Auteur Theory Research Articles

A SYSTEMATIC ANALYSIS OF AUTEUR THEORY IN CINEMA IN GRADUATE THESES IN TURKEY

Bibliometric analysis is a method that examines the numerical data and characteristics of publications, articles, theses or other academic sources within a particular subject, field or discipline. In this study, bibliometric analysis is used to reveal the current view of graduate theses in the Department of Radio, Television and Cinema in the YÖK Thesis Center, which are examined with auteur theory as a method, to identify gaps in the literature and to help future studies by providing reports. For this purpose, the researchers systematically searched the YÖK Thesis database at the end of December 2023 using the key terms ‘auteur’, ‘auteur theory/theory’. As a result of the search, a total of 252 graduate thesis studies were accessed. Two limitations were imposed on the thesis studies accessed: The theses must have been written in the Department of Radio, Television and Cinema and the theses must have been analyzed with auteur theory as a method. As a result of the limitation imposed on 252 thesis studies, the studies that were not included in the limitation were excluded and the number of samples was reduced to 48 studies. It was observed that the first thesis study on auteur theory was conducted in 2002. In this context, the limitation of the study was determined as the years 2002-2023. Based on the information provided, this study uses bibliometric analysis to analyze, interpret and report the distribution of theses on auteur theory between 2002 and 2023, their distribution by years, their distribution by universities, the distribution of the language in which the theses were written, the gender distribution of thesis authors, the distribution of thesis advisors, the directors examined within the framework of auteur theory and the country cinema distribution of the directors.

Combining and Defining Auteur Film and Film Auteurism

This paper provides a concise overview of the history of film as a dynamic visual medium, analyzing European cinema of the nineteenth century and Hollywood films of the 1930s and 1940s. It argues that early films cannot be classified as auteur films due to the lack of a systematic auteur theory guiding their creation. Furthermore, it highlights that although Alfred Hitchcock is widely recognized as the first auteur director of Hollywood cinema, his relationship with producers at the time was notably strained. The paper concludes that the concept of auteur film necessitates that the director is entirely responsible for the artistic achievements of the film and consistently reflects their worldview and philosophy of life in their work. Additionally, auteur theory serves as a logical framework for directors to create films and as a methodology for critics to retrospectively analyze a director’s creative style and interpret their films.

A Survey of Tunde Kelani's Interpretations in the Adaptations of Akinwumi Isola's O Le ku (It is Complicated) and Yinka Egbokhare's Dazzling Mirage for the Screen.

Adaptation is an age long phenomenon in the arts. Life writings were adapted into novels and largely novels to plays. The trends continue to date. Adaptations are meant to artistically metamorphose a previous creative endeavour into a new one. An artistic work from one genre is transformed into another genre without losing sight of the thematic preoccupation of the source. Tunde Kelani adapted Akinwumi Isola's classic Yoruba Novel O le ku (It is Complicated) and Yinka Egbokhare's novel, Dazzling Mirage into films of the same titles, thus bringing the thesis of both works to a wider and heterogeneous audience. Despite the artistic and box office success of both films, and many essays on the film versions of the two novels, the extent of Tunde Kelani's fidelity to the thematic preoccupations and aesthetic considerations of the original works has not been academically interrogated. Therefore, this study examines the extent of Kelani's faithfulness to the ideology and aesthetic qualities of the original works. The primary data for the study depended on content analysis, structured interview and focused group discussion (FGD). Thus, the Akinwumi Isola's O le ku and Yinka Egbokhare's Dazzling Mirage and Tunde Keleni's cinematic adaptations were content analyzed. Both the literary and audio-visual versions was subjected to seasoned focused group discussion (FGD). The film producer and director; Tunde Kelani was interviewed. Secondary data were sourced from a review of relevant literature. Sarris' Auteur Theory was adopted to drive the discourse. The paper argues that the differences in the media of expression significantly influenced the minor discrepancies between the literary texts and their screen versions. It also argues that Kelani's box office target distracted him for a flawless fidelity to the original works. The study concludes that cineastes should enlist literary experts, who are knowledgeable about the principle of adaptation, and film critics in their production crew.

A Survey of Tunde Kelani's Interpretations in the Adaptations of Akinwumi Isola's O Le ku (It is Complicated) and Yinka Egbokhare's Dazzling Mirage for the Screen

Adaptation is an age long phenomenon in the arts. Life writings were adapted into novels and largely novels to plays. The trends continue to date. Adaptations are meant to artistically metamorphose a previous creative endeavour into a new one. An artistic work from one genre is transformed into another genre without losing sight of the thematic preoccupation of the source. Tunde Kelani adapted Akinwumi Isola's classic Yoruba Novel O le ku (It is Complicated) and Yinka Egbokhare's novel, Dazzling Mirage into films of the same titles, thus bringing the thesis of both works to a wider and heterogeneous audience. Despite the artistic and box office success of both films, and many essays on the film versions of the two novels, the extent of Tunde Kelani's fidelity to the thematic preoccupations and aesthetic considerations of the original works has not been academically interrogated. Therefore, this study examines the extent of Kelani's faithfulness to the ideology and aesthetic qualities of the original works. The primary data for the study depended on content analysis, structured interview and focused group discussion (FGD). Thus, the Akinwumi Isola's O le ku and Yinka Egbokhare's Dazzling Mirage and Tunde Keleni's cinematic adaptations were content analyzed. Both the literary and audio-visual versions was subjected to seasoned focused group discussion (FGD). The film producer and director; Tunde Kelani was interviewed. Secondary data were sourced from a review of relevant literature. Sarris' Auteur Theory was adopted to drive the discourse. The paper argues that the differences in the media of expression significantly influenced the minor discrepancies between the literary texts and their screen versions. It also argues that Kelani's box office target distracted him for a flawless fidelity to the original works. The study concludes that cineastes should enlist literary experts, who are knowledgeable about the principle of adaptation, and film critics in their production crew.

Empathy for the "other" in the films of Yim Soon-rye from the perspective of auteur theory

Empathy for the "other" in the films of Yim Soon-rye from the perspective of auteur theory

Auteur Theory and Minor Literature: Meg Jayanth as a Game Auteur

The auteur theory, when applied to collaborative pieces like digital games, has faced criticism. This article aims to explore the feasibility of reviving the auteur theory by illustrating the work of screenwriter Meg Jayanth as a case study. Assuming that symbolic authorship can be identified through recurrent themes, distinctive game mechanics, and recognizable authorial signatures, Jayanth can be considered an auteur, despite frequently performing supportive roles for more prominent designers and directors. Jayanth's contributions, classified per Deleuze and Guattari as minor literature, encompass critiques of colonialism, advocacies for environmental consciousness, distinctive game mechanics associated with her name, and cameos. The article advocates for the revitalization of auteur theory studies to facilitate progressive dialogues on individuals whose contributions have been overshadowed in the discourse surrounding digital games.

Rabindranath Tagore’s Works in Cinema: A Review of Selected Critical Works

Locating the platitude of perspectives and arguments in the existing critical works on Bengali film adaptations, this critical review article examines some of the significant academic writings on Rabindranath Tagore’s works on screen. Since the vast filmography based on Tagore’s works, commonly known as ‘Tagore films’, has not received adequate critical and theoretical attention in South Asian academia, let alone in the adaptation studies in global academia, the number of critical works on them is relatively small. The main significance of this essay lies in focusing on the commonality of assessment of Bengali film adaptations (based on Tagore’s works) from a moralistic position of fidelity criticism – not from the theoretical lens of diverse adaptation theories – and on addressing the difficulty in fitting the existing assessments in the critical spectrum of adaptation scholarship. It has become an academic dismay for aspiring researchers to find materials on the annals of the filmography, given that there are so few scholarly publications spread across the internet's vast ocean and the interstices of libraries. Considering this context and realising the dire necessity for review articles on Tagore films, this article bears immense academic and theoretical value. By examining selected critical works analytically from the premise of the auteur theory that underpins creative adaptations, this study has the potential to ease the extraordinary burden of academic enquiries in the growing body of writings on film adaptations. More importantly, the paper will unveil, in the existing critical works, some glaring lacunas that may be addressed by future critical endeavours.

Inheritance and Innovation in Wes Anderson's Works from the Perspective of Auteur Theory: A Case Study of The French Dispatch

Wes Anderson, a renowned American independent filmmaker, is often associated with bold use of color, symmetrical composition, flattened visual expression, and unconventional narrative structures, showcasing a distinctive personal style and a strong directorial control over his works, earning him the title of an "auteur" director. This paper aims to analyze Anderson's aesthetic style and thematic expressions from the perspective of Auteur Theory, employing methods such as investigative, literary, and comparative research. After examining The French Dispatch, Anderson's final released film, the study concludes that while inheriting the director's consistent stylistic features, the film also demonstrates innovation and breakthroughs, highlighting his broader artistic pursuits.

Of fleas and Parasite: unpacking class and space in Bong Joon-ho’s Barking Dogs Never Bite

ABSTRACT This article argues that amidst the hype of Parasite fever, it is instructive to revisit Barking Dogs Never Bite (2000) in order to better understand the director’s aesthetic and signatures. Not only does Parasite (2019) echo Bong’s debut feature in narrative structure and visual style but both films depict the friction between power and the powerless through spatial metaphors. By offering a closer look at Barking Dogs Never Bite from an interdisciplinary approach – intersecting auteur theory and cultural studies approaches to class mobility and space – we indicate how the hybrid style of commercialism and social commentary in Bong’s films are deeply rooted in the South Korean context.

The Auteur Theory in the Filmmaking of Emin Alper

This research examines the films Turkey’s director, Emin Alper, created via the lens of the auteur concept and aims to explore common styles and inherent meanings within his creations. Initially, the auteur concept was introduced to distinguish elite directors from ordinary ones. However, it has progressed now to distinguish the directors who display technical competence, unique style, and inner meaning in their films. The role of a screenwriter is often associated with the auteur concept, given the prominence of the screenplay writing process in this theory. Emin Alper, who has directed and written four films in the last ten years, is an exceptional director whose work warrants scrutiny within the domain of auteur theory in Turkish Cinema. Throughout his films “Tepenin Ardı,” “Abluka,” “Kız Kardeşler,” and “Kurak Günler,” Alper incorporates characteristic features and internal meaning beneath the surface of the depicted events. Qualitative content analysis is utilized in this study to examine these features in Alper’s films based on the auteur theory criteria. An essential aspect of auteur theory is the director’s signature, namely their works’ distinctive styles and themes. Distinctive styles and themes were also identified in Alper’s films.

Intersections of Multiculturalism, Education, and Identity in 'Entre les Murs’: A Comparative Analysis of Learning Experiences

This scholarly article delves into the intricate layers of the French banlieue film Entre les murs (2008), directed by Laurent Cantet. The article aims to unravel the multifaceted portrayal of banlieue culture and its significance within the cinematic and socio-cultural landscape. It comprehensively analyses the film's narrative, characters, social themes and artistic choices, navigating the complexities of cultural diversity and identity formation within the banlieue context. The film's characters, students, and teachers become focal points for analysis, shedding light on the challenges and possibilities within the education system.
 Further, the article explores the film's cinematic techniques and aesthetics, including its visual style, cinematography, editing, and use of sound and music. The documentary-like approach of the film is examined, considering its impact on the storytelling and the portrayal of authenticity. By analysing the film's artistic choices, this article aims to uncover the subtle nuances and intentional creative decisions that contribute to the film's overall impact.
 Moreover, the article evaluates the critical reception and lasting legacy of Entre les murs. It explores the film's reception among critics and audiences, highlighting its awards, nominations, and influence on subsequent French cinema. It also discusses the film's socio-political relevance and contribution to the discourse on education, multiculturalism and social inequality.
 In addition to drawing upon various scholarly works and theories, the article seeks to place Entre les murs within the broader academic discourse, including areas such as auteur theory, social realism, postcolonial theory, cultural studies and sociological perspectives. Together, these serve to deepen the understanding of the film and its socio-cultural implications.
 Regarding the social context, the article examines the film's position in time-space and the situation of the French educational system in the poor and multicultural neighbourhoods of France. It considers the challenges faced by the education system and explores the plans to address them, contributing to a comprehensive analysis of the film's socio-cultural context.
 In conclusion, this academic article unveils the depths of Entre les murs, shedding light on its portrayal of banlieue realities, the educational system's challenges, and the complexities of multiculturalism and identity. By combining meticulous analysis, scholarly perspectives and an appreciation for the film's artistic merits, this article contributes to the ongoing academic dialogue surrounding the film and its enduring impact on French cinema.

Director’s Advocacy Approach and Philosophical in Lancelot Oduwa Imasuen’s Invasion 1897

The art of filmmaking is hinged on storytelling using visual and sound to communicate a massage to an audience. Of significant importance to the director and audience is the great impact of the film and its impartation on the audience which originates from an idea that brings about the story, giving impetus to a script then to a screenplay that plays a pivotal part in it. Yet the creative aspect both interpretative and technical is the sole responsibility of the director. He develops the vision, determine the look and throws up the thematic preoccupation using his creative capacity and ability to push the technique of narration of phenomena artistic level in order to take the audience to the original opinion in his advocacy approach. This paper tries to analyse the auteur style of Nigerian Lancelot Oduwa Imasuen of narration couch in flashback that is used in exploring his advocacy approach of philosophy. First, theory is explored through primary and secondary sources to offer a background and understanding of the advocacy approach and philosophy. Second, it investigates Invasion 1897 as case study through content analysis of the film and bring to the fourths in-depth usage of the technique that exposes the salient but important theme of advocacy of return. In examining the Nigerian film, this paper observes that the Auteur theory and not the writer or collaborative theories promote and project the director, Lancelot, as the author of his film who find an artistic angle to direct the screenplay into an effective epic and sets the film in a philosophical cradle. To continue with this discourse there are three great quotations that gives direction: ‘’ The real human drama of our lives is the key to filmmaking ‘’ (Antoine Frequa qtd. in Afolabi, 2005: 36); ‘’The most important skill that a director needs is a sense of story; how to tell a story’’ (George Roy Hill qtd. in Afolabi, 2005:27); and ‘’Directing is knowing the concept you want and getting it ‘’ (Clint Eastwood qtd. in Afolabi, 2005:27).

FEMINIST MESSAGES IN GURU DUTT’S PYAASA (1957): A DISTINCTIVE CASE STUDY

Guru Dutt’s masterpiece Pyaasa (1957) is not just a movie. It is in fact much more than that. It is an experiment with humanity. It is also a journey along the brighter and darker alleys of the normal human mind. While dissecting everything that cripples the Indian society then and even now, it’s partly haunting and partly reassuring narrative makes us ask some fundamental questions vis-à-vis our social existence. One of the resultant questions that crops up in the process tries to uncover the true essence of womanhood. From the narcissistic and decidedly selfish character of Meena, played by the inimitable Mala Sinha, to the selfless and deeply loving character of Gulabo, enacted flawlessly by the mesmerizing Waheeda Rehman, the movie refuses to take sides and declare loyalties. While one might argue that the protagonist Vijay, played by Guru Dutt himself, sides towards Gulabo at the end of the movie, the inclination is far from being decisive. If one takes a clear look at the diegesis of the movie, she/ he would be able to appreciate that the decision is influenced more by convenience than by ideology. While ideology does play a part in what the movie theorizes, it is more of a reflection on the true nature of the society that we live in. This research paper makes an honest attempt at deciphering the obvious and subtle feminist messages that are ingrained in the movie. While doing so, the researcher looks not just at the narrative of the movie but at the filmmaking style as well for style often determines the ideological stance of any audiovisual material. While studying the given subject, the researcher uses the Auteur Theory, the Apparatus Theory, and the Feminist Film Theory.

BLADE RUNNER 2049: A CASE STUDY OF AVANT-GARDE STORYTELLING

Dark yet enlightening, cruel yet humane, ambiguous yet clear and finally calm yet pacy; Blade Runner 2049 (2017) hits hard and in the right places. It redefines the concept of humanity in all its forms in addition to posing several existential and nihilistic questions Richards (2017). However, what is more striking is how it makes people go back to the basics and recalibrate their notions on what is humane and what is not. Denis Villeneuve’s futuristic tryst with gloom and doom is as disturbing as it is emotionally stirring. However, Blade Runner 2049 is also a definite attempt at avant-garde storytelling Guillen (2017). An unconventional cinematography, stunning visual effects, a distinctly experimental plotline, and a visible contempt for conventionality mark the movie’s diegesis. The movie also projects a dystopian world view – one that seems futuristic albeit being quintessentially contemporary Zhang (2017). In fact, Blade Runner 2049 remains loyal to the setting projected by the original version (Blade Runner) that came out in 1982 Propes (2021). A careful analysis reveals that the movie is nothing but a commentary on multiple issues including feminism, social decay, delinquency, imperialism, and brute exploitation. In a subtle way, the movie could also be a metaphorical representation of the unhindered march of science and technology, albeit at times with disastrous consequences. This paper makes a nuanced effort at dissecting the movie using two of the most well-known film theories – the Auteur Theory and the Feminist Film Theory. In the process, the paper also tries to segregate the avant-garde elements in the movie and establish it as a distinct case of novel narrative structure.

Analysing Gautham Vasudev Menon as an Auteur

This study examines the commonality and identity in a few chosen films in order to demonstrate the limitations of “Auteur Theory.” The research presents the director’s personality in a distinctive way. The “Auteur Theory” is a French film theory that examines the character, skill, and inner meaning in movies that deal with the concept of Auteur notes. The director should emphasise on their unique aesthetic, point of view, methods, creativity, personality, and originality when crafting a film because these elements add fascination. According to the “Auteur Theory,” a director and a writer are on an equal footing because they both have unique artistic styles. The study paper examines the personal style of filmmaker Gautham Vasudev Menon in Cop trilogy films.

Auteur theory and Director Pa. Ranjith: Deconstructing the Reality

Film is one of the mediums which reflect the directors’ ideology. A film director through her/his film conveys the opinion and ideology to the target audience. In comparison to other media, film has gained popularity throughout history and has evolved over time. Director is the pioneer for illustrating how films can deconstruct the reality of society in various fields. The director sets his/her plot to build and convey directors’ own ideology in the natural setting. The researcher has used descriptive content analysis to analyze the selected films of director Pa. Ranjith to analyze the qualitative data. As the theoretical framework of this study, the researcher uses the Auteur Theory, which examines the control of the author over his/her media productions. This research mainly focuses on finding out how director Pa. Ranjith deconstructs the reality through his films based on auteur theory. The hypothesis of this research is that director Pa. Ranjith uses many strategies and techniques to convey his idea to the audience. Through directors’ films, the audience can find out how the director brings the idea to the target audience using real issues like caste, religion, nationality, etc through Auteur theory. Pa. Ranjith’s selection of theme, plot, characterization and language differentiates him from other Tamil directors. Auteur theory helps to discern Pa. Ranjith’s ideology about issues he has chosen. Pa. Ranjith’s films which reflect Tamil society and Tamil culture create awareness and expectation of reality for people who become victimized by the social structure, culture and tradition including the caste and class statutes, and challenges of so called lower caste people for survival in Tamil society.

CINEMATIC REPRESENTATION OF THE MUMBAI MAFIOSI IN ‘BLACK FRIDAY’ - A SIMULATION OF REALITY

The organised crime syndicate of the commercial capital of India, Mumbai, is renowned for its notoriety and blasphemy. The den of the most heinous dons, Mumbai, has suffered a lot in terms of loss of lives and property. Extortion, prostitution, human smuggling, and human trafficking are some of the menaces that Mumbai faces even today. The 1993 bomb blasts is one such incident which shuddered the faith of human beings in the almighty. The loss of several innocent lives, public and private property cannot be recovered ever. The relatives of the dead victims still feel the chill down their spine, when they revisit those fearsome lanes of memories. This event was so massive in its form that the entire world was shaken. In the year 2002, veteran journalist and author, S. Hussain Zaidi penned down the events of this mammoth attack in his book, Black Friday. His detailed research on the entire episode along with the police encounters and arrests, is laudable. This was later adapted by filmmaker, Anurag Kashyap in his movie, of the same name, where he depicted the series of events through the lens of his imagination. This research is an attempt to study the film with relation to the original work of Zaidi. The different camera shots, angles, make-up, dialogues and narration techniques used to create a simulacrum or hyperreality will be the focus of the research. The researcher will also explore the aestheticism of realistic cinema. The paper is based on the theoretical framework of Jean Baudrillard’s ‘Simulacra and Simulation’, auteur theory and realistic cinema of Andre Bazin and Andrew Sarris.

Exemplary Directors, European Imports, and the Changing Valuation of Films in Hollywood, 1961–1980

This article utilizes a novel empirical strategy, the study of exemplars, to investigate the transformation of quality conventions in the film industry during the 1960s and 1970s. Exemplars are films or directors which are used as a reference point (focal points) in the evaluation of other movies or directors. We use an original dataset of movie reviews to examine the changing quality conventions and demonstrate that during the investigated period, movies are increasingly treated as singular artistic products. This shift, around the rise of auteur theory and New Hollywood, has been analyzed by others but we provide a more fine-grained analysis of the transformation and are able to demonstrate the neglected importance of cultural trade: the import of European films. We provide evidence that these changes lead to a period of increased quality uncertainty, before a new quality regime becomes established. We explore how such qualitative changes in the market could impact industrial organization and product differentiation in the movie industry, and demonstrate how the analysis of such qualitative changes can complement existing quantitative studies of the movie industry and the determinants of film success, both economically and artistically.

Konzepte singulärer und pluraler Autorschaft in Filmkritik und Filmproduktion

Abstract Debates about authorship in cinema have held a privileged position in film studies since the 1950s, when the young generation of critics of the film journal Cahiers du Cinema formulated the politique des auteurs. This critical strategy proposed that the director of a film was the major creative source of the finished work. Since this assumption contradicts the industrial and collaborative character of the film medium, the politique has been questioned, attacked and reformulated ever since its beginnings. The auteur theory was appropriated and deconstructed under the influence of structuralist and poststructuralist theories that questioned the very concepts of individual creativity and self-expression. Nevertheless, questions about authorship in cinema did not vanish but were developed in many ways. If film is regarded not only as an art form but as a commodity, the director’s name cannot only be regarded as a sign of a discernible style (a ›world view‹), but as a brand name. ›Scorsese‹, ›Tarantino‹, ›Lynch‹, ›Nolan‹ – these names imply certain images, dramatic approaches, and themes. They also serve as a label for marketing a product. Directors and producers like Steven Spielberg or Ridley Scott lend their names to a certain kind of media production (film or television series) that raises expectations associated with their work. They do not necessarily work as a director. As producers – or even only as the owners of a production company – they may function as a kind of team leader, leaving the creative work to hired teams. In television, the showrunner is the major creative and managing force in the production of a series that is scripted, shot, and directed by several production crews simultaneously. Film and media studies have sought to discern the structures of collective working from historical and contemporary perspectives. Bordwell and others have described the (Hollywood) system and its mode of production, that defined the auteurs’ work. When looking closer at ›the system‹, it becomes obvious that there are different kinds of authorship in existence. Recent production studies on the working conditions in todays’ television have sought to analyse the structures of working together and ask questions about individual agency. The growing awareness of collective authorship promotes new ways of close film analysis. The German television series Babylon Berlin here serves as an example of a major contemporary media production with multiple creative influences and explicit collective authorship. A closer look at the successful series reveals the impact of this plurality on its storytelling and form.

‘What’s your dream?’ The films of femme auteur Andrea Arnold

ABSTRACT This study of British director Andrea Arnold and her award-winning films addresses auteur theory and its implications for woman filmmakers. I argue that the important difference between men and women in assuming the director’s chair has been opportunity – and not a matter of essentialized gender differences. Pivoting to readings of Arnold’s films, the analysis addresses the stylistic signatures and thematic motifs that characterize her feature films: Red Road (2006), Fish Tank (2009), Wuthering Heights (2011), American Honey (2016) and the short films Milk (1998) and Wasp (2003). I will discuss the implications of Arnold’s film style vis-à-vis gender and the discourse on what constitutes social realist film in the U.K. As for thematic motifs, Arnold’s films return to voyeurism, primal scenes and nature’s persistence in seemingly denatured environments. The analysis further examines identities (marked by age, class and gender) as motifs that circulate through Arnold’s work; a concern with identity that, nonetheless, refuses sentimentality and essentialism.