Auteur Theory

Auteur Theory

In film criticism, auteur theory holds that a director's production reflects the director's personal creative vision, as if they were the primary "auteur" (the French word for "author"). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the author's creative voice is distinct enough to shine through all kinds of studio interference and through the collective process. In some cases, media producers are considered to exert a similar "auteur" influence on films they have produced.

In law, the film is treated as a work of art, and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory.

Auteur theory has influenced film criticism since 1954, when it was advocated by film director and critic François Truffaut. This method of film analysis was originally associated with the French New Wave and the film critics who wrote for the French film review periodical Cahiers du Cinéma. Auteur theory was developed a few years later in America through the writings of The Village Voice critic Andrew Sarris. Sarris used auteur theory as a way to further the analysis of what defines serious work through the study of respected directors and their films.

Some examples of Auteurs of today’s music videos are Spike Jonze and michell Gondry both have created names for themselves by creating memorable and influential music videos that inspire and influence other music video makers such as us. Spike Jonze was born Adam Spiegel in October 22, 1969 and is renowned for being an American director of music videos and commercials. He is also an Academy Award-nominated director and producer within the film and television industry and is most known for his 1999 film Being John Malkovich and the 2002 film Adaptation and are both written by Charlie Kaufman. Jonze is also credited as a co-creator of MTV’s Jackass. Although Spike Jonze’s previous life before music videos seem irrelevant it directly transfers into his music videos that he was a TV and film director, as the style and frequently used Intertextuality and cinema shown is that of a director that moved genre of media. Exploring unusual concepts that surprise and intrigue the view are Jonze’s forte. One of the Bands he had worked with is the Yeah Yeah Yeahs who are an alternative rock/punk band from New York.

With no clear evident linear narrative, this video is challenging to conventions, this is quite usual of both Spike Jonze and the Yeah Yeah Yeah’s. The video is the camera following the antics of violent horrible children (contrary to their smart attire and cute faces) set in an abandoned house. They are causing havoc throughout the video whilst the band plays ignoring the bedlam of their surroundings. The Low key lighting is emphasized with harsh electric lights and green filters which exacerbate the particular ghoulish feel of the video. The main theme or concept of the video I feel is the exploration of control by presenting a lack of in the video. Goodwin’s theory of star image is seen in this video as the lead singer is the main focus of the camera in her bright red plastic leotard, the opposite of the surroundings –making her stand out. Her performance is exaggerated and close ups and longs shots appeal to the voyeuristic need of the audience of their videos.

Posted By Dominic Lattimer