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 ?
Bong utilizes his auteurist style and American "lego pieces" to assemble a discursive space for globalized realities.
Burke's analysis of the death of the subject/author in Fellini's work is important in attempting to wrench Fellini away from what he sees as an auteurist limbo of contemporary theoretical neglect.
It is hard and probably futile to shake this auteurist view of cinema, regardless of how displaced authorship has become, or how computer-generated the screen might now be.
Brook takes an auteurist, historical biographical approach, viewing the noir films as primarily the product of the director.
Chapter One emphasizes particularly the ideological context of literary adaptations of "dissident, auteurist films and work that might be described as consensual [cine oficial] and commercialized" (12) during Franco's regime and proposes commenting on what they have to say on issues that range from gender, phallocentrism and patriarchy to their contrast of rural and urban spaces, and the function of nostalgia for the city (14), everything under a theoretical postmodern and historiographic framework.
Mulholland Drive, Dr Jekyll and Mr Hyde, Repulsion, Videodrome, Suspiria, The Masque of the Red Death, The Shining, NaturalBorn Killers, are each very clearly 'auteurist' works that appeal to a cult and an art audience.
In conclusion, Wilson highlights the resistance to an auteurist approach put up by these 'extraordinary departures and reinventions of [Resnais's] long career [...] the displacement of his attention to new narratives and genres' (p.
In visual readings of the "signature systems" of The Lady Vanishes, Spellbound, North by Northwest, and other films, he finds that Hitchcock undermined the very modernist and auteurist assumptions with which his works are often approached and considers Hitchcocks affinity to such thinkers as Friedrich Nietzsche, Jacques Derrida, and Walter Benjamin.
Here, then, is today's overground action thriller: a picture whose raffishness, far from being inherent, amounts to a marketing tool, just like its choice of cast members (all of them known for better roles), its semaphoric appeals to be taken seriously, its French and auteurist pedigree.
As The New Yorker's Louis Menand and film historian Erik Barnouw have noted, the documentary may emit whiffs of observational objectivity, but the history of its own creation points out the lie: The documentary's past is littered with bossy opining, sound engineering, set-piece sleight of hand, and all around auteurist meddling.
Marcus's book focused on adaptations of Italian literary texts in post-war cinema, and her framework was also an explicitly auteurist one, based on the premise that "post-war Italian film history is largely auteurist" (Marcus x).
Her favorite take on the subject, consistent with her longtime auteurist tendencies, involved director Alfred Hitchcock.