Vocab # 8 THE AUTEUR THEORY



THE AUTEUR THEORY

ORIGINS OF THE THEORY

The history of the la politique des auteurs or “auteur theory” began among European film critics. The word auteur, meaning “author,” is a French term originally applied to cinema by the film critic Andrew Sarris. The history of this theory, however, began after World War II among French critics writing for, at that time, the world’s most popular film magazine, the Cahiers du Cinema. A 1954 essay penned by Francois Truffaut in that magazine noted “A Certain Tendency in the French Cinema.” Truffaut outlined a tendency in film toward noting the director as the creator and author of a film; therefore minimizing the role of any other single personality in film production. Certain directors were seen at this time as the driving force behind the film, and its themes and artistic images were seen as extensions of his personality and purpose behind filmmaking.

Some European auteurs:

Fritz Lang – Metropolis (Germany) Robert Bresson – A Man Escaped (France) Luis Buñuel – The Golden Age (Spain)

Jean Renoir – La Grande Illusion (France) Ingmar Bergman – Persona (Sweden) Alfred Hitchcock – Psycho (GBR)

EXPANSION OF THE THEORY

Since American films were banned under the Vichy government of World War II, French cinema critics developed their theories entirely around the European film industry. The American films were considered the work of lesser metteurs en scene or hired Hollywood directors. The American director was seen as delivering a product entirely for the interest of the studio moguls with box office returns in mind. The French theorists considered these films of little artistic merit. In the 1950’s and 1960’s, however, there was a critical reconsideration of the American cinema. Certain directors and their bodies of work were studied and the trend of the auteur became visible under this new light.

Some American auteurs:

DW Griffith (Birth of a Nation) Billy Wilder (Some Like It Hot) Howard Hawks (His Girl Friday)

John Ford (Stagecoach) Orson Welles (Citizen Kane) Charles Chaplin (The Great Dictator) Preston Sturges (Sullivan’s Travels) Gus Van Sant (Good Will Hunting) Martin Scorcese (Taxi Driver)

Wes Anderson (Rushmore) David O’Russell (American Hustle) Quentin Tarantino (Reservoir Dogs)

Among these American auteurs are also considered the films of European directors who defected to the Hollywood studio such as Lang and Hitchcock.

THE THEORY APPLIED

Although theorists insist upon examination of a film or body of films by stressing the overall finished product, the auteur theory is applied with two main considerations.

1) THEMATIC MOTIFS

Critics analyze the body of a director’s work for recurrent themes or “motifs” that might reveal the director’s purpose or philosophy. This, naturally, may only be considered when comparing one film or more to others. Often this type of analysis reveals trends, growth, and specific divisions or periods in the director’s history.

2) MISE-EN-SCENE AND STYLE

This considers the overall effect of the films. Although a director may not exclusively produce films dealing with a given time period or topic, the atmosphere and creation of a believable cinematic world are considered. This school of the auteur theory considers familiar iconography and design as well.

Aspects of Mise-en-Scene

The French term mise-en-scene means “what is put into the scene.” This term addresses the control that the director has over what appears in each camera frame. The mise-en-scene creates the atmosphere of the film. All aspects of mise-en-scene must contribute to this alternate reality, including settings, décor, props, actors, costumes, makeup, lighting, performances, and character movements. All aspects must appear to be realistic from period clothing to background scenery. The director cannot allow a Campbell’s soup can to accidentally appear in a Civil War film, nor can he allow jets to buzz the Chicago skyline in a 1930’s style gangster film. Thus, believable mise-en-scene requires thorough planning of each scene and attention to detail for everything from lighting to costumes.

Setting

1. The filmmaker can shoot at the actual location where the film story takes place.

Empire of the Sun was shot on location in China, and Rocky was shot in Philadelphia.

2. The filmmaker can create artificial scenery.

The Klondike snow setting in The Gold Rush is obviously man-made. Obviously, the director has the most control over artificial scenery. For example, it cannot rain nor can there be insufficient lighting due to overcast weather in a controlled studio environment.

Costume and Make-Up

1. Clothing can instantly indicate the time period of the film.

In The Natural, the baseball uniforms and clothing in general indicate the 1920’s and 1930’s.

2. Clothing can indicate the status of the characters.

Charlie Chaplin’s worn, oversized pants and undersized jacket in The Gold Rush indicate poverty.

3. Make-up can create realism in the characters.

Tom Hank’s sores and gaunt, pale look in Philadelphia make him realistically appear to be dying of AIDS.

Lighting

1. Harsh direct lighting creates a crisp image and reflects off the actors.

In The Killing Fields the heat of Cambodia is intensified when the reporters are held captive, squatting on the ground outside.

2. Muted, gentle lighting creates a soft image that often gives the scene a sentimental feel.

In Empire of the Sun the soft light of sparks jumping off a Japanese zero emphasize Jim’s love for the plane.

Actor’s Movements

1. Strong characters must always demonstrate confident movements.

In Empire of the Sun, Basie lounges lazily, seemingly without care. On the other hand, Apollo Creed in Rocky exudes a victorious attitude through his movements.

2. Weak characters display quirky, self-conscious movements.

Fredo Corleone shrugs his shoulders and constantly adjusts his clothing in The Godfather.

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