Alfred Hitchcock Auteur Theory

The term auteur was introduced for the first time in the famous 1954 article “Une Certaine tendance du cinéma français” (“A Certain Tendency of the French Cinema”) , which was written by François Truffaut and was published in the French magazine Cahiers du cinema (Notebooks on cinema). Truffaut along with the editor of the Cahiers magazine, André Bazin, as well as other film critics such as Jean-Luc Godard, Eric Rohmer, and Jacques

Tim Burton Tim Burton; director, of Charlie And The Chocolate Factory, Big fish, Edward Scissorhands, and many more loved films. Uses many different cinematic techniques to portray mood and setting. Some of these techniques are, lighting, camera angles, and music. Tim Burton first uses camera angles to portray distances and sometimes height comparison. For example;

This ultimately fits his style of film as it is generally dialogue driver, with characters spending a lot of time discussing plans with one another and setting up emotions and plot points. A great example of this comes up in Sierra Madre when Dobbs and the others are discussing what they are going to do with the trespasser Cody, the camera stays in place and cuts back and forth between Dobbs and his partners, the camerawork and editing here isn’t flashy or fancy, but it gets the job done. Scorsese on the other hand, loves to move the camera around and depict unique editing techniques. In Taxi Driver, Travis makes a phone call to Betsy about their disturbingly awkward date. At first the camera stays fixed on Travis, but as the conversation goes on the camera moves away from Travis and focuses on the hallway leading out of the building.

At the end of World War II, Italy’s government started to fall, which made living there even tougher than it already was. The social class difference was an all time high and neorealism had become far more noticed by the people. Italian film was just becoming more popular and with everything happening in Italian society, filmmakers saw the opportunity to react. Italian cinemas began playing films showing difficulty within the economy along with problems in everyday life. This grabbed the attention of a significant amount of people including the government.

Perhaps arguably one of the most influential and controversial directors in American Cinema History, Spike Lee's filmography has become woven into the fabric of urban cinema. Like fellow directors such as Martin Scorsese and sometimes rival Quentin Tarantino, Lee's unique style of cinematography has both transcended and placed emphasis on appreciation for his respective cultural aesthetic. Many urban directors can attest that their respective styles in film and even music videos all come from or are inspired by Spike Lee. Aside from his ever creative filmography, it can be said that Lee's personal perspective shines most in his documentary work. Known generally to be outspoken, Lee's documentary work has historically touched on socio-political

Tim Burton is an American film director that many people know of. He has directed many movies that all have similar stuff in common, like Charlie and the Chocolate Factory and Edward Scissorhands, both very well known movies. His movies are dark, mysterious and sometimes even a little creepy. Burton uses music, light, and framing to help the audience understand the current mood of the scene better. Music can be used to bring the audience feel what the character in the movie would be feeling to cause you to become more involved, and that’s exactly what Burton does in his movies.

Many say the best aspect of this film was its cinematography which greatly affected the feel and look throughout. From the opening credits to the last scene of the film the Cinematography was very important, the first scene of the film Jake LaMotta is alone preparing for a fight in a smoky ring. While this scene was shot in slow motion, with its wide angle lens which enlarged the size of the boxing ring. The use of the close frame composition techniques makes the viewers notice that Jake LaMotta is completely

: For my presentation I have chosen to examine Steven Spielberg and what stylistic features he uses to make himself considered as an auteur. An auteur is a director that has a unique style in filming and has complete control of the production process of the film. The three films that I have chosen to focus on are E.T. The Extra-Terrestrial (1982), A.I. Artificial Intelligence(2001) and Close Encounters (1977). These are three of Steven Spielberg's most known films.

What Scorsese did differently was that he made male protagonists vulnerable again, just like they were in the old mobster movie days, but in a bit more realistic way Scorsese produces movies in a way that, according to Kolker, he „Determines our point of view and our emotional and intellectual attachment to the film. We are therefore, scarcely allowed any separation from what the central character is seeing. “ (218). He even does this directly by breaking the fourth wall twice in Goodfellas, and therefore making us feel as though we are the acomplices in all the things that were happening in the film. And we all know that it is very hard to judge ourselves effectively.

The Godfather is a film directed by Francis Ford Coppola and written by Mario Puzzo and Francis Ford Coppola. Based on the novel The Godfather by Mario Puzzo. It stared many great actors such as Marlon Brando, Al Pacino, James Caan, and Robert Duvall. It’s release date was March 24, 1972. The Godfather is an American crime film, and is considered one of the most iconic movies of all time.

The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters

Wes Anderson is a very well-known and established director in his field. Over the years, Anderson has developed a unique style of film and a basic formula for how each film will look in the end. The film The Grand Budapest Hotel showcases a lot of Anderson quirks from the vibrant colors to the tiny miniatures that he used to show the landscape. The Grand Budapest Hotel is uniquely Wes Andersons and really showcases his style.

On the 24th of March in 1971 an epic criminal drama “The Godfather” by Francis Ford Coppola was released. In a moment, from young to old, “The Godfather” captured attention of many millions of viewers, critics and politics – every man who was somehow connected with cinema and society. This film can be admired, this film can be criticized, but the fact remains - this film cannot be ignored. “The Godfather” became a brilliant masterpiece, which changed the very concept of what is real movie and in what direction the film industry should develop. One by one the "Godfather" won award by award, conquering film festival by film festival climbing higher and higher in the list of the greatest films in the history of cinema: 12 awards, including 3 Oscar

They chose Lawrence Olivier and Edward Robinson for the role, but director Francis Ford Coppola insisted on playing one of the most important roles in the American cinema. Brando insisted on not keeping the role in the Godfather film, and followed another technique that made his performance more spontaneous. He wrote the scene dialogue on a piece of paper and placed it next to the camera to read it while filming, in a way closer to the method used on television. That method makes the viewer feel that the actor does not repeat the words that he/she memorized.

The Auteur Theory-Intro Part Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to avoid the rules of the studio system and create films that were distinctively their own.