenSpielberg, and others like Creator/WoodyAllen formed Creator/WoodyAllen, became directors in their own right. The culmination of this was the NewHollywood that defined it era, also known as "the age of the director" director", where film-makers recieved film directors received ProtectionFromEditors and directors had celebrity status comparable to the movie stars before their in front of the camera. This led On one hand, this produced a creative explosion in American cinema in TheSeventies, with many films frequently cited on "greatest of all time" lists having been made in the '70s by auteur filmmakers. On the other hand, a backlash in America eventually emerged against the idea idea, with some believing it enables the PrimaDonnaDirector mindset and they later cited mindset; expensive flops lie Film/HeavensGate like ''Film/HeavensGate'' and ''One from the Heart'' were often cited as showing what happened when this idea went too far. But the concept endures as an ideal for independent film-makers filmmakers in America and around the world world, and the core idea of film as an artform art form capable of individual expression despite its collective discipline has endured and in endured. In that respect, the idea was a success.

In course of time, the idea of the auteur would spread to other fields which argued for medium specificity and its status as "serious art", namely the field fields of Comic Books and Video Games.



* Auteurism subsequently had its fruit in Europe where, directors hold copyright over their films and the law is called "Les droits d'auteur". In America, directors don't hold copyright unless they are also producers and depend on contract or goodwill for the privilege of "Final Cut" with ExecutiveMeddling even now a risk on any studio project or even independent films with producers with vested interests.
* Since the argument of the French and American auteur critics rested on overall development of style rather than one or two official classics, they believed in going on an ArchiveBinge and watching the whole filmography of film-makers to better understand how a style and technique evolved, and this in turn inspired film studies and later brought to light neglected films which later became VindicatedByHistory and played no small role in the later movements for film restoration.
* Even in its initial stage, auteurism was sophisticated enough to note that every major film-maker had their own ProductionPosse and regular crew who played a great role in maintaining and developing the director's style. The overall shift in attention from the content to the visual style of the film made technicians like cinematographers, art directors and even lesser known supporting actors and bit players into prominence, since the director is the best placed to collaborate and interact with every known person on the set and how to best use their energy.

to:

* Auteurism subsequently had its fruit in Europe where, Europe, where directors hold copyright over their films and the law is called "Les droits d'auteur". In America, directors don't hold copyright unless they are also producers and depend on contract or goodwill for the privilege of "Final Cut" with "final cut". Even now, ExecutiveMeddling even now is a risk on any studio project project, or even on independent films with producers with vested interests.
* Since the argument of the French and American auteur critics rested on overall development of style rather than one or two official classics, they believed in going on an ArchiveBinge and watching the whole filmography of film-makers filmmakers to better understand how a style and technique evolved, and this evolved. This in turn inspired film studies studies, and later brought to light neglected films which later became VindicatedByHistory and played no small role in the later movements for film restoration.
* Even in its initial stage, auteurism was sophisticated enough to note that every major film-maker filmmaker had their his or her own ProductionPosse and regular crew crew, who played a great role in maintaining and developing the director's style. The overall shift in attention from the content to the visual style of the film made brought technicians like cinematographers, art directors directors, and even lesser known lesser-known supporting actors and bit players into prominence, since the director is the best placed to collaborate and interact with every known person on the set and how to best use their energy.
9th Feb '14 7:38:36 AM ArthurS
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Added DiffLines:

In course of time, the idea of the auteur would spread to other fields which argued for medium specificity and its status as "serious art", namely the field of Comic Books and Video Games.
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