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 aspects which enrich the
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The scripts for these movies are very realistic; nothing seems forced or written. They all include a very tense feeling throughout most of the film which is strengthened through his camera angles, zooms, and the soundtrack. In City of Women, the doctor is the idealized male stereotype who now has to deal with women’s increasing independence. In City of Women, a similar experience is portrayed. This dissidence creates an interesting feeling to the viewer. He quickly re-shot many shots to add sound. It usually adheres to a constant ascending/descending, uphill/downhill motif, which is, of course, suitably lifelike. ” This is probably best illustrated in the harem sequence in 8-1/2. When one hears the phrase “artistic cinematography” the work of Satyajit Ray should come to mind. In La Dolce Vita, the sexual object is in a more complex relationship with the man.
The final character archetype that is found in Fellini’s films is the “macho man. It is clear after watching his popular Apu Trilogy, which consists of three films that follow the life of a boy named Apu that the most noteworthy quality of Ray’s films is their universality. His camera moves with the situation in this story, not with any particular style. Auteurism is a very important aspect to analyzing film.
Approximate Word count =
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5 (250 words per page double spaced)
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