auteurism

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au·teur·ism

 (ō-tûr′ĭz′əm)
au·teur′ist adj. & n.
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It wasn't the first auteurist superhero film (see: Burton, Tim), but it had more life and verve than practically anything from the MCU so far.
While fiction adaptations of a similar vein like The Lost City of Z (James Gray, 2016) and epic auteurist Amazon-set follies like Fitzcarraldo (Werner Herzog, 1982) have obvious colonialist themes at their centre, Jungle can't claim any such political intrigue.
In this way, he proposes that, rather than understanding the director in auteurist terms, films throughout his career--such as Muerte de un ciclista [Death of a Cyclist] (1955), Calle Mayor [Main Street] (1956) and Nunca pasa nada [Nothing Ever Happens] (1963)--reflect how genre cinema allowed Bardem to comment on the social and ideological conflicts of Spain through the prism of more personal and individual relationships.
Meanwhile, Peter Hutchings' chapter on the horror fiction adaptation boom of the 1970s goes against the auteurist, sociocultural-oriented portraits of 1970s horror perpetuated by authors like Robin Wood.
She reads Kubrick's ability to make these idiosyncratic films with Hollywood studio backing and minimal studio interference as symptomatic of the intersection of cultural and commercial forces that brought self-consciously auteurist filmmaking into the Hollywood mainstream during the age of so-called New Hollywood.
But no-- this captivating, archtypal narrative springs from the mind of its director, and the result is the most purely auteurist project to be found at the Cannes Film Festival this year.
Yet if his movies are themselves a form of film criticism, they are also, as Adrian Martin recently noted in a valuable essay on the director in the online journal Lola, "profoundly psychoanalytic" and quite open to auteurist investigation--but the principal auteur to be illuminated is Rivette himself.
Snowpiercer features subtle genre variations and Bong's signature auteurist flourishes, but it manifests itself as a film that is very much part of the typical Hollywood programming, rather than ambivalent South Korean counterprogramming.
Abstract: This essay traces the reception of Federico Fellini's films and status among auteurist critics in France during the 1950s and in the United States in the 1960s and beyond.
Mystery, so important to the religious, is to be found in auteurist originality (ibid.
In short, the label of "auteur" affords filmmakers certain professional "freedoms," and self-nomination has become an integral part of auteurist filmmaking.
The first section of the volume, therefore, attempts to revise (or anyway derange) the auteurist gospel that would proclaim Tezuka the "God of manga" and "Godfather of anime.