Timothy Corrigan and Eleni Palis

in Cinema and Media Studies

ISBN: 9780199791286
Published online October 2011 | | DOI:

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Auteurism has arguably been at the center of film practice, theory, and historiography since the 1950s. Originating in the films and writings of the French New Wave, and specifically in the film criticism of the Cahiers du Cinéma during the 1950s, auteurist criticism usually located the creative center of a film in the controlling perspective of the film’s director, thus shifting attention away from the studio system that defined filmmaking before 1945. As auteurism evolved through the 1960s and 1970s (and began to include other individual forces behind a film, such as stars and screenwriters), it focused on more theoretical and formal questions about personal expression in the cinema, issues about who in fact “authors” a film or, more broadly, about the primary “agency” for meaning in the movies. Film authorship has shaped our understanding of many film cultures around the world and across different media beyond the cinema, as models of auteurism have evolved from France to the United States and through national cinemas from China and India to Iran and Denmark. What auteurism means in theory and in practice has changed significantly due to the pressures of post-structuralist theory, feminist interventions, cultural and racial distinctions, globalization, and the challenges of new media, but it remains a central topic for debate in film and media studies.

Article.  10209 words. 

Subjects: Media Studies ; Film ; Radio ; Television

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