News for
The Auteur Theory (1999) More at IMDbPro »

4 items from 2012

5 September 2012 6:44 AM, PDT | Obsessed with Film | See recent Obsessed with Film news »

The first ever film I watched was ‘Lady and The Tramp’. I don’t remember the cinema it was at, and according to my Mum I stood up throughout the whole thing, not necessarily taking the story in, but just entranced by the images on the screen. It might not have been that moment- it may have been during my second film, Toy Story- but from an incredibly young age I just fell in love with cinema. I can remember the moment I decided I wanted to become a film director, and unfortunately I also remember the film. I had come back from ‘Pokemon: The Movie 2000′ (don’t judge me- like most of my generation, I became addicted for a period), and decided then and there I was going to make films for a living. And perhaps the most significant moment in my relationship with film so far was »

- Oscar Harding

29 June 2012 7:00 AM, PDT | Twitch | See recent Twitch news »

Within the past 10 days or so, film critic Andrew Sarris died at the age of 82; screenwriter Aaron Sorkin's new TV series, The Newsroom, debuted; Jonah Lehrer, staff writer for The New Yorker, was accused of multiple cases of self-plagiarism; and Magic Mike, Steven Soderbergh's latest film, opened in theaters across the U.S. and Canada. The auteur theory explains it all. "Having been officially credited or blamed for bringing the words auteur, auteurism, and auteurist into the English langauge, I seem to be stuck with these tar-baby terms for the rest of my life," Andrew Sarris wrote in the afterword to his book The American Cinema: Directors and Direction 1929-1968. He concluded by noting: "At this late date I am prepared to concede »

21 June 2012 7:30 AM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

Andrew Sarris, the film critic of the Village Voice, who died this week aged 83, taught directors how to be auteurs

The film critic Andrew Sarris, who died yesterday at age 83, did more than anyone else to deify the job of film director. From his perch at The Village Voice, he introduced to American audiences the French notion of the director as auteur – the author of a film, is masterfully in command of his medium as a painter his brush or a writer his pen. With his droopy face and dark-rimmed eyes, Sarris brought donnish gravitas to movie criticism, his reviews packing intellectual heft at a time when Us movies demanded to be taken seriously. "We were cowed into thinking that only European cinema mattered," recalled Martin Scorsese recently. "What Andrew showed us is that art was all around us, and that our tradition, too, had much to offer; he was »

- Tom Shone

29 March 2012 1:52 AM, PDT | DearCinema.com | See recent DearCinema.com news »

Gaspar Noé has made his mark in a cinema which has generally gone under the name ‘New French Extremism’, a body of films which mark French cinema’s attempts to rehabilitate itself after being virtually done in by Hollywood’s continued success in Europe. Some of the other directors held as belonging to this group are Francois Ozon, Catherine Breillat, Bruno Dumont, Patrice Chereau, Jean-Claude Brisseau and Leos Carrax. While the complex eco-system of French cinema has also been cited as the cause of this cinema – which has been deliberately transgressive and determined to break all taboos – a simpler explanation is that this body has arisen as a direct consequence of Hollywood’s (and America’s) cultural hegemony.

The relation between American cinema and French art cinema was a much friendlier one in the 1950s and 1960s when directors like Godard, Truffaut and Chabrol were even inspired by Hollywood. The Auteur Theory, »

- MK Raghvendra

4 items from 2012