 Who speaks? Who is the author? Who controls what the text (movie) "says"?  In film (especially in American movies) this is often difficult to establish Commercial model of moviemaking Many “cooks”—Read those end credits Remakes/Sequels/Prequels/Adaptations Etc.???

 l.Auteur theory developed by French writers in Andre Bazin's journal, Cahiers du Cinema during the 1950's (other theories--realism, genre theory) Andre Bazin

 2.An auteur is noted to have a distinctive style and preoccupations-- themes, visual & production styles, ways of handling scenes, etc.... recurring motifs NOTE:  Iconography = widely understood cultural symbols vs.  Motif = recurring theme in a single film (or a set of films by same auteur)

NOTE:  Iconography = widely understood cultural symbols vs.  Motif = recurring theme in a single film (or a set of films by same auteur) Check out the black leather jacket

NOTE:  Iconography = widely understood cultural symbols vs.  Motif = recurring theme in a single film (or a set of films by same auteur) Strangers on a Train

 3.Is an auteur always a director? Auteur = director? Auteur = star? Auteur = screenwriter?

 4."Film-style" shooting gives the auteur artistic power

 5.Can we identify an auteur empirically? (Patrika Janstova, 2007 masters thesis, Cleveland State—the case of Jane Campion (The Piano, In the Cut)  Content analysis of all 6 Jane Campion-directed films as of 2007 plus a matched sample of 18 “non-Campion” films (random sample of films matched on genre (drama), years, English language)  Measured 56 form (techniques) and 113 substance (themes and character quality) variables

Auteur Theory Campion films significantly:  Fewer male leads  More female and male nudity  More sex (esp. oral sex and kissing)  More often using female POV  More physical and sexual abuse to opposite gender  More identity change due to marriage, religion  More instances of psychological disorder  More characters traveling, living abroad, appearing lonely,  Less non-diegetic music  More closeups of face, hands, feet, arms, legs, touching  More shots of mirrors, windows  More slow motion  More hand-held camera  More use of color filters (red, blue)  Greater presence of angels

 Tempering Auteur Theory with Reception Theory Assuming an active audience “The text proposes, the viewer disposes.”

 Let’s watch a portion of Hitchcock: The Man and His Movies (1975, D: Richard Schickel)

 Common Thematic Motifs falsely accused man "The villain doesn't kick the dog - - he's a charmer.“ aloof blonde woman (e.g., Grace Kelly, Tippi Hedren, Eva Marie Saint)... sexual fire beneath a cool exterior malevolent crowd ironic use of religious symbols use of some important cultural artifact (a "safe" place) at the narrative climax (e.g., Albert Hall, Mt. Rushmore, Statue of Liberty, a train, a merry-go-round) "Film is life with the dull parts cut out.“ Carefully planned mise-en-scene (memorized his storyboards) Hitch's own cameo appearances--a gimmick Key production techniques... e.g., high-angle shots, canted camera angles, CUs, tracking shots Bomb theory of suspense Hitch's own fears & phobias MacGuffin theory of dramatic foils

 Let’s watch a portion of Buster Keaton: A Hard Act to Follow (1985, D: Kevin Brownlow)

 Common Thematic Motifs The Keaton character - - stone-faced, he is considered a brainless idiot, & is kicked around (literally!) by others... but in all things perseveres & prevails. The plot - - a young man courts a woman whose social position is more respectable than his own. Through ingenuity, & feats of daring & imagination, he wins her. (NOTE: Keaton did all his own stunts.) Keaton's adversaries: machines & nature Usual shot is LS, to show relation of man to natur