Window vs. Frame? Sergei Eisenstein: The Formalist Andre Bazin: The Realist The language of cinema has been developed by trail and error over the past one hundred years by pioneers venturing into uncharted territory. Today anyone with a T.V. set is accustomed to the language‚ perhaps without even realizing they are taking part in a “conversation”. This conversation has to be created by using a cinematic language. Among such pioneers that crafted this language are‚ Sergei Eisenstein‚ a man who
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The Auteur Theory began in France during the late 1940’s and was created by a group of critics like Andre Bazin who wrote for Cahiers du Cinema and was later given the name by Andrew Sarris in 1962 and is the belief that a film is a reflection of the creative vision of the director. The director is the most important person just like an author is in a novel. Over time two different types of opinions were born which derived from the original theory. Those who sided with Auteur‚ and those in favor
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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
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CHAPTER 1: Auteur theory in the context of Film theory Although the term auteur dates back to the 1920s in the theoretical writings of French film critics and directors of the silent era‚ it is worth pointing out that in Germany‚ as early as 1913‚ the term ‘author’s film (Autorenfilm) had already been coined (Hayward‚2000: 20). Hayward believed that the Autorenfilm emerged partly as a response to the French Film d’Art (art cinema) movement‚ which began in 1908. Film d’Art was particularly successful
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Auteur Theory Auteur theory is often seen that it was created in 1954 by Francois Truffaunt who wrote an essay titled A Certain Tendency in French Cinema. In his essay he stated that film directors would often use this medium to express their own ideas and opinions and that the director is the one who heavily influences the film. This meant that Francois believed that the director should always be considered as an auteur. He once famous stated that “There are no good and bad movies‚ only good and
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To what extent can the auteur theory be applied successfully to the work of Peter Jackson? Is there evidence of a characteristic authorial signature and if so what is it? To apply the term ‘auteur’ to a director who has openly claimed “I don’t quite know what an auteur is.” may seem nonsensical‚ but there is no denying that the work of Peter Jackson has proven him to be deemed an auteur. From his origins in amateur ‘splatstick’‚ Jackson’s stylistic and thematic traits have remained a constant in
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director should be regarded to as an auteur. Auteur Theory refers to the reflection of the director’s personal creative vision and style. “Auteur” is a French word for “author.” Auteur Theory suggests that a director can use the commercial equipment of filmmaking in the same way that an artist uses a paintbrush to paint. Auteur Theory is an avenue for the personal artistic expression of the director. The film theoretician‚ André Bazin‚ explained that‚ “Auteur theory is a way of choosing the personal
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“… As far as I know‚ there is no definition of the auteur theory in the English language‚ that is‚ by an American or British critic” (Sarris 1962) was the opening line to Andrew Sarris’s famous “Notes on the Auteur Theory in 1962” essay. This essay is what brought the “auteur theory” in to the spotlight in the USA. And to today‚ this theory is still in hot debate. Trying to figure out whether or not the director is the lone “auteur” of a film is a tough claim to make. In an article for Slate Magazine
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Analysis and Genres 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
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Greatness. The term Auteur seems to bless a privileged group of filmmakers with an almost messiah-like legacy. Men such as Alfred Hitchcock‚ John Ford and Fritz Lange are believed to inhabit the ranks of the cinematic elite‚ and not surprisingly most critics are more than willing to bestow upon them the title of Auteur. By regarding filmmaking as yet another form of art‚ Auteur theory stipulates that a film is the direct result of its director’s genius. With the emerging prominence of auteur based criticism
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