The Auteur Theory-Intro Part Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to avoid the rules of the studio system and create films that were distinctively their own. Before this markable period, film authors were generally self-directing with open stylistic aspirations and full management over their films. The pioneering articles of Cahiers du Cinéma were a validation of mainstream genre cinema as an art form. This French magazine claimed that in order to create art there must be an artist, hence the need for an auteur, which the word means an author in French. This encouraged directors to strive for their ideal vision on the work by extending the weight of their role as a supervisor. Throughout the years, the auteur theory slowly ensconced itself as an essential key to film analysis, providing a specific guideline to evaluate a director’s film. One of the most