In transforming the French politique into an American theory, Sarris posits in his "Notes on the Auteur Theory
" three concentric circles of directorial merit for establishing auteur status: "technical competence," a "distinguishable personality" or "personal style," and "interior meaning" (Sarris 1973: 49-51).
Sarris' book has itself become a primary source testifying to auteur theory
's reign in the 1960s and 1970s, which for some critics like Pauline Kael, took as much a leap of faith as general revelation does in Detweiler's book.
Young' s final purpose, as revealed in her concluding chapter, is to declare her allegiance to the Auteur Theory
of filmmaking and to demonstrate its critical relevance to the success of some film adaptations and the failure of others.
: it is my creation and my camera-pen, I will it my
For the first time, the critics also chose to give their special award to a fellow critic: Andrew Sarris, the famed critic who wrote for the Village Voice and championed the "auteur theory
." Earlier this year, the 81-year-old writer was laid off by the New York Observer, though he remains a film professor at Columbia University.
The subtitle of the volume would seem to raise a problem in extending auteur theory
to music in cinematic studies.
In my introductory article in Flickering Images I refer to some trends in film studies, including auteur theory
and star studies, suggest particular ways in which theological meaning might be said to be present within film, and also discuss three ways of 'reading' film as identified in the literature by Oswalt and Martin--theological, mythological and ideological criticism.
Vivere confirms that Maccarone may indeed be a queer, female, German Krzysztof Kieslowski; we're tempted to buy into the auteur theory
solely on her account.
Increasingly, screenwriters are allowed to direct their own scripts, turning the Auteur Theory
into a reality a half century after it was concocted by fantasizing Frenchmen ignorant of how Golden Age Hollywood actually worked.
We learn about Andrew Sarris (561-564) and Peter Wollen's "auteur theory
" (565-580), that is, the author's meaning in film, revealing his "style" and "basic motifs" (556).
Whether in accordance with auteur theory
or simply as an unintended echo of the priorities of film production companies, these essays place hardly any emphasis on the central role played by scripts.