Auteur theory emerged in France in the late 1940s from the cinematic theory of French film critics André Bazin and Alexandre Astruc. After that, it was advocated by a film director called Francois Truffaut in 1954. 1 He suggests that a good director exerts such a distinctive style or promotes such a consistent theme that his or her influence is unmistakable in the body of his or her work. Andrew Sarris, an American film critic, one of the most popular representative who supports Auteur theory. He wrote an essay named "Notes on the Auteur Theory” in 1962. It suggests that Auteur theory has three premises, which are the vital premises as an auteur. 2 The three premises includes the director’s technical competence, distinguishable personality and the interior meaning of his or her film. Andrew Sarris also classifies directors into three levels, which includes technician, stylist and auteur.

First of all, 3Andrew Sarris suggests that a director should have technical competence and elementary flair for the cinema. If the director cannot fulfill it, he or she is automatically cast out from the pantheon of directors.

4The second premise of the Auteur theory is the distinguishable personality of the director as a criterion of value. A director must exhibit certain recurrent characteristics of style, which serves as his or her signature. The way a film looks and moves should have some relationship to the way a director thinks and feels.

5For the last and ultimate premise of