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: : erm, sorry i can't haven't studied media/film for a bout four years but seeing as though i work at a college, have a look at the reading list and stuff, that might help you....(my own personal opinion - i don't believe he is, i'd go for someone like Luc Besson) : Jill Nelmes: An Introduction to Film Studies (Patrick Phillips – Chief Examiner for Film Studies) Pages 195 - 205 : Pam Cook:The Cinema Book edition 2 Part 6 Authorship and Cinema : Lapsley and Westlake: Film Theory: an Introduction Part 2 chapter 4 Authorship : William Phillips: Film: An Introduction Page 442-3 – brief overview : Susan Hayward: Key concepts in cinema studies Page 12 – 20 Definition and overview : Steven Blandford: The Film Studies Dictionary - definition and overview : Hollows and Jancovich: Approaches to Popular film Part 2 Auteurism and film authorship theory : Hollows, Hutchin and Jancovich: The Film Studies Reader Section 2 : Hill and Gibson: The Oxford Guide to Film Studies Pt 2 Critical Concepts P310ff : B. Nicholls: Movies and Methods Volume 1 P224ff : Mast, Cohen and Braudy: Film Theory and Criticism VI The Film Artist P579ff : John Caughie: Theories of Authorship : FS4 AUTEUR THEORY – COURSEWORK : How well do you understand this approach to film? : How well can you apply it to your chosen film maker? : How many of the books on the Reading list have you consulted? : Try to answer the following questions without using notes. Try to link your answers to your own study. Then re-read/consult the section from "An Introduction to Film Studies" – auteur section by Patrick Philips, chief examiner for the subject. We would suggest you tackle a section at a time and check you understand the theory. : Starred questions are particularly useful for your presentation script and analysis of research methodology. : Section A : What does the term "auteur" mean in relation to film making? : Who is most often regarded as the auteur? * : Who else, in the film making process, could make a claim to be an auteur?* : Why is it easier to distinguish an auteur in art-house or independent cinema? * : Section B : Why is it more difficult to identify an auteur in Hollywood or mainstream film making? : What is the difference between an auteur and a metteur en scene? : Where did the theory originate? Which writers and publications advanced the theory? : Why is it more difficult to distinguish an auteur in film making than say in painting, poetry, novel writing? : What are some of the drawbacks of an auteur approach? Suggest at least 2. * : How can an auteur’s signature be identified in a film? Suggest at least 2 ways. * : Section C : How can an auteur bring an "insurance value" to a film, or a trademark value to an audience? * : What is meant by identifying a list of paradigms to find a "Hitchcock structure"? * : Why might this approach (in question 12) be particularly useful when seeing film as a collaborative activity? : Are auteurs better suited by modern Hollywood practices than under the studio system? If so, why? : Why does an auteur need a significant degree of control and independence in the various stages of production? * : Section D : Why is it important to look at the producer’s role and/or the relationship between director and producer? * : Why might power over the final cut be considered important? * : How does the film industry promote auteurs for marketing reasons? : What constraints are there on auteurs from genre conventions? : What constraints are there on auteurs from commercial pressures? : How could a studio be considered as auteur – under the Hollywood studio system, or now? Examples and reasons : How could a star be considered as an auteur? Examples and reasons. : 23. How can it be claimed that the spectator is the auteur? What is meant by the "death of the author" and the "birth of the reader"? : Check list of areas for your presentation script. Have you covered the following areas? : Personal voice/tone - expressing your personal enthusiasm for the film maker/s and their work. Use of first person, reasons for choosing. : Auteur characteristics - are these listed in the first paragraph? Are they clearly defined? Do you then go on to discuss and illustrate them (with reference to film clips)? : Film language – do you make a case for your film maker being distinctive in their use of film language? Do you trace this from film to film? : World view – do you discuss the issues your film maker is concerned with and can be traced from film to film? : Control and Collaboration – do you discuss the degree of control your film maker has over the films? Do you discuss their collaboration with cinematographers, writers, production designers, editors as well as with one or more production companies? : Genre – do you discuss your film maker’s use of generic conventions, whether they use genre in a distinctive way? : Arguments against auteur status – do you consider the points which could be made to claim your film maker is not an auteur, perhaps merely a metteur en scene? : Your question – have you answered the question you set yourself on the proposal sheet? It might be wise to frame your conclusion using the terms you used in the question. : Have you conveyed your enthusiasm for your film maker’s work to your audience/reader? (You could reflect on this in the Evaluation) : Possible areas of study : Gus Van Sant – from alternative to mainstream? My Own Private Idaho to Psycho : Boyle/Hodge/McDonald/McGregor – collaborative creativity from Shallow Grave onwards : Steven Soderberg – from independent to mainstream? Sex, lies and videotape to Erin Brokovich : David Lynch – a personal vision and a distinctive style. All style and no substance? The : Grandmother to Mulholland Drives : Coen Bros – collaborative creativity. Independent film making. Use of genres. From Blood Simple to O Brother Where Art Thou : Billy Bob Thornton – writer/actor/director. Slingblade, The Man Who Wasn’t There : Neil Le Butte – independent, low budget to mainstream? In the Company of Men, Nurse Betty : John Sayles – political film making, staying independent. Passion Fish, Limbo : Baz Luhrmann – the musical and design. Strictly Ballroom to Moulin Rouge via Romeo and Juliet : Farrelly Brothers – work within a genre, work with stars. There’s Something About Mary etc : Jerry Bruckheimer – producer, collaborations with Michael Bay and actors e.g. Ben Affleck : Dreamworks – studio as auteur. Link to work on Shrek : Pixel and Disney – new technology and auteurship : Fincher – developing visual style from Alien 3 to Seven : Cruise/Roberts/Pitt/Diaz – a star study, assessing their creative contribution to their films and their degree of control over their films and perfomances : Drew Barrymore – moving from child star to producer ER to Charlie’s Angels : Ridley Scott – from UK to Hollywood, to A list. Blade Runner to Gladiator : Bryan Singer – from low budget to mainstream Usual Suspects to X Men : Luc Besson – auteur within French cinema. French cultural background and American money : :

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