This view of art credits the author with power through having genius, and/or special experience, and emphasizes the individual and 'special' over the social and the shared. (Brannon, R & Stafford, G, 1 996, p 289/290) The Auteur Contrast The director In modern Hollywood can function much Like a star In offering an Insurance value to the Industry and a trademark value to an audience. Increasingly films are bought and sold on the basis of a director's name, which takes on the function of a sign.
This sign till takes on much information of significance concerning he popular and critical 'credit' of the director based on his previous work and the kind of promise offered by a new film bearing his name. The auteur sign, by contrast, is much more precise and specific. It will signify
...a set of stylistic and thematic features which, it is anticipated, will be identifiable in the text off film bearing the auteur name. Phillips, P 1996, p 150) In other words, an auteur possesses a slang(auteur) marking out his own Individuality which Is legible In a film over which he has enjoyed sufficient creative control for that sign(auteur) to permeate the film. A brings competence to the particular specialist role of directing.
" An auteur is "a director who brings to a film the signs of his own individuality as the dominant creative force in the film's production. " I. E. , style and theme in distinctive combination. .
.. An auteur can be regarded as a 'persona', similarly made up off combination of a real person and the films in which he exists as sign(auteur).
The principle difference, o
course, is that the auteur does not appear in films (with notable exceptions like Woody Allen and Spike Lee) so that whereas the star-in-role is visible, functioning as icon, the auteur-in-role must be excavated by critical analysis.
(Phillips, P 1996, p 150/151) film critics and directors of the silent era. At the time the debate centered on the auteur (author of the script and film-maker as one and the same) versus the scenario-led film (scripts commissioned from an author or scriptwriter) a distinction that fed into the original high-art, low-art debate.
After 1950 this debate was 'picked up' again by the newly launched film review Cashiers du Cinema (1951)... He group developed the notion of the auteur by binding it closely with the concept of miss-en- scene.
(Hayward, 1996:12/13) During the German occupation of France in the Second World War, American films had been proscribed [denounced/exiled]. Suddenly, after the war, hundreds of films heretofore unseen, flooded the French cinema screens. This cinema, directed by the likes of Alfred Hitchcock, Howard Hawkers, John Ford and Samuel Fuller, seemed refreshingly new and led the Cashiers group to a reconsideration of Hollywood production.
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