Film Auterism
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
As with these three directors and all auters, there influence on the movie is undeniable. When a movie of theirs begins, there is no doubt from the very beginning as to who may have directed it. Auteurism is a very important aspect to analyzing film. When a director is an auteur, he not only has films that are easily recognized as his, but also he has left his mark on film history. The final character archetype that is found in Fellini's films is the "macho man." This is probably best illustrated in the harem sequence in 8-1/2. In this the main character imagines himself as the master of all women he has ever desired, real or fantasized. In City of Women, the doctor is the idealized male stereotype who now has to deal with women's increasing independence. In La Strada, the male character is kept a prisoner by common male virtues, namely he communicate his own feelings. Surely when one watches any Fellini film, there is a definite look and feel to the movie, making Fellini a true auteur. The Sex object is first found in 8-1/2. The young boy and his friends encounter the prostitute. With this encounter, we see that a mixed batch of emotions including: delight, cruelty, wonder, fright, and guilt. The whore's sexuality and the boy's responses to it are shown with crosscuts between her suggestive motions and their shock and ultimate joy. When she invites the boy to come closer, he has mixed feelings, but is ultimately pressured by his friends. This is a perfect example of sexual awakening. In City of Women, a similar experience is portrayed. This time it is with a loving maternal figure. The young boy is confused when returning her affections. He has a mix of sexual excitement and shameless affection. The camera angle is that of a child's view, and he looks at her exposed cleavage and her open skirt crossed with cuts of her strong arms and her continuing maternal household duties and her embrace. In La Dolce Vita, the sexual object is in a more complex relationship with the man. S
Some common words found in the essay are:
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Approximate Word count = 1357
Approximate Pages = 5 (250 words per page double spaced)
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