Abstract
The following discussion describes the Auteur theory in greater detail, analyzing the importance of this theory and its contribution to cinema. The role of the director as an author and narrator is discussed at length as a means of understanding the various issues that directors face in their efforts to bring their creative vision to the big screen.

From the Paper
"The film industry is comprised of a wide variety of cinematic theories and concepts, which promote the creation of films that convey some of the most interesting ideas for entertainment and learning purposes. These theories continue to encourage filmmakers to develop works that facilitate the understanding of their creative visions in a variety of contexts. One such concept that is worthy of further examination is Auteur theory, which exemplifies much of the work of some of the world's most famous filmmakers, including Alfred Hitchcock. There is considerable evidence to support this theory and its use in cinema; however, there are also issues related to this theory that create challenges for the film industry. The following discussion will evaluate the Auteur theory in filmmaking, and examples will be provided that support this theory in film practice."

Tags:film, essay, auteur

Abstract
Two of the post-war directors whose works most prominently exhibit characteristics of "auteur cinema" are Michelangelo Antonioni and Federico Fellini. As will be seen, in "Otto e Mezzo", Fellini's creation of tension between the director's personality and the narrative with which he is working emphasizes the self-reflexivity of this work. Like Fellini, Antonioni, in his classic "L'avventura", emphasizes the nature of the film as an artifact. However, Antonioni's "auteurship" is characterized more by an emphasis on formal devices like camera shots, etc., to visually define his work as opposed to Fellini's concentration upon textual narrative. This paper will argue that the common element in both directors' approaches is an interest in the employment of self-reflexivity to undermine fixed meaning and the certainties of artistic representation of reality.

Abstract
This paper examines Tim Burton's films including "Edward Scissorhands", "Big Fish", "Bat Man", "Batman Returns", "Beetlejuice", "Alice in Wonderland", "Charlie and the Chocolate Factors" and "Ed Wood". The paper notes that Burton is a character study for the complexities of the director's psyche, because his film imprint is easily recognizable through the tools utilized by the director, such as casting, lighting, camera angles, sounds, costume and staging. The paper examines the genre of his films as well as the interplay of novelty and stability.

Outline:
Burton and Genre
Conclusion

From the Paper
"We can compare Beetlejuice to Burton's other strangely fantastical work where there is a merging conjuncture between the fantastical genre facilitated by the classical social concept of the suburban family and community. In Edward Scissorhands, there again emerges the contrast of fantastical and classical. Edward (Johnny Depp) is a person with hands of scissors, which were inserted by his Frankenstein type creator. It remains not a distraction to the viewer, but a mystery to the view as to why the creator chose to give Edward scissor hands instead of human hands. The character of Edward is expertly played Depp, who was able to bring to life the comic-like character of Edward Scissorhands. When Burton brings together the acting talent of Depp, an ability to play a character like Scissorhands in a semi-robotic way, with Ryder, who conveys the deep sense of dark depression, the result is a moody, contemporary drama with a surreal element of fantasy.
"Auteur theory suggests that Burton's work must be a decryptment of meaning of the film (Wollen, 104). Burton's work meets the criteria in that the fantasy element is used to forefront the social message. We find this not only in Beetlejuice, Edward Scissorhands, but certainly in the Batman films."

Tags:novelty, stability, fantasy, genre

Abstract
In the late 1950s and early 1960s auteurism came to dominate film criticism. This theory can be defined as, "a critical approach to film that emphasizes the essential role of the director as the author of the work," with every aesthetic choice reflecting his or her personality. Many different approaches to more closely defining how to study, classify, and measure the value of auteurs were created. One of the most influential of these articles was Andrew Sarris' "Notes On Auteur Theory in 1962", which defined directors in terms of their ability to create films with technical competence, a style that reflected his or her distinct personality, and interior meaning. This study focuses on Bruce McDonald, a Canadian director. An analysis of his films in this paper shows his validity as an auteur according to Sarris' theory and at the same time shows the problems of studying directors as individual artists working within the constraints of cinema.

From the Paper
"After "Notes On Auteur Theory in 1962" was published several arguments against Sarris' theory arose, and these can be applied to Bruce McDonald's auteurism as well. Beginning in the late 1940s Hollywood journalists debated the importance of diverse collaborators on a filmmaking team. According to some critics auteurism underestimated the importance of the collaborative nature of filmmaking. Sarris' theory certainly finds that the director is the center of film production, and as such is the auteur, but this does not take into consideration the role of other important "auteurs". These could include the screenwriter, cinematographer, and editor. In McDonald's case his career is founded upon some key collaborations. On four of his seven feature films, the script was written at least in part by Don McKellar, another prominent Canadian actor, director, and writer."

Tags:mckellar, movies, hollywood, roadkill

From the Paper
"While it may be debated for years to come if the term auteur belongs to Hitchcock, it will never be debated that he was a genius in his own right. And if being an auteur means that one exerts much control over his films, it is impossible to contradict the fact that Hitchcock, did indeed, show an unprecedented amount of control in each of his films. If the argument is to be sound, a closer examination of the meaning of auteur might be recognized.Hitchcock was a genius of film and art. His work was revolutionary and gave inspiration to many other filmmakers. His unwavering discipline of creating the best works proves him to be one of the best filmmakers in history. No doubt, his work will be debated and discussed for centuries to come. "

Tags:biography, british, film, vertigo

Abstract
This paper explains that, as the "auteur" of "Double Indemnity", Wilder produced and directed one of the great Hollywood examples of film noir; it stands today as the quintessential example of the genre. The author points out that, as a cinematic genre dating back to the mid 1930s, film noir is generally defined as a dark, suspenseful thriller with a plot line revolving around crime or mystery. The paper states that the term "auteur" is most often used as a reference to the director of a particular film whose impact on the end product cannot be denied, imbuing the film with his or her distinctive, recognizable style.

From the Paper
"Another example of how film noir draws the audience into the story is through emotion and tension, especially those connected with Neff's fear of discovery and his personal feelings for Keyes (Edward G. Robinson), Neff's employer, who soon starts his own investigation into the death of Phyllis's husband. One scene has Keyes calling Neff into his office to confront a witness who saw Neff on the train; a second scene has Keyes arriving at Neff's apartment when Phyllis is expected at any moment. These examples are pure film noir, for they illustrate how tension and conflict play major roles in advancing the storyline towards its final and at times expected conclusion."

Tags:shadowing, director, style, thriller, crime

Abstract
This paper examines the main themes of director David Cronenberg's work through the example of three films "Videodrome," "The Dead Zone," and "Dead Ringers." The paper describes Cronenberg's unique cinematic style in terms of its technical accomplishments and horror stories. The paper defines the term "auteur director" and applies it to Cronenberg's films.

From the Paper
"There are a few different areas of filmmaking that generally get a director labeled as an "auteur." One might be the technical aspects of the film - the camera work, the set design, the lighting. Another might be the style or conditions under which the director works. Lastly, an auteur director is sometimes labeled as such because of the themes he or she chooses to explore over the course of several (or all, in some cases) of their films or a specific genre that they choose to work within over a period of time. David Croneneberg has worked primarily in the horror or suspense genre for most of his career and delves into issues that face humanity, technology, society, and responsibility in unique ways."

Tags:dead, zone, ringers, videodrome, director, society, horror

Abstract
Discussion of the filmmaker as "auteur." His involvement as a writer as well as director in his movies. His consideration of screenwriting as the formation for the structure and visuals of a film. Elements of the " Hitchcock Touch." The melodramatic, suspense movies. His use of the " MacGuffin." His British films. His Hollywood films.

From the Paper
"ALFRED HITCHCOCK- WRITER

Movie buffs know Alfred Hitchcock, of course, mostly for his American films- Rebecca , North by Northwest , The Birds , Marnie , Vertigo , and The Man Who Knew Too Much (among others). But, what really sets Hitchcock apart - beginning with his earliest films done in England prior to World War II, is the fact that he was as much a writer as a director, even if the screenplay was actually written by someone else.

Although one aspect of Alfred Hitchcock's rhetoric drastically privileged the image over the word, he also insisted that it was during the screenwriting that his most serious work was done. He defined the screenwriting process as the space where all fundamental directorial decisions have already been made; he did not think of "writing" apart from the work he planned for the ..."

Abstract
This paper will examine the critical responses to three films, which derive from both immediate and reflective criticism. The films to be discussed are Kenneth Branagh's "Henry V", Federico Fellini's "La Strada" and Fritz Lang's "Metropolis". It will be argued that central to the criticism of the three directors and their films are the sense in which each is regarded as an "auteur". All three cinematic texts produce meaning through the tension between the director's personality and the material with which he is working. It is this pervasive domination by the director of the cinematic text through manipulation of the 'mise en scene' that defines these works as that of "auteurs".

Abstract
Championed by directors Jean Luc Godard and Fran ois Truffaut, the French directors were seeking to justify their own individualism as an answer to the lifting of the quota on American Films after World War II, which led to a flood of big budget Hollywood films into French movie houses. The paper shows that the French directors, unable to compete with the flash and panache of Hollywood, pointed out that individualism made their films stronger. They therefore anointed John Ford, Alfred Hitchcock and Hawks as the patron saints of the auteurs. This paper examines how Hawks' films, use of actors and apolitical emotions made him worthy of the French title.

From the Paper
"Hawks refused to be limited by labels, he refused to succumb to functional fixity. His most serious films have bits of humor and he was not adverse to turning a drama into a comedy or for that matter into a musical. During his career, though he got a "feel-good" award for lifetime achievement, he received few nominations and no Oscars during his career. Yet, he was one of the few directors who, productive and successful before the Second World War, remained commercially and artistically successful after the war. And when it comes to crossing genres his success to date is unparalleled. He was equally at home in comedy, westerns, aviation films and war dramas."

Tags:Andr?, Bazin, Alexandre, Astruc, Mary, Pickford, Carey, Grant