In what ways has the theory of the director as the 'author' of a film been used in film studies, and how and why has it been disputed?

Barthes claimed in 1977 that the author was dead and authorial intention had no place in reflection of texts, placing the importance of deciphering think uping to the full with the carryer (Barthes 1977 142 - 148). However, since 1948, many critics have focused on the managing director of guides as the author placing their own meanings and intentions within a film which was to be interpreted. This hear will look at how much this cerebration of the auteur is used in studying films and how opposing critics potentiometer read films in differing ways, dismissing the auteur as the sole artificer.

The authorship theory move to break down any barriers which existed between art photographic film and commercially produced Hollywood cinema, and as such, the idea of the auteur in film originating in the Cahiers du Cinema focused on Hollywood directors. In 1948, Alexandre Astruc said

The cinema...is gradually becoming a language. By language, I mean a form in which and by which an artist can express his thoughts, however abstract they may be, or iterate his obsessions exactly as he does in the contemporary essay or novel.



That is why I would like to call this modernistic age of cinema the age of camera-stylo (Astruc 1948: 17-23)

This signalled the beginning of the politique des auteurs, which make the opinion that cinema was a language which an individual artist (the director) could express a personal vision through, making a stand against the serious, social themes of the established French cinema and criticism which gave weight to this quality cinema (Cook & Bernink 1999: 235-240). This politique des auteurs made a clear distinction between directors they deemed worthy of being called auteurs, and those who they named as metteurs-en-scene. This distinction claimed that true auteurs were those directors who showed their world view through their...

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