The problems that many critics have found in the auteur theory Essay Example

Hitchcock's films, love, death, identity, and obsession are prominently portrayed. These themes are particularly evident in Frenzy (1972), where Hitchcock uses macabre elements to elicit shock among viewers. The initial murder scene in the film is especially explicit, featuring rape and the exposure of bare breasts. This was quite intense for audiences at the time (1972). One memorable moment occurs when the killer becomes trapped inside a potato van and frantically tries to find his missing pin.

The scene shows the character struggling with a corpse, exposing parts of the victim's limbs. The shocking act of forcibly extracting the victim's fingers to retrieve his pin adds to the macabre atmosphere. Hitchcock skillfully incorporates black comedy by omitting certain gory details. This same dark humor can be seen in 'Psycho' (1964) during the infamous shower scene and in 'The Birds' (1983). In this particular scene, a female protagonist leads a group of children from a school to safety. However, as they descend a hill in their escape, they are pursued and attacked by birds.

Shocking scenes portray children with blood on their faces as they are pecked by birds, a recurring theme in Hitchcock's films. Each of Alfred Hitchcock's directed films exhibits a key element of suspense, where the main character is often placed in precarious situations. In 'Frenzy', for instance, the protagonist is placed in the back of a potato van, desperately attempting to retrieve a pin without getting caught by the killer.

In 'Foreign Correspondent' (1940), suspense is created when the star creeps around the windmill and is put in immediate danger. Hitchcock also maximizes the use of props, such as hiding behind the wheel in this

scene and at the statue of liberty in 'Saboteur'. The film 'The Birds' further demonstrates suspense as the birds gather behind the star on the climbing frame and attempt to break the car's windscreen when she and some children hide inside. Quick cross cutting techniques are employed to heighten suspense.

Another aspect of Hitchcock's auteurism is his use of the anti-hero archetype for his main characters. This technique can be observed in films like 'Frenzy' and 'The Birds', where the female protagonist manages to escape from the police, causing the audience to root for her safety. Hitchcock effectively manipulates his audience in order to create this desired response. Furthermore, Hitchcock employs various camera techniques throughout his films to enhance the suspense. In 'Foreign Correspondent', for instance, the audience is immediately made aware that the protagonist is in danger, thus intensifying the suspense. Additionally, it becomes evident that the protagonist's bodyguard is actually planning to kill him, adding to the anticipation as the bodyguard attempts to end his life in various ways.

In the cathedral scene in the tower, there is a depiction of quick cutting. The protagonist cautiously ensures that no one is around before swiftly pushing the man off the tower to his death. A distant shot captures the moment of the man's fall, creating suspense by withholding information about the killer's identity. Similarly, in 'Frenzy,' the second murder raises suspicion through a clever technique. The camera backtracks down the stairs and away from the building, adding to the suspense because we already know what has happened to the previous female victim.

The camera serves as the narrator in the story, with no dialogue. This is a

recurring narrative structure in the works of Hitchcock. He utilizes voyeurism in films like 'Psycho' and 'Vertigo', where he peeks through closed doors to create suspense and evoke emotion. Hitchcock employs various camera angles, including some unique ones such as aerial shots. In 'Psycho', an aerial shot is used at the top of the stairs, while in 'The Birds', suspense is heightened as the birds attack and we are drawn in by the proximity of petrol to fire.

The presence of black humor is evident throughout the unfolding events, as seen when an elderly man is shown crossing the street. Another aspect is Hitchcock's unique way of promoting his movies through monologues where he talks about the film, showcasing his peculiarity and auteurism. Notably, all the mentioned scenes are in the form of storyboards. Additionally, Hitchcock leaves his signature on the film, typically in the credits, further confirming his auteurism. It is evident that Alfred Hitchcock's work aligns with the concept of the 'auteur theory'.

Despite facing criticism for many years, Traffaut's 'auteur theory' argues that a single 'auteur' cannot be solely credited for an entire movie, as it takes various individuals such as cinematographers and screenwriters to create a film. However, there is a counterargument suggesting that the film director has complete control over the film, although this level of control is rare. Even if the director does have control, they may still need to adhere to ideals and guidelines they may not agree with. In the 1960s, Pauline Kael emerged as the primary opponent of the auteur theory, criticizing Sarris' book and dismissing the theory as "garbage."