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 ?
As a moviegoer, he came of age when American auteurism was at its height.
In its ranks was Nicholas Ray, auteurism's favourite beleaguered craftsman mired in the compromises of the system.
Auteurism has triumphed over other critical methods as she was afraid it would.
In 'Who the Hell is Howard Hawks?' Wollen considers the Hollywood director who best exemplified for classical auteurism what auteurism in Hollywood meant.
Although his own films have his indelible stamp, Chereau insists he is not an advocate of auteurism. "I consider myself the auteur of my films," he says, "but the notion of 'auteur' is very dangerous.
He recognizes the limits of auteurism as having 'shed little light on working contexts or practices--on the relationship between the filmmakers and with their colleagues and materials'.
It is almost as if the operating manual 'Psychoanalysis' came complete with Rear Window (Alfred Hitchcock, 1954), while Rio Bravo (Howard Hawks, 1959) came complete with 'Auteurism'.
Most events are still programmed either by vets who grew up during the birth of auteurism in the late '50s, or by a subsequent generation that embraced it, for political or cultural reasons, as an accepted mantra.
With one film that has attained canonical status [The Piano (1993)] and a range of earlier works that received esteem in art-film venues [Sweetie (1989), An Angel at my Table (1990) and her short films], she is one of very few women directors who could be considered within the framework of auteurism. Yet it is the disturbances in her work--the divergences; the dispersions; the tensions, for instance between quirky humour, a making strange of the familiar, and an interest in the ambiguous, even that which is uncomfortable and which makes the viewer uncomfortable--that means that to study her is to study the cinema differently, to rethink the very terms of analysis of the film director.
Upon winning one of his two awards, Payne said, "It's not about sources of financing, it's about spirit and personal artistic expression -- auteurism." Continuing the theme of defining what makes indie pics different from studio films, Quentin Tarantino, who presented an award with Harvey Keitel, asked the camera operators filming the event to turn their cameras onto the audience.
Pretentious is hardly the word for Laetitia Masson's third feature, "Love Me," the kind of juvenile, self-indulgent Gallic tripe that gives auteurism a bad name.