auteur

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auteur

(ōtör`), in film criticism, a director who so dominates the film-making process that it is appropriate to call the director the auteur, or author, of the motion picture. The auteur theory holds that the director is the primary person responsible for the creation of a motion picture and imbues it with his or her distinctive, recognizable style. Propounded most notably by the French director and film critic François TruffautTruffaut, François
, 1932–84, French film director and critic. Known in his early 20s as a writer for the influential French film journal Cahiers du Cinéma,
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 and the American film critic Andrew Sarris, it has been attacked by others, including Pauline KaelKael, Pauline
, 1919–2001, American film critic, b. Petaluma, Calif. Possessed of extremely strong opinions about movies and a feisty, pop-inflected style, Kael was noted for her provocative, passionate, and tough-minded film criticism.
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References in periodicals archive ?
Fellini, like the later Godard, is the master ironist of auteurism, but does he ever truly do away with the code?
Auteurism not only changed the way people thought about movies, it also empowered aspiring directors.
Coppola's story stands out here in his tactical approach to refining auteurism.
As it operates in relation to these programmes, auteurism is not an appeal to known, named, authors.
The irony is that while he is blessed by controversy here in Europe van Hove's unabashed auteurism is very much a mainstream staple.
Indeed, his approach does not attempt to question the (some might say antiquated) notion of auteurism dear to Andrew Sarris and the critics of the Cahiers du Cinema in the 1950s; on the contrary, it embraces it and highlights metteurs-en-scene whose aesthetics and politics Predal finds worthy of our attention and/or reflect a certain "air du temps.
The emphasis on auteurism is evident within chapters that are not expressly devoted to particular auteurs as well, and considerations of Andrei Tarkovsky and Tim Burton, for example, give the uncanny impression that the spread of cinematic Surrealism is about transference from one host to another across time and space--less a true lineage and more of a viral effect.
He vigorously resisted auteurism of both the hobbyist and the sacerdotal varieties, and kept away from canons and nostalgia and chitchat and received ideas.
Chapter 3 turns to the well-trodden terrain of auteurism, though Jordan and Allinson are careful to include material on fresher concerns such as marketing and production.
Questions that Rybin asks relate to themes, use and innovations in genre frameworks, and how his style intersects with issues in genre, film criticism, historical context, and auteurism.
Such a choice of films, Badley contends, "exposes the Gothic ideologies underlying expressionism, surrealism, and, most recently, postmodern 'indie' auteurism, in which the truest auteur is the least 'healthy' and sometimes least technically competent--hence the least likely to be co-opted" (224), an argument that is a fresh addition to both film auteur theory in general and horror film criticism especially.
Next in line comes a great Catholic filmmaker, Robert Bresson, whose version of Bernanos's novel Journal d'un cure de campagne is central to one of the most important polemics in film history: Francois Truffaut's 1954 essay "Une certaine tendance du cinema francais," the founding document of auteurism.