Film Studies. Authorship Theory in Examples
FILM 1051 - Introduction to Film and Media Studies
University of Cincinnati
December 10, 2023
Introduction
The concept of authorship has been a topic of multiple discussions in
film theory during the last several decades. Its idea is to analyze the
work of directors and authors, investigate their roles, and compare
their contributions to a final product. In his article, Naremore says that
modern motion pictures are the result of a collaboration between
several people, including photographs, choreographs, and writers, and
their contributions cannot be ignored as all of them may be called as
authors (9). However, despite the volumes of work done, a director is
usually the one who is associated with film authorship in a production
process. Therefore, film theorists and researchers find it necessary to
develop specific approaches in understanding authorship and the
distinctions the representations of an auteur or an author in different
movies. In this report, attention will be paid to such American and
European films like1Sullivan’s Travels,1Le Mépris, and1O Brother,
Where Art Thou?. The value of film authorship theory lies in the
importance of explaining the role of a director compared to the work
of other participants and evaluating the quality of decisions in a
filmmaking process.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
The Essence of the Theory of Film Authorship
During the last several decades, many people who are involved in film
studies aim at discussing the idea if it is correct to consider a movie as
a commercial benefit or an art form. To introduce one strong opinion,
multiple theories were developed at different periods, and a theory of
film authorship was one of them. However, after reading the article by
James Naremore, one should admit the author’s position is that “the
study of authorship is not in itself a theory, only a topic or theme” (9).
First policies emerged in France during the 1950s and 1960s and were
known as the “politique des auteurs” to canonize “directors in the
name of art” (Naremore 9). As soon as Hollywood reached Europe
after the German occupation, many French critics, who were also
involved in directing, like Astruc, Truffaut, or Godard, were eager to
share their attitudes towards the properties of moviemaking.
According to Naremore, such auteurists tried to move “from critical
writing to filmmaking” (11). Therefore, film authorship was identified
as an approach to analyze movies, enhance criticism of directors’
work, and understand the worth of contemporary film studies.
The Value of the Theory
The necessity to introduce film studies as a critical element of
moviemaking cannot be ignored. The attempt made by Naremore to
discuss the value of the film authorship theory demonstrates how
multi-faceted the concept of authorship can be. On the one hand, the
author explains why some people believe that authorship and directors
should “signify not only persons but also traditions, theories, and
genres” (Naremore 9). On the other hand, new manifestations of the
auteur theory have to be developed to investigate how different
internal aspects could influence filmmaking. One of the lessons shared
by Naremore is based on the fact that any author is as real as money,
and this position should not be changed even if a director is socially
constructed (22). There are many ways of how the “relationship
between institutions and artists” are developed, and the concept of
authorship includes a dialectical consideration of its dynamics
(Naremore 22). The value of the theory under analysis is recognition
of the author’s (director’s) skills to combine a variety of elements and
factors within one frame that is a movie.
Another aspect of the theory of film authorship is the evaluation of a
movie itself, not just the work of a director. According to Naremore,
the studies about authors create an opportunity of understanding and
differentiating films “more precisely” (22). In the article under
analysis, to support his position, the author mentions the names of
Alfred Hitchcock and Frank Capra, the two outstanding American
film directors. The application of the authorship theory shows how
these individuals introduced their styles and new cultures in
moviemaking. Both of them were the directors of silent films,
mysteries, and dramas, but their approaches differed. Therefore, the
auteur theory is valued due to a thorough investigation of their
legacies, visions, and influences on people worldwide.
Identification of an Author
The identification of a single author of a film is a difficult task
because it touches upon a variety of issues, concerns, and judgments.
In literature, a story is usually written by one person, who has an
evident right to be called an author. In cinema, the creation of a movie
is a collaborative process with a number of people, including
directors, screenwriters, performers, and editors, who perform their
tasks and roles according to the deadlines. Regarding the idea of the
authorship theory, a film is a result of the director’s work, and it is
expected to be a single person. A director remains to be the most
important person whose contributions to filmmaking cannot be
ignored (Dixon and Foster 187). For example, there is a group of
editors, sound engineers, or composers who work on the same movie.
When some point has to be clarified, all of them address one person, a
director, because he or she is aware of the current state of affairs and
knows what is better for this project.
Taking into consideration the discussion of Naremore or other writers
about authorship, there is no doubt that the role of a director is
impressive for any movie. Nowadays, millions of people like to
evaluate movies before they actually see them and analyze their
expectations by discussing the names mentioned in filmmaking. For
example, when it is Tarantino’s movie, a person wants to see the
elements of violence, brutality, and even insolence that are perfectly
chosen and presented. In Hitchcock’s works, classical mystery and
unpredictability catch the eye. Talking about Burton’s project, one
should mention the beauty of craziness and expression. Such
discussions are possible because all these directors are the authors of
their movies, with their unique styles, approaches, and understanding
of what people want to see. Therefore, answering if it is possible to
identify a single author of a movie, one should say “yes” and use the
theory of film authorship as proof.
Film Director as an Auteur in Movies
Analyzing the representations of film directors as authors, it is hard to
predict the results of such discussions because freedom and personal
judgments remain subjective. However, auteur theory serves as a solid
background for film studies where the goal is not to identify the author
but to explain why a director is the only actual auteur or author of the
chosen work. In the middle of the 1900s, many Hollywood movies
entered the French and British markets and vice versa. As a result,
critics from different parts of the world were able to compare
filmmaking approaches and share their opinions. In France, the
approach known as “le politique des auteurs” was promoted to
evaluate the efforts of directors (Dixon and Foster 187). Relying on
the same technique, this report aims to compare the representation of
the role of film directors as authors in movies like1Sullivan’s
Travels(by Preston Sturges),1Le Mépris(by Jean-Luc Godard), and1O
Brother, Where Art You?(by Coen brothers). The choice of these
films is explained by the possibility of studying directing as a theme
of the movie, as well as a moviemaking technique.
Sullivan’s Travelsis a movie about a director and his attempts to
create a new, memorable project in the world of cinema. John
Sullivan, the main character, wants to introduce a picture as “a
commentary on modern conditions. Stark realism. The problems that
confront the average man!” (Sullivan’s Travels). However, as soon as
he discovers that he knows nothing about poverty and how people live
with problems and challenges, he decides to experience new emotions
as a poor man with no support and backup. The representation of
Sturges, the director, in this movie is powerful. This profession is
discussed through the prism of the characters, their decisions, and
actions, on the one hand, and via camera work, the plot, and mise en
scène, on the other hand. The film director is the one who creates a
story and chooses the most effective methods to transform it on
screen.
O Brother, Where Art You?1is another good example about the role of
film directors in cinema. This title was firstly mentioned in1Sullivan’s
Travels1as the first documentary work by Sullivan. At the end of the
movie, Sullivan tells that making people laugh “isn’t much, but it’s
better than nothing” (Sullivan’s Travels). Coen brothers follow this
piece of advice and use the title for their own crime comedy.
According to Everett, one of the main characters, a leader has to be
“the one with the capacity for abstract thought” (O Brother, Where Art
You?). This idea turns out to be a great representation of a director in a
filmmaking team.
In1Le Mépris,1the discourse of authorship is also present to explain the
responsibilities of directors and the team. Godard is good at giving
clear definitions and examples of how filmmaking should look like.
The first rule is to set the goals and use personal ideas “instead of
stealing them from everyone else” (Le Mépris). The second
recommendation is to understand the boundaries and opportunities
because “in the script it is written, and on the screen it’s pictures” (Le
Mépris). In fact, this movie is full of powerful phrases, which proves
the skills of the director. Despite the presence of celebrities and an
excellent job of editors,1Le Mépris1is a story created by Godard, with
his authorship and impressive omniscience.
Conclusion
In general, the analysis of the chosen movies shows that the concept
of authorship is complex and influential. Being a result of the
collaborative work of many professional people,1Sullivan’s Travels, O
Brother, Where Art Thou?,1and1Le Méprisremain the project of single
authors with their visions and interpretations. According to the theory
of film authorship, a director has to be the only creator of movies
because of decisions and contributions being made. Such
differentiation of roles and ranks has a background, and auteur theory
that came from France in the middle of the 1900s improves American
and world cinema in the 21st century.
Works Cited
Dixon, Wheeler Winston, and Gwendolyn Audrey Foster.1A Short
History of Film. 3rd ed. Rutgers University Press, 2018.
Le Mépris.1Directed by Jean-Luc Gogard, performances by Bridgitte
Bardot and Jack Palance, Embassy Pictures, 1963.
Naremore, James. “Authorship.”1A Companion to Film Theory, edited
by Toby Miler and Robert Stam. Blackwell, 2004, pp. 9-24.
O Brother, Where Art Thou?1Directed by Ethan Coen and Joel Coen,
performances by George Clooney, John Turturro, and Tim Blake
Nelson, Universal Pictures, 2000.
Sullivan’s Travels.Directed by Preston Sturges, performances by Joel
McCrea and Veronica Lake, Paramount Pictures, 1941.
