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Auteur theory analysis
Auteur theory arguments
Auteur theory arguments
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Use a range of auteur theories to examine the work of two significant directors you have studied on this module. One director should have produced the majority of their work prior to 1960 and the other should have produced it from the 1970s onwards.
Discuss the origins and main developments of auteur theory then examine the works of Howard Hawks and Martin Scorsese with relevance to their status as auteur directors.
In having their films examined as auteurs of the cinema, both Howard Hawks and Martin Scorsese have been described as great artists whose body of work demonstrates repeated themes and motifs, that put in context reveals a particular belief and world view that is held by the director. In fact, Hawks was among the first directors working in Hollywood who was considered to be a “major artist” by Cahiers du Cinema critic Jacques Rivette in his 1953 essay The genius of Howard Hawks (Hillier and Wollen, 1). In similar fashion, Ben Nyce in Scorsese up Close, describes Scorsese as a “True artist” on a “personal and artistic quest” (Nyce, 16). The view of a director as a great artist whose films express their own individual vision is one that characterised auteur theory from its inception and through most of the 1960’s. But from the late 1960’s arguments have been raised questioning “the ideology of the artist as sole creator of the art work” (Cook and Bernink, 235). Thus, auteur theory has been modified to include different approaches including structuralism, feminism and social and political concerns. By using different auteur theories to look at the work of these two directors, we shall try to determine whether the director can be referred to as the artist or author of his films and whether the auteur theory is still relevant today.
Before auteurism was solidly established as a theory by the French critics of the Cahiers du Cinema, there existed criticism that acknowledged the director as the artistic centre of a film. This criticism tended to privilege directors with more creative freedom than their peers including directors such as D.W. Griffiths, Orson Welles and John Ford in America, and Sergei Eisenstein and Marcel Carne in Europe. Much of this writing was concerned with “constants of style and world view across the works of the directors concerned” but lacked “the systematic, polemic thrust of auteurism proper” (Hill and Gibson, 312). ...
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Filmography
Howard Hawks
El Dorado (1967)
Rio Bravo (1959)
The Big Sky (1952)
I Was A Male War Bride (1949)
Red River (1948)
The Big Sleep (1946)
To Have And Have Not (1944)
Only Angels Have Wings (1939)
Bringing Up Baby (1938)
Martin Scorsese
The Aviator (2004)
Gangs of New York (2002)
Casino (1995)
Goodfellows (1990)
The Last Temptation of Christ (1988)
The King of Comedy (1983)
Raging Bull (1980)
Taxi Driver (1976)
Mean Streets (1973)
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings, Fifth Edition. New York: Oxford UP, 1999.
The auteur theory is a view on filmmaking that consists of three equally important premises: technical competence, interior meaning, and personal signature of the director. Auteur is a French word for author. The auteur theory was developed by Andrew Sarris, a well-known American film critic. Technical competence of the Auteur deals with how the director films the movie in their own style. Personal signature includes recurring themes that are present within the director’s line of work with characteristics of style, which serve as a signature. The third and ultimate premise of the Auteur theory is the interior meaning which is basically the main theme behind the film.
Jacobs, Lewis. “Refinements in Technique.” The Rise of the American Film. New York: Teachers College Press, 1974. 433-452. Print.
John Gibbs and Douglas Pye (2005) Style and meaning : studies in the detailed analysis of film. Engalnd: Manchester University Press, pp 42-52.
Auteur theory holds that, ‘a director’s films reflect that director’s personal creative vision, as if he/she were the primary author. From the earliest silent films to contemporary times motion pictures have crossed over and both entertained and educated the viewing audience.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Connelly, Marie. "The films of Martin Scorsese: A critical study." Diss. Case Western Reserve University, 1991. Web. 07 Apr 2014.
Gunning, Tom 2000, “The Cinema of Attraction: Early film, its spectator, and the avant-garde.” Film and theory: An anthology, Robert Stam & Toby Miller, Blackwell, pp 229-235.
The Analysis of Quentin Tarantino as a Director The director I have chosen to look at is Quentin Tarantino. His films have achieved a cult ang global status and I dont think anyone is going to argue that he is not an auteur. I am more interested in examining his style and seeing how this makes him an auteur and if it has changed when he was receiving a higher budget. Tarantino was born in Noxville Tennessee on 27th march 1963. Tony
Barsam, Richard. Looking at Movies An Introduction to Film, Second Edition (Set with DVD). New York: W. W. Norton, 2006. Print.
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
What is an auteur? Answer this question with detailed reference to one film director: Alfred Hitchcock
When delineating between first and second generation American Independent cinema directors there is a fine line separating the two generations. This line usually lies somewhere in the early 80’s when the term ‘American Independent Cinema’ first began to emerge. Many other things that were pertinent to the American Independent Cinema movement also arose such as the emergence of video as a media form. There is a strong distinction in the change of dynamics between film school in the first and second generation of American Independent filmmakers as well. Reichardt exemplifies a strong relation to the second generation, executing these ideas in her films such as Wendy and Lucy and Old Joy.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.