Auteur Theory and Authorship

“Auteur”, translated from the French, it simply refers to “author”. Thismain perspective puts the director in a unique and matchless position of individual artistic perspective, and that the film is, most essentially, an outcome of that perspective. It allows the director has most control over how a movie looks and sounds. Eventhoughsome studio workers leave recognizable and unique traces they made in the films but the idea of authorship does not goes to them and it leads to the director itself.

The act of auteur theory is a way to understand and appraising the films through the stamp of an auteur. The context of the French New Wave is one of the intended results of the auteur Theory. Lead by larger implication, this theory changing the perception of how films are made, and how they function as an art. New paradigm to appreciate cinema get generated by viewing films from the auteur perspective. Plus, it ultimately produces a new means by which to place films in a historical and artistic context. 

This theory also functions asan importance on a director’s body of work as whole, rather than specific films. Regardless of a particular film's consistency or relation to other films in the individual's gathered body of work, this is a creation of the idea that the "imprint" of the director will be obvious. In short, placing a film within a chronological context turn out to be vital in the auteurist sense. An auteur commonly imprints his or her personality on studio products, transcending and constraints of Hollywood's standardized system without literally compose his or her script into it.

Style, as in mise-en-scene, could also demarcate an auteur. “Thanks to the Cahiers group, the term auteur could now refer either to a director’s discernible style through mise-en-scene or to film-making practices where the director’s signature was as much in evidence on the script as it was on the film product itself.”(Hayward, S. 2006)

There are seven authorship approaches, which are by origins, personality, sociology of production, signature, reading strategy, site of discourses and technique of the self. “M.Night Shyamalan is often figured in critical discourse as a type of modern auteur, a filmmaker like Hitchcock, Welles, Hawks, and Ford who stamps each of his productions with his own distinctive signature…”(Weinstock, J. 2010). This approach by signature relooks at the director as author, singling out production traits and styles across the various films as his/her signature. Plus, repetition and maturity in production styles and themes is key.