auteur theory


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auteur theory

n.
Belief in the primary creative importance of the director in filmmaking, often combined with a critical advocacy of the works of certain strong, distinctive directors whose films have a consistent theme or style. Also called auteurism.

auteur′ the`ory


n.
the theory that the director is the chief creator of a film and thereby gives it a distinctive individual style.
[1960–65]
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References in periodicals archive ?
As contribution to knowledge, this paper opens up critical possibilities of areas of interest, especially with regards to Nollywood and the elaboration of auteur theory in its various manifestations.
Since the 1960s and the emergence of Auteur Theory in film studies, the recognition of film directors has found a new direction.
Ilka Brombach's 2014 monograph offers a new reading of German auteur cinema by breaking with auteur theory and alternatively embracing Rancierean aesthetics.
This approach could not be more at odds with the auteur theory of foreign policy.
In France this was due to the preferential prejudices of those critics (who favored Rossellini over Fellini), and in the United States because of Fellini's undermining of the auteur theory as formulated by Andrew Sarris.
After an introduction that offers a succinct summary of all the main sections comprised in this book, Burnett starts with "Auteurs" whose central purpose is to explore Shakespeare and world cinema from the perspective of auteur theory.
Exploring this assertion further requires more attention to authorial agency while of course not reverting to the Romanticisms of Andrew Sarris's auteur theory.
What has Pierre Tal Coat's gestural painting of a schematic leaping figure, Le Saut,1955-56, to do with a suite of thirty-four shadowy photographs by Mike Kelley, most of them hung too high to make out (The Poetry ot form: part of an ongoing attempt to develop an auteur theory of naming, 1985-96), or the dark glamour of Andy Warhol's massive silkscreen Diamond Dust Shoes, 1980?
Formica chose this director as the subject of her first book, which looks at Weir within a framework of trans-nationalism (and migration), and the application of the auteur theory.
In Sensing the Past, Jim Cullen proposes an alternative to auteur theory for American culture scholars that puts actors first.
At one moment, the author is psychoanalyzing: what a film's plot reveals about the audience's or director's feelings about psychiatrists (Packer seems to be following the auteur theory here).