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a film director or producer who controls a production and gives the film its unique style
Not to be confused with:
hauteur – arrogance; a haughty manner
Abused, Confused, & Misused Words by Mary Embree Copyright © 2007, 2013 by Mary Embree


 (ō-tûr′, ō-tœr′)
A filmmaker, usually a director, who exercises creative control over his or her works and has a strong personal style.

[French, from Old French autor, author; see author.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(Film) a director whose creative influence on a film is so great as to be considered its author
[French: author]
auˈteurism n
auˈteurist adj
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014



a filmmaker whose films accord with the auteur theory.
[1960–65; < French: literally, author, originator < Latin auctor. See author]
au•teur′ism, n.
au•teur′ist, adj., n.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.auteur - a filmmaker who has a personal style and keeps creative control over his or her worksauteur - a filmmaker who has a personal style and keeps creative control over his or her works
film maker, film producer, filmmaker, movie maker - a producer of motion pictures
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.


[ɔːˈtɜːr] n (= film director) → grand(e) réalisateur/trice m/f
film d'auteur → film d'auteur
Collins English/French Electronic Resource. © HarperCollins Publishers 2005
References in periodicals archive ?
May and Bigelow are rarities on lists that are usually dominated by men: A key part of the auteurist myth is the heroic artist who goes down fighting for his vision, however misguided or commercially doomed.
As the author argues, genre has become a useful tool in addressing the auteurist (contestatory) practice of the Mexican filmmaker.
In his article on 'Positioning auteur theory in Chinese cinemas studies' (2007), Song Hwee Lim argued that it was necessary to explore 'the relevance of auteur theory to the study of Chinese cinemas' as well as the its relation to 'the auteurist approach institutionalized within Anglophone academia' (Lim, 2007: 224).
And when black artists do break through that ceiling, their auteurist bonafides are what carry them to the podium.
Not too far removed from this is the debate about authorship in chapter 5, "The Horror Auteur," where it is noted that horror has "an extensive auteurist tradition dating back to gothic writers like Mary Shelley, Robert Louis Stevenson and Bram Stoker" (84).
Marvel hasn't totally sanitised its films of directorial personality (the quippy banter of The Avengers felt notably Whedon-y), but it has done more to contain and constrain any auteurist impulses in order to maintain a more uniform tone and character and consistently good films.
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.
As Cabiers du Cinema abandoned its auteurist legacy and sought to incorporate the latest developments in high theory, Schefer's first book, Scenograpbie d'un tableau (1969)--a structuralist account of painting--became a frequent reference point, leading the journal's book imprint to commission the author to write a theory of film.
The film's ending inserts a generic, happy-romance resolution that seemingly arrives against all odds; but this rather forced termination point also functions as an auteurist necessity.
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.