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Mulholland Drive Auteur Theory

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David Lynch’s Mulholland Drive (2001) is almost a genre of its own, blurring the line between reality and dreams, and exploring the complexities of Hollywood and its characters. The film is a work of art that combines many themes and genres, such as film noir, psychological thriller, and surrealism. In this essay, I will analyze Mulholland Drive within a historical context using the auteur theory, considering Lynch’s unique vision and artistic control over the production of the film, as well as the changing technologies used in the film's production and exhibition. According to David Bordwell, the Auteur theory is a French film theory that emerged in the 1950s and 1960s, which states that the director is the author of a film because in a way …show more content…

The film is divided into two parts, with the first half depicting a series of events that are later revealed to be a dream, and the second half following a different set of characters and events that are somehow linked to the dream. Dream sequences are a hallmark of Lynch’s filmmaking because it allows him to explore the subconscious mind and the irrational fears and desires it holds. One of the recurring themes in Lynch’s films that is highlighted by the dream is the exploration of the duality of human nature, light and dark. This theme is shown in Mulholland Drive through the character of Diane Selwyn/Betty Elms, a struggling actress who dreams of making it big in Hollywood but is haunted by her doubts and insecurities. In the dream sequence revealed to be her own, she becomes a successful actress, but fearful of something that is not revealed until the end. The dream is a projection of her desires and fears, revealing the dark side of her …show more content…

It is a film that defies conventional storytelling techniques and invites the audience to participate in the creation of meaning. Through its dreamlike narrative, haunting score, and eerie atmosphere, “Mulholland Drive” explores the duality of human nature and the ambiguous nature of reality. It is a film that continues to captivate and confound audiences, and that demonstrates the enduring power of cinema as an art form. Through its use of digital technologies, engagement with film noir, and commentary on the broader socio-economic conditions of the time, the film reflects both the

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Auteur theory is an important mode of film criticism that indicates the extent of the director’s involvement in the final output of the film. As it has been previously mentioned, Spike Lee’s films express certain notions about race that emerge from his personal viewpoint as well as from his political and aesthetic beliefs. The focal point of this chapter is the auteur theory and its relativity to Spike Lee. In order to prove the connection between the theory and his works, it is necessary to refer to Lee’s biography, since both his background and distinguishable personality have contributed to his technical skills as well as to his unique style as a film director. The particular chapter will also include the synopsis as well as the technical analysis of each film correspondingly.

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The Auteur Theory, a theory formulated by François Truffaut states the idea that the true author of a film is the director. The Auteur Theory revolves around how the director leaves an implicit mark on the film and because of this cinematic, literary, or thematic signature or motif, they are credited as the author of the film. While there are numerous people involved in the production of a film, with some directors it is truly prominent who can be described as the author of the film such as with Mel Brooks. Mel Brooks, renown comical director and screenwriter is one instance of the undeniability of the Auteur Theory. Despite Mel Brook’s complete involvement in his films, writing, co-writing, directing, and even starring in many of his films,

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Drive is such a widespread and general word for a movie title which reflects the director's intentions, which is for each viewer to conclude their own ideas on the tone, character traits, symbolism, dialog, and ending. Nicolas Winding Refn, the movies director, takes the viewer on a unique path of understanding. Unlike the majority of movies which use very few techniques to convey meaning to the viewer , Drive uses many techniques that call for the viewer to decipher such as music, restraint in oratory, symbolic imagery, and lighting. When music is used correctly by the director it can have almost as much impact to the viewers understanding as dialog does. The music selection is executed perfectly by Refn.

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: For my presentation I have chosen to examine Steven Spielberg and what stylistic features he uses to make himself considered as an auteur. An auteur is a director that has a unique style in filming and has complete control of the production process of the film. The three films that I have chosen to focus on are E.T. The Extra-Terrestrial (1982), A.I. Artificial Intelligence(2001) and Close Encounters (1977). These are three of Steven Spielberg's most known films.

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Auteur is the french word for author and is a term given to those far and few between who were responsible for handling and directing most of, if not all post and prior production of a film, including techniques, advertising, and choice of cast. So much so that they are considered to be the "author" of the film. Alfred Hitchcock has no doubt left an indelible and engraved mark on all of cinematography as one of the most successful and influential auteurs of all time, as seen through the wide range of techniques Hitchcock employed throughout his films such as voyeurism, doubleness, and the famed magcuffin, as can clearly be seen in the film "Rear Window" as well as "Shadow of a Doubt". Hitchcock also showed immense dedication to the post and

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In the creative scene, there are painters to their paintings, sculptors to their sculptures, authors to their novels, and then there are auteurs to their films. What all these different artists have in common is authorial-like control over the creation of their art and their works. What makes films different from the rest is the amount of work put into a film and the involvement of many other people. There are some film directors that are not the possess complete authorial-like control over their films and there are auteurs, such as François Truffaut and Orson Welles, that do. Within Truffaut’s 400 Blows and Welles’ Citizen Kane, it is evident that both directors had creative control over their projects which allowed their films to truly become their individual works through their specific uses of cinematic language, mise-en scene, cinematography, and, in Welles’ case, narrative structure.

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For a director to be an auteur, he or she must exert their own creative insight throughout all aspects of their cinematic works, such as the cinematography, all the way to the characterisation of each role. Anderson is a perfect example of an auteur because he communicates his stories through a signature camera style, and a narrative that conveys the humanness that one does not expect to find underneath the pompousness and flamboyant cinematic elements. Despite create a form of detachment from the viewer to the film (such as meticulous use of symmetry and miniatures), the current events that surround him allows him to create hidden links that we can relate to. He uses his films as a form of social commentary. In a world where brutality is commonplace, Anderson uses the obscure violence in his films to raise questions about society’s own ethical issues, while also relating the struggles the characters personally face to his audience.

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A dream of dark and troubling things: Eraserhead and the midnight film phenomenon. It's midnight in the Elgin theatre in New York, 1977, and a group of no more than 30 people keep their eyes glued to the screen getting ready to watch the film that continues the midnight film phenomenon; David Lynch's, Eraserhead. It's not a hot ticket and with very little advertising, the film depends solely on word of mouth for it's survival.

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Every now and then the art world is struck by a wave of change that leaves a strong impression, which can last for a long time. Visual arts saw the rise of impressionism and cubism, surrealism and realism took literature to an opposite direction, and film has evolved over the years through cultural and artistic development such as expressionism, auteurism and film noir (House, p.61). The 1940s and post World War II gave rise to a new style of American film, these films appeared pessimistic and dark in mood, theme, and subject. The world created within these films were portrayed as corrupt, hopeless, lacked human sympathy, and “a world where women with a past and men with no future spent eternal nights in one-room walk-ups surrounded by the

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And the great films are dreams that reveal” (Berger 478). Reading these words instantly prompts me to reexamine the highly acclaimed musical, La La Land. The music, editing, and storyline clearly justify what Berger meant by a movie’s ability to transport us into the unknown whilst

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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.

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