auteur theory

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The best movie culture writing from around the internet-o-sphere. There will be a quiz later. Just leave a tab open for us, will ya?

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Every week, Landon Palmer and Cole Abaius log on to their favorite chat client of 1996 as SecretWindowNotSoSecret and iDuddits in order to discuss some topical topic of interest. This week, the question of who exactly made the movie gets front and center treatment. Why do we treat directors with authorial authority when it comes to assigning ownership to a film? Why not the writers? Why not the gaffers? Who really is the true author of a movie and has the auteur theory ruined everything?

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Even though story details recently emerged, no one really knows much about this film, yet everyone seems to be on the edge of their seat. Is it just because of Nolan?

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Martin Scorsese

Last week I wrote about the history of the auteur theory and its strengths and weaknesses when applied to actual film practice. Regardless of the theory’s apparent problems, it’s clear that the idea of the auteur still holds great weight in framing the way even the most casual of filmgoer goes about experiencing cinema.

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Auteurs: Martin Scorsese

Last month as I sat down to watch Scorsese’s Shutter Island with the rest of the Austin-based Reject crew, Lost Club’s David Gunn and I had a rather enlightening discussion about the applicability of the auteur theory in today’s cinematic landscape. It got me thinking about the contemporary negotiations between the theory’s shortcomings, contradictions, and pragmatic applicability to how we perceive and view cinema on a regular basis in the 21st century.

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published: 04.18.2014
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published: 04.18.2014
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published: 04.18.2014
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published: 04.18.2014
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