Film Analysis- Directors and Auteur Theory

Film Analysis- Directors and Auteur Theory

The Auteur theory is employed in filmmaking, whereby the director is seen as the primary force in motion picture creativity. It started in France during the 1940s and was seen as an outgrowth of the cinematic theories of Astruc and Bazin. This theory of the director being seen as the author was essentially pushed forward in Bazin’s Cahiers du cinema, which was founded in 1951. With this knowledge in mind, it suffices that this paper will explore the notion of directors as the author in motion pictures, expound more on the auteur theory, the criteria that make a director an auteur, point out a director who meets the criteria, and analyzing various ways such filming techniques, and storytelling, and how they distinguish this director.

Foremost, this theory was chiefly taken from Astruc’s elucidation of the notion of camera-stylo, which essentially meant “Camera-pen.” In this case, the director, “…who oversees all audio and visual elements of the motion picture, is more to be considered the “author” of the movie than is the writer of the screenplay” (Sarris, 2017). This implies that the basic elements, including blocking, lighting, scene length, and camera placement, are solely responsible for relaying the film’s message instead of the plotline. People who support the auteur theory maintain that numerous successful films cinematically often bear the distinctive, exclusive stamp of the film director.

Besides, when it comes to the criteria that make a director an auteur, competency should be a priority. In this case, armed with basic competency, a director will be expected to have the technical competency to be an auteur. A director should have the creativity to relay stories efficaciously to the readers by ensuring that the mood, pacing, timing, and visual style are relayed potently in a creative and imaginative way. It can go a long way to involving good actors, musicians, and writers. His competency as an auteur also manifests through good communication with the crew and actors because they all look up to him to elicit great performances. By having a signature style unique to his films, a good director will, therefore, be considered an auteur. In this case, there should be perennial characteristics of style that serve as his signature. According to Grant (2012), interior meaning emanates from the tension between the material and the personality of the director. Here, the innermost part of the director’s soul has to manifest through the movie. Further, directors deemed to be auteurs make movies that contain layers of meaning and have more things to say concerning the condition of humans. As such, such films by the auteurs go well beyond sheer entertainment-oriented scenarios produced by big studios to show the filmmakers’ unique perspectives and life ruminations.

Undoubtedly, Steven Spielberg tops this list as one who meets the criteria as brought to the fore by the auteur theory. In his case, he portrays a creative mind because his relaying of the story is often unique and riveting to the audience in his movies. Also, in their distinguished personality, he portrayed potent multitasking abilities that served as a way to bring out the uniqueness of his films. His films often have hidden meanings that often prove the unique points of view and life ruminations for the interior meaning.

Also, when it comes to technical competence, Spielberg, in the shooting of his films, often creates numerous shots in a single shot, changing between compositions, in that he attains several factors in the changing shot size, which include directing attention, evoking emotions, and also keep the scenes riveting. In Munich 2005, Spielberg employs zoom and the fluid movement of the camera to shift the composition of the shot all through a single setup of the camera. When a character narrates to his small audience why he translated a thousand Arabian literary works, it changes from a full shot to a medium close and then to a long shot without cutting any shot.

Spielberg’s films’ interior meaning reflects personal experiences, especially because his parents divorced and his father left the family. It is something that one can relate to. “Along with this, his films tend to have a domestic quality where the prescribed tranquility of the American family is missing or non-existent” (Perrotta, 2018). It explains why he made a movie starring Tom Cruise in 2005, War of the Worlds, whereby the character is a father who defends and fights for his family and never quits. In another instance, the film Schindler’s List is a film that has layers of meaning, but that primarily reflects on the cruelties of humanity. Oskar Schindler tries to buy more Jews when they are sent to the gas chambers, and the German soldiers laugh when he tries giving them water in the train wagons. To the audience’s mind, Spielberg was able to remind the audience of the capabilities of humans, either to do good or bad. In the film, as coming from a Jewish family, this film portrayed a scenario that, without a doubt, provoked the audience’s minds. In the distinguishable personality, the factor that separates Spielberg as an auteur from the rest of the directors is his distinctive personality and style. In this case, his filming techniques, as well as themes, are unique entirely. In Saving Private Ryan, released in 1998, Spielberg employs some crucial cinematography techniques by moving the camera in every direction, whereby the performance blocking, background elements, and production design complement movement.

Lastly, Spielberg’s filmmaking techniques are unique in that his performance-blocking technique depicts kinetic energy and provides information on the subtextual level. Also, in the camera movement motivation, Spielberg is seen showing the audience what his characters are doing. For instance, when one reaches to grab something on the floor, he will tilt the camera to the ground to show the audience what the character is picking up. By having consistent themes in his films, Extraterrestrial films help him to build momentum even in the sequel films. When it comes to storytelling, Spielberg was able to bring out the best of it by making “…a collaborative effort between the screenwriter and numerous other members of the creative team (Goodykoontz & Jacobs, 2014). By so doing, this has inevitably placed him as an efficacious auteur among his peers.

In conclusion, it suffices to maintain that Steve Spielberg’s technical competence manifests in his effective technical filmmaking abilities by showing an expert hand in lighting, camera placement, shots taking, and other skills. His distinguishable personality is present in making films that one clear tell belong to him, from the signature style.

References

Grant, B. K. (Ed.). (2012). Film Genre Reader IV. University of Texas Press.

Goodykoontz, B., & Jacobs, C. P. (2014). Film: From Watching to Seeing, San Diego, CA: Bridgepoint Education.

Perrotta, A. (2018). Students and their Meaning. Anthony Perrotta. https://aperrotta.com/2018/10/02/students-and-their-meaning/.

Sarris, A. (2017). auteur theory | Definition & Directors. Encyclopedia Britannica. https://www.britannica.com/art/auteur-theory.

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Before beginning work on this assignment, read Chapter 8 of Film: From Watching to Seeing, as well as your instructor’s guidance and lecture materials, and Chapter 7 from Film Genre Reader IV. The ENG225 Research Guide in the University of Arizona Global Campus Library will be particularly helpful in locating required sources. This assignment is your opportunity to apply the auteur theory to the work of one selected director. To do that, you will watch at least two feature-length films by the same director as the basis for your analysis and argument.

Note: You should watch any chosen film twice—once to ensure that you have grasped the storytelling and once to take more specific notes on aspects of the film you wish to discuss. You may choose any appropriate director, but be sure to consider the three criteria of auteur theory before selecting. Reflect on the film you chose in your Week 2 written assignment and look ahead to the Week 5 Final Paper guidelines to ensure that you choose a film for this assignment that will work with the requirements of the Week 5 Final Paper. You may opt to write about the same film in your Week 2 written assignment and Week 5 Final Paper, and applicable pieces of this assignment can be used to write both. If you do this, you should reflect on and revise this assignment based on the instructor’s feedback before you incorporate it into any future writing assignments.

Your paper should be organized around a thesis statement that focuses on how your chosen director and his/her films meet the criteria posed by auteur theory and advance the possibilities of storytelling through the medium of film. Review the Week 3 Sample Paper Download Week 3 Sample Paper, which provides a clear guide for developing a solid analysis as well as insight on composition.

In your paper,

Explain auteur theory.
Describe, using Chapter 8 of the text as a reference, the criteria for what makes a director an auteur.
Identify a director who meets the criteria posed by auteur theory
Summarize briefly the ways in which this director meets those criteria using examples from at least two of the director’s films.
Apply the lens of auteur theory to break down the director’s technical competence, distinguishable personality, and interior meaning using specific examples of his/her work (e.g., particular scenes or plot components).
Analyze the specific ways in which filmmaking techniques, consistent themes, and storytelling distinguish your chosen director as an auteur among his/her peers.
The Directors and Auteur Theory paper