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4 Kwartalnik Filmowy

4 2007

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Notes on the 'Auteur' Theory in 1962

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Sarris A.

Kwartalnik Filmowy

2007

nr 59

6-17

In this essay, the author synthesizes his views on the policy of authors (la politique des auteurs), and at the same time advocates the 'auteur' theory. The author, who draws on the views of André Bazin, Richard Roud and François Truffaut and gives an account of its complexity and of the people (connected to the Cahiers du Cinéma) involved in the theory, tries to formulate what may be regarded as the definition of 'auteur'. He states in his essay that there are three premises to 'auteur' theory: the technical competence of the director, the director's distinguishable personality and interior meaning. He says that three concentric circles can represent the three premises, of which the outer one represents technique, the middle one - individual style and the inner one - interior meaning. The director's interrelated roles can be designated as the roles of the technician, stylist (metteur en scene) and the 'auteur' respectively. In his concluding remarks, the author says that the 'auteur' theory alone is a theory model under constant evolution, and that it is unlikely to ever come into force.

'Auteurs' and the New Hollywood

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Corrigan T.

Kwartalnik Filmowy

2007

nr 60

25-43

The aurhor examines authorship in the so-called New Hollywood. With the arrival of a new generation of directors (i.a., Coppola, Spielberg, Lucas, Scorsese) the policy of authors (la politique des auteurs) came to be perceived in an entirely new way whereas the film maker's name alone was frequently identified with a trademark or a brand, which enabled the film distributors to sell a specific production at a good price. Names of the 'great' directors served as a kind of remedy in the era of the waning American studio system. In line with such a definition of film marketing, the institution of the author was to serve as the guarantee of communication between the audience and the film. The author alone ceased to be a vague presence (like the literary author or like the author promoted in European films) but became a representative of big business. What's more, 'being the auteur' turned into a business. He also points out that the emergence of the contemporary 'auteur' in the New Hollywood was influenced by three major changes in the film culture: the increase in the number of blockbusters made by syndicated film studios, the emergence of films made by the mini-major studios and the importance of the technology of home video. The author also points to the characteristic figure of the 'auteur'-star ('auteur' defined by his commercial star status) in which two significant groups of authors can be distinguished; commercial 'auteur' - e.g. Mel Gibson or Robert Redford and 'auteur' of commerce - e.g. Steven Spielberg or Brian de Palma. Citing Barthes' essay, he closes his essay by concluding that as 'auteurs function' in such a commercialised form, they are far from being dead - on the contrary - they are more vital today than ever.

What Comes After the Author's Death?

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Predal R.

Kwartalnik Filmowy

2007

nr 59

24-42

The text is a translation of one of the chapters of the book 'Le cinema d'auteur, une vieille lune?' in which its author - René Prédal - considers the current status of the so-called 'auteur' cinema. Drawing on two key texts by Roland Barthes and Michel Foucault who challenged the author concept with reference to literature, he notes that their observations may be also applied to a filmic 'auteur'. According to him, 'the death of the author' - proclaimed in the 1960s - may be pronounced in the case of a 'Romantic' author, but what remains is the author of the second or third type - the transmitting instance or a stylistic figure that will replace the subject. Discussing how the definition of 'auteur' cinema evolved (including contributions of feminist theories, gender and cultural studies to this evolution) and evaluating what in cinema is widely referred to as the policy of authors, Prédal comes to the conclusion that 'auteur' cinema does exist, incorporating the category of the author as understood by the cinéphile and the professional.

The Author

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Collet J.

Kwartalnik Filmowy

2007

nr 59

18-24

The aurhor states explicitly in his 1975 text that: 'There exists not a single concept that would be more ambiguous and vague than that of a 'filmic author'. There exists not a single concept that would contain more contradictions and cause more misunderstanding'. In the first part of the article, he attempts to define the concept of the filmic 'auteur' and outlines how the idea of authorship was approached in the history of cinema. He also points out that it is a paradox to discuss the concept of the author against the background of the cinema as any film is the result of teamwork. He stresses the relationship between the emergence of the so-called policy of authors and the activities of the editors of 'Cahiers du Cinéma'. He also adds that the death of the author may be predicted only if the author is regarded as an owner, an absolute lord and master. Meanwhile, he argues that the 'auteur' film uses various codes, transforms them, destroys and imposes upon itself its own codes, while the author makes statements in the film and at the same time disappears.