film auterism
Auter is defined as a French term for the film director who places a personal style on his or her films. It was first coined by Francois Truffaut to describe the mark of a film director on his films. A director can be considered an auteur if about five of his films depict a certain style that is definitely his own. In other words, much like one can look at a painting and tell if it is a Monet, a Renoir, or a Degas, if a film director is an auteur, one can look at his film and tell by style and recurring themes that it was made by a certain director. In auteur films, the director is many times what brings an audience to the theater, instead of the actors or storyline. Often famous directors are more highly billed in advertisements than the actors that the film stars. To further prove the importance of director’s styles on films three directors and their films will be analyzed. Three such auteurs are Frederico Fellini, Satyajit Ray, and Alfred Hitchcock, and it will be effective to discuss these particular directors work. The “Master of Suspense,” Hitchcock, blends the traditional thriller with comedy and a dreamlike aspect. Nearly all of Hitchcock’s movies contain several themes and as
pects which enrich the viewer’s enjoyment of the film. It appears that emotion is the most important feeling he is trying to get across. His mise-en-scene is perhaps the most recognizable of his contemporaries. They all include a very tense feeling throughout most of the film which is strengthened through his camera angles, zooms, and the soundtrack. Take for example the dream sequence in Vertigo. The colors and music during his dream keep the audience on the edge of their seat and it finally culminates in a long close up of a very frightened Scotty played by Jimmy Stewart. The score is deathly haunting, the type of music perfect for a Hitchcock thriller. Most of his films also include terror inflicted upon the unknowing, and sometimes innocent victim, guilt, both real and the appearance of it; and fear and redemption. A major theme in many movies is a feeling of sympathy for the main character. Finally, one can not discuss Alfred Hitchcock’s recurring themes without mentioning his numerous cameos in his movies. Hitchcock’s narrative style also normally has a theme. It usually adheres to a constant ascending/descending, uphill/downhill motif, which is, of course, suitably lifelike. Hitchcock was not afraid at all to experiment. In fact, his first films were silent, and while he was making another silent film he discovered that sound was being introduced. He quickly re-shot many shots to add sound. Stylistically, Rear Window was one of Hitchcock’s famous experiments. Almost the entire movie is shot in the main character’s apartment and out of his apartment window. In North by Northwest as with many of his others including Vertigo and Rear Window, Hitchcock sets up his hero as being the only one who knows the truth. This again creates audience sympathy for this character. Also very Hitchcockian is that the main character becomes the detective. Stylistically, the audience stays with the main character, only knowing as much as he does. The second character type that important to Fellini in several of his films is the wife. In 8-1/2 and La Dolce Vita he characterizes the wife as a
Some topics in this essay:
City Women,
Satyajit Ray,
Dolce Vita,
Nearly Hitchcock’s,
Renoir Degas,
Alfred Hitchcock’s,
Spirits Julieta,
Jimmy Stewart,
Apu Trilogy,
La Strada,
main character,
city women,
film director,
satyajit ray,
dolce vita,
la dolce vita,
la dolce,
director auteur,
film director auteur,
auteur films,
films director,
sex object,
director auteur films,
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Approximate Word count = 1432
Approximate Pages = 6 (250 words per page double spaced)
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