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
Reasons some may choose this career to express their creativity, telling their own story without being in the camera, always interested and passionate about the job. Filmmaking is a big industry, that consist of great minds, creativity and committed workers. Back in the 19th century women were not as involved with a lot of the stuff that we are today. Alice Guy Blache was the world’s very first film director in 1896. Blache went on to trailblaze a host of innovative film techniques (Caroline Ervin).
An auteur is essentially a director who exterts the maximum amount of control over a production. Almost like a dictator, but in a good way, because without them the film would lack clear vision, stylization, and unique perspective. Francois Truffaut, an important well-respected director, was one of the first people to intoduce the theory. Because Francois Truffaut decided to drop out of school, he took it upon himself to get his own version of a film education. By watching three movies a day and reading two books a week, he was able to give himself a better understanding of cinema.
In this paper I hypothesize that A Voyage to the Moon was most innovative in cinematography and editing. Although mise en-scene was the main focus of the film, I hypothesize that mise en scene wasn’t as innovative as the other two. As mentioned earlier, mise en scene made A Voyage to the Moon easy to understand and follow along. In the first scene of the film, this power
Before embarking on his career as a director, Truffaut was a film critic for the magazine, Cahiers du Cinéma, where he was also with a group of film critics and filmmakers that shared the same title as the magazine. The group Truffaut was involved in consisted of not only criticizing films but also concurrently sharing the same ambitious approach to filmmaking that would accentuate the director’s influence on creating a film and encouraging change within an art form that has remained stagnant for years prior. Working as a critic would also help him advance in analyzing films in depth and refine what it means to direct films. As a result of this development, Truffaut’s approach to criticizing films recurringly emphasized the role of the director. By “[enshrining] the directors” he critiqued, it helped to promote the auteur theory as well as further advance the filmmaking process for young French filmmakers (Andrew and Gillain
Within this essay I shall conduct a comparison between two different films those being The Shawshank Redemption (1997, dir. Frank Darabont) an American film about young convict Andy Dufresne (Tim Robbins) and the decades of his life inside the prison of Shawshank alongside Ellis Boyd ‘Red’ Redding (Morgan Freeman) and comparing it to the French film, Amelie also known as La fabuleux destin d’Amelie Poulain (2001, Dir. Jean-Pierre Jeunet) which details the life of the title character Amelie as she goes about her life trying to help others around her. From first observations one would probably be confused at the selection of films being used for comparison since both films appear to be completely different on the surface, one is a Romantic comedy whilst the second is a Crime/Drama film. However after several viewings of both films, similarities started to appear which weren’t noticed from the first viewing of these films which peaked interest in writing about how these two completely different films are actually quite similar to one another, indeed they have their differences which will also be expressed and these differences also play a vital part in making these films individual mediums.
The two movies used to compare and talk about for this assignment, is the 12 Oscar nomination “La-La Land” and the nominee to the Festival de Cannes “It’s Only the End of the World”. The decision of using “La-La Land” for this assignment were made upon the quality of the movie and making it the must-see movie of the year and “It’s Only the End of the World”, from the Miami Film Festival, because it was a French movie and the casting crew was very interesting. During this assignment, a summary of both movies will be given followed by an analysis of the way of filmmaking techniques such as cinematography, sounds narrative structure, production design and the editing side of the movie. Making a film is not an easy task. No matter if the cast members or production are well experienced, it takes a lot of time to plan a good movie and win awards.
: The Shame of a Nation (Hawks, 1932) According to film theorist Thomas Schatz, “a genre approach (to film) provides the most effective means for understanding, analyzing, and appreciating the Hollywood cinema (Schatz vii).” His approach to film is strongly supported by theorist Edward Branigan’s engagement of the filmic point of view and the narrative representation of character interaction (Branigan), and André Bazin’s arguments of objective reality pressed against audience interpretation. Through yScarface the application of these theorists, this paper will examine Scarface: The Shame of a Nation (1932).Scarface: The Shame of a Nation (1932) features Paul Muni as Tony Camonte, a recklessly ambitious gangster, bent on climbing to the top
Classical Hollywood film style is structured narratively with a clearly defined conflict which is introduced early in the film, then a problem arises where the characters are forced to work through the problem, and at the end of the film the problem is resolved. Film makers rely on style- structure, narrative, & visual elements – to effectively tell their story. Classical Hollywood films are filmed in a control environment where the director is in control of what is happening in the film. The goal of classical Hollywood film style is to make it as realistic as possible, where the film is believable to the viewer. The films flow with ease, all resulting from crucial editing.
While screenwriters and directors are the first and second storytellers of a film, editors are the third ones. Since editors are given a constrained measure of footage, it may not show up in this way, but rather, through altering methods, the editorial manager may build or deconstruct an account or narrative, and shape
The 1970s were full of auteurs with celebrity movie directors showing their artistic signatures. However, the 1980s and ‘90s saw a shift back to the old Hollywood preference for genre cinema with big films that targeted a vast audience. This biggest trend during this time period was the blockbuster, or event film, that gives the audience a dramatic experience aside from plot and performance. Once this shift took place, the small-scale alternative to Hollywood’s blockbuster brigade was the independent film.
Caribbean Dutch Auteur: Felix De Rooy Amelia c. Ramjarrie 812000864 Who is an auteur ? According to the Auteur Theory put forward by French film directors in the 1950’s, “A true film auteur is someone who brings something genuinely personal to his subject, instead of producing a tasteful, accurate but lifeless rendering of the original material ”(Auteur Theory- WordPress.com).To further elaborate on the subject matter addressing of authorship, a film maker is regarded as an auteur when he or she has a personal, signature style and keeps creative control over his overall work. When I heard this prolific statement, instantaneously the film maker that comes to mind is Caribbean Dutch film maker and director, Felix de Rooy. In my opinion he is one of the most fascinating
Baz Luhrmanns contribution to the art of film, brings about a flamboyant and revitalizing side to the industry. Through the use of cinematic language, his story telling techniques and belief in the theatrical cinema come to life. Baz Luhrmann has a very distinctive directing approach with particular techniques that define his style. He presents his films as if he were telling a story, which he invites you into. His stories are simple and he tends to give away the ending at the beginning of the film, which intrigues you to find out more about what had taken place.
Directors are the primary driving force behind any production. They work collaboratively with a
Introduction I have structured my dissertation question and objective through conducting research on a topic that I have come to have an increased interest in. The development of introduction/ title sequences in movies over the past 50 years with respect to typography and other influencing factors. To adequately address this topic, I feel the need to answer a number of questions relating to the details contained within each title sequence. In order to achieve a just conclusion, I will compare and contrast 2/3 directors, producers and their influences.
