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Influence of the American Film Industry
Influence of the American Film Industry
Arguments against auteur theory
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The Auteur Theory:
From French New Wave to New Hollywood Cinema
Introduction
The Auteur theory was born in France and first mentioned by François Truffaut. When it traveled to United States and was summarized by Andrew Sarris, it inspired a new generation of Film Academy graduated directors to create a new mode of film making which became what we call New Hollywood Cinema.
The following essay will be divided into two main parts. Firstly, there will be a brief introduction of the Auteur Theory in France and United States. This includes Truffaut’s A Certain Tendency of the French Cinema on Cahiers du Cinéma in 1954, André Bazin’s On the Auteur Theory in 1957 and Andrew Sarris’s Notes on the Auteur Theory in 1962.
Secondly, a comparison between a New Wave film The 400 Blows and a new Hollywood film The Graduate will be done from the perspective of The Auteur Theory. The discussion includes how the two films use characterization and open-end, jump cut and long take differently compared to the Classic Hollywood films. Research question is how The Auteur Theory draws an impact on New Hollywood Cinema and the difference of the auteurists of France and the United States and lastly how New Hollywood balance itself between commercialism and the artistic expression of the auteur.
Radio, Cinema, Television by Andre Bazin, The Invisible Cut: How Editors Make Movie Magic by Bobbie O’Steen, Reel Power by Mark Litwak and some other scholars’ works will be the theoretical support of my points.
1. French New Wave and the Original Auteur Theory
From a historical perspective, the appearance of French New Wave was due to the effect of the Second World War. When France was liberated by the allies, filmmakers were once again at liberty to fre...
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...m Classic Hollywood Cinema is also a characteristic in New Hollywood. Though the techniques are similar, the way to handle the stories is slightly different. It is because Hollywood can’t fully abandon the market but still considers the artistic character of films. This is due to the second reason that the television is being widely spread in the 1960s in the United States. The decline in the number of cinema audiences makes Hollywood film makers rethink the needs of the market and to redefine their market position. Commercialism is not going to disappear in Hollywood, just change in appearance to be reborn. That is to say, the New Hollywood Cinema uses the Auteur Theory and considers the marketing factor at the same time. Since it is a perfect combination of commercialism and the artistic, it can be said that New Hollywood Cinema is a great success in film history.
The auteur theory is a view on filmmaking that consists of three equally important premises: technical competence, interior meaning, and personal signature of the director. Auteur is a French word for author. The auteur theory was developed by Andrew Sarris, a well-known American film critic. Technical competence of the Auteur deals with how the director films the movie in their own style. Personal signature includes recurring themes that are present within the director’s line of work with characteristics of style, which serve as a signature. The third and ultimate premise of the Auteur theory is the interior meaning which is basically the main theme behind the film.
Jacobs, Lewis. “Refinements in Technique.” The Rise of the American Film. New York: Teachers College Press, 1974. 433-452. Print.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
What is an auteur? Answer this question with detailed reference to one film director: Alfred Hitchcock
Auteur theory holds that, ‘a director’s films reflect that director’s personal creative vision, as if he/she were the primary author. From the earliest silent films to contemporary times motion pictures have crossed over and both entertained and educated the viewing audience.
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
In 1959- early 1960 five directors released debut feature length films that are widely regarded as heralding the start of the French nouvelle vague or French New Wave. Claude Chabrols Le Beau Serge (The Good Serge, 1959) and Les Cousins (The Cousins, 1959) were released, along with Francois Truffauts Les Quatre cents coups (The 400 Blows, 1959), Jean-Luc Godards A bout de souffle (Breathless, 1960) and Alain Resnais Hiroshima mon amour (Hiroshima my love, 1959). These films were the beginning of a revolution in French cinema. In the following years these directors were to follow up their debuts, while other young directors made their first features, in fact between 1959-63 over 170 French directors made their debut films. These films were very different to anything French and American cinema had ever produced both in film style and film form and would change the shape of cinema to come for years. To understand how and why this nouvelle vague happened we must first look at the historical, social, economical and political aspects of France and the French film industry leading up to the onset of the nouvelle vague.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 2014.
Kracauer, Siegfried. “Basic Concepts,” from Theory of Film. In Film Theory and Criticism: Introductory Readings, Seventh Edition, edited by Leo Braudy and Marshall Cohen, 147–58. New York and Oxford: Oxford University Press, 2009.
" Cinema and the Nation. Ed. Mette Hjort and Scott Mackenzie. New York City, NY: Routledge, 2000. 260-277.
1959 was an exciting year in the history of filmmaking. An extraordinary conjunction of talent throughout the globe exists. In France, Truffaut, Godard, Chabrol, Rohmer, Rivette, and Resnais all directed their first films, thus establishing the French New Wave. In Italy, Fellini created the elegant La Dolce Vita, and Antonioni gave us L’avventura. Most importantly, though, in America, famed British director Alfred Hitchcock gave us the classic thriller North by Northwest, the father of the modern action film.
This New Wave aesthetic solidified film as a mainstream artform, stressing that film was carefully crafted similarly to literature. Individual directors, or auteurs, were expected to “author” their films in much the same way that an author would write a novel. This auteur theory and its accompanying aesthetic became the backbone of the French New Wave and was what drove innovation. Breaking free from the screenwriter, producer, and studio driven systems of the past, and putting the creative power back in the hands of the director was seen as a crucial step in solving Cahiers’ perceived problems with French cinema before the movement.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.