In this essay, I shall endeavor to outline the beginnings of the auteur theory, and show the arguments that support and oppose the relevance of the auteur theory in modern film. It is my opinion that it is still relevant, though ultimately only to the individual. That is; the theory may be more relevant to a follower of the industry, and in particular a follower of a certain director, than to a person who takes a film at face value and has no interest in its connection with past works. There are a number of arguments both favouring, and against this theory, which I will look further into. I will concentrate on the work of Steven Spielberg, showing the influences through his work and the relevance they have with regard to auteur theory.

Arising in France in the late 1940s, the auteur theory was the production of the cinematic theories of Andre Bazin and Alexandre Astruc. The theory of 'director as author' was first put forward in Bazin's periodical Cahiers du cinema, (founded in 1951). Two of its theoreticians, Francois Truffaut and Jean-Luc Godard, later became major directors of the French

Unknown Author, The Steven Spielberg Directory, http://www.scruffles.net/spielberg/, accessed 08/12/2000.

Brode, Douglas, The Films of Steven Spielberg, Citadel Press, 1995.

I also used a number of sources as reading material, for a better understanding of the terminology used and the idea of auteurism. These are as follows:

From 1982, beginning with E.T. (1982), Spielberg's works have explored many issues close to his heart. Brode (1995) traces this passage of increasing maturity, beginning with the exploration of childhood dreams in Close Encounters of the Third Kind (1977), E.T, Poltergeist (1982) and Empire of the Sun (1987). He suggests that there are influences of Spielberg balancing work and personal commitments in Always (1989), and issues of his own fatherhood in Indiana Jones and the Last Crusade (1989) and Hook (1991). He finally shows details of Spielberg's cultural background coming through in Schindler's List (1993). Descriptions of Spielberg's work suggest that he is, by definition, a modern auteur, following the personal influences in his work, and the repeated ways in which his films can be related to himself, as director. Taylor (1992).

Steven Spielberg is a household name amongst the English-speaking world. His first film was a television movie, the highly acclaimed Duel (1971), a suspense film about a motorist being terrorised by a truck. After two more television thrillers, he directed The Sugarland Express (1974), which was critically well received but not financially successful. This was followed the next year by Jaws (1975), which became a huge worldwide success and made him a household name. These early films, made before he was famous and influential, developed his reputation based purely upon his skill at orchestrating suspense and action. The proficiency with which he did so suggested that this was a field in which he would continue to work. After Jaws, he continued to direct action (the three Indiana Jones films), and did not make another film in the suspense field until Jurassic Park (1993). Brode (1995).

There are, however, arguments against the auteur theory and what relevance it holds in present society. It is suggested that in the early days of Hollywood, the enormous commercial potential of cinema

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