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auteur theory
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A
film
theory
in which the
director
of a film is considered to be its primary
creative
force. Derived from the
French
word for "
author
",
auteurism
got its start in the French
cinema
journal
"
Cahiers du Cinema
"
, which promoted various directors as true authors of film--much as we'd talk about "
Charles Dickens
' '
David Copperfield
'" or "
Beethoven's Fifth Symphony
",
Cahiers
favored talking about "
Alfred Hitchcock
's '
Rear Window
'" or "
Orson Welles
' '
Citizen Kane
'".
Film critic
Andrew Sarris
refined the theory by ranking a number of directors and setting down some
principle
s he believed would define all auteurs. First, he said that an auteur must be technically
competent
. Second, he said that an auteur's
personality
will manifest itself in his films through
recur
ring
stylistic
traits. Finally, Sarris said that aspects of an auteur's personality may
seep
into his films--these are often not noticed until a number of the director's films are studied. For example, Hitchcock's fondness for
suspense
and
mistaken identities
is
obvious
with even a
cursory
examination of his
movie
s; his
fascination
and repressed
hostility
toward
blonde
s isn't that obvious until you've seen them repeatedly
threaten
ed,
attack
ed, and
kill
ed in his movies...
Some directors are more clearly
auteur
s than others: it's very easy to see the
trademark
s inherent in movies by
Quentin Tarantino
,
John Ford
,
Woody Allen
,
John Waters
,
Martin Scorsese
,
Tim Burton
, or
James Cameron
, for instance. Others who one might be tempted to think of as auteurs don't seem to fit the
criteria
:
Ron Howard
has enjoyed great
commercial
and
critical
success
as a director, but there is no trademark "
look
" of a Ron Howard film, and while there is a definite "look" to a movie by
Ed Wood, Jr.
, the bit about technical
competence
rules him out. And
critical acclaim
is not a requirement for being considered an auteur--
Roger Corman
and
Russ Meyer
will probably never receive
Oscar
s, but they definitely fit all the requirements to be considered auteurs.
Of course, the auteur theory is not universally accepted--even some of its
proponent
s don't fully agree with it. One of the biggest
problem
s with the theory is that it credits more importance to the director's
contribution
than any others, including the
writer
, the
producer
, the
star
s, or even the
studio
--face it, a movie
produced
by
Steven Spielberg
looks a lot like a movie
directed
by
Steven Spielberg
; there's no way a
Troma
movie
is ever gonna look like anything other than a
Troma
movie; and what's important about "
Duck Soup
"--director
Leo McCarey
or the
Marx Brothers
? The auteur theory also doesn't stand up well with
collaborative
efforts: did "
Who Framed Roger Rabbit
" owe its success to director
Robert Zemeckis
or to
animation
director
Richard Williams
?
printable version
chaos
Cahiers du Cinema
Orson Welles
Tim Burton
François Truffaut
Troma
Quentin Tarantino
Ron Howard
The (impending) death of good science fiction and fantasy television
Robert Zemeckis
The Lusty Men
Alfred Hitchcock
Nouvelle Vague
John Ford
sex
auteur
Sound in film
Dogme 95
Andrew Sarris
Roger Corman
Director
Russ Meyer
Steven Spielberg
Citizen Kane
Easy Rider
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