Auteur Theory

Translated from the French word author, auteur theory was first introduced in the French film journal Cahiers du Cinema. The theory holds that a director is the primary person responsible for the creation of a motion picture and instills it with his or her distinctive style. It is a medium for the personal artistic expression of the director. In order for a director to be considered an auteur, there must be a consistency of style and theme across a number of films. The film theoretician and founder of Cahiers du Cinema, explained that; ‘Auteur Theory was a way of choosing the personal factor in artistic creation as a standard of reference and then assuming that it continues or even progresses to the next.” (André Bazin).

However there are some problems in relation to the theory as some feel that the theory diminishes the roles others play in the creation of a film. The focus lies on the authorial role of the director. Screenwriters especially, have balked at the idea that a director is more authorial than the screenwriter. Essentially the theory is saying that the director dominates the film making process, therefore privileging the role of the director. With this and other problems there was a lot of backlash against the theory. Some critics also argue that critics made an intentional fallacy when they tried to interpret works of art by speculating what the author meant based on the authors personality or life experiences.

Personally I disagree with the backlash. The director gives the film its distinctive quality, and therefore should be considered the film’s author. Understanding a films auteur affects the audience’s relationship with the film, especially in regards to the interior meaning. It is particularly useful as a starting point for the interpretation of some films. When given a script it is the director’s duty to deliver a film with depth to the story. In order for the audience to relate and emotionally connect, you need to not only see the