Abstract
Studies of authorship in cinema have largely ignored questions of production history, of exactly how individual films are made. The authorship debate has focused on other issues: the definition of an author, the description of personal style, the placement of an author code in relation to other semiotic codes.1 Nevertheless, authorship is clearly an historical, as well as a critical and theoreti- cal, problem. Any reasonable account of creative responsibility for a particular film must investigate the history of that film's production. What is the division of labor between producer, director, writer, actor, cinematographer, and so on? Which collaborators strongly influence a film, and at what stages of production? What are the institutional structures that shape a filmmaking project? Such questions are vital to an understanding of film authorship, but they are rarely asked.2
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