Auteur theory holds that a director's film reflects the director's personal creative vision, as if they were the primary "auteur" the French word for author. In spite of—and sometimes even because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through all kinds of studio interference and through the collective process. In law, the film is treated as a work of art, and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory.Auteur theory has influenced film criticism since 1954, when it was advocated by film director and critic François Truffaut. This method of film analysis was originally associated with the French New Wave and the film critics who wrote for the French film review periodical Cahiers du Cinéma. Auteur theory was developed a few years later in America through the writings of The Village Voice critic Andrew Sarris. Sarris used auteur theory as a way to further the analysis of what defines serious work through the study of respected directors and their films.
Metteur en scène is a phrase that refers to the mise en scène of a particular film director. It suggests that the director has an original aesthetic style that can be detected while watching his or her films. The term was coined by Cahiers du cinéma co-founder André Bazin, and the expanded meaning of the term was introduced by the French New Wave filmmaker and film critic, Francois Truffaut, in his essay, "A Certain Tendency of the French Cinema". Truffaut contrasted the inferior products of the metteur en scène with the work of the great director or auteur. The term was adopted and given a new meaning by the American film critic Andrew Sarris's writings on 'the auteur theory' in the early 1960s, in which metteur en... [continues]
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