Autuer Director explanations and examples

 

In film criticism, auteur theory holds that a film reflects the director‘s personal creative vision, as if they were the primary “auteur” (the French word for “author“). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the auteur’s creative voice is distinct enough to shine through studio interference and the collective process.

In law, the film is treated as a work of art, and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory.

Auteur theory has influenced film criticism since 1954, when it was advocated by film director and critic François Truffaut. This method of film analysis was originally associated with the French New Wave and the film critics who wrote for the French film review periodical Cahiers du Cinéma. Auteur theory was developed a few years later in the United States through the writings of The Village Voice critic Andrew Sarris. Sarris used auteur theory as a way to further the analysis of what he defines as serious work through the study of respected directors and their films.

Examples

TARSEM SINGHMJ-tarsem-4

Tarsem began his career directing music videos, including those of “Hold On” by En Vogue, “Sweet Lullaby” by Deep Forest and R.E.M.‘s smash hit “Losing My Religion“, the latter of which won Best Video of the Year at the 1991 MTV Video Music Awards. He has directed dozens of commercials for brands such as Nike and Coca-Cola. Tarsem’s feature film directorial debut was The Cell (2000), starring Jennifer Lopez.

In 2003, Tarsem directed one of the most elaborate Pepsi commercials to date. It combined a gladiator theme with Queen‘s “We Will Rock You“. The commercial starred Enrique Iglesias in the version of the commercial aired in Europe and North America and Amr Diab in the version aired in the Arab world. In the western version, Iglesias plays the role of an emperor hoarding Pepsi with Britney Spears, Pink, and Beyoncé Knowles all playing similar roles of gladiatrices about to engage in combat for the emperor’s and crowd’s entertainment. Ultimately the gladiatrices turn against the emperor and throw him from his seat. On the other hand, Diab’s version shows the gladiatrices being attacked by a lion after the emperor realizes their intentions.

Tarsem’s second film, The Fall, debuted at the 2006 Toronto International Film Festival and was released theatrically in the United States in 2008. His third film was 2011’s Immortals. He directed an adaptation of the Brothers Grimm story of “Snow White“, called Mirror Mirror (2012).

DAVID FINCHERFINCHER_Smaller1

In an interview with Empire magazine in 2008, Fincher named the following films as his favorites: Alien (1979), All That Jazz (1979), All the President’s Men (1976), American Graffiti (1973), Being There (1979), Butch Cassidy and the Sundance Kid (1969), Cabaret (1972), Chinatown (1974), Citizen Kane (1941), Days of Heaven (1978), Dr. Strangelove (1964), (1963), The Exorcist (1973), The Godfather Part II (1974), The Graduate (1967), Jaws (1975), Lawrence of Arabia (1962), Mad Max 2 (1981), Monty Python and the Holy Grail (1975), National Lampoon’s Animal House (1978), Paper Moon (1973), Rear Window (1954), Taxi Driver (1976), The Terminator (1984), The Year of Living Dangerously (1982), and Zelig (1983).

As a music video director, Fincher has won two Grammy Awards for Best Music Video, for his work in “Love Is Strong” by The Rolling Stones (1995) and “Suit & Tie” by Justin Timberlake and Jay-Z (2013), and three MTV Video Music Awards for Best Direction, being one of the most awarded directors in the category, alongside Spike Jonze. He also earned back-to-back MTV Video Music Awards for Best Direction in 1989 for “Express Yourself” and in 1990 for “Vogue”. In 1990, he earned three of the four available nominations in the Best Direction category.

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