by Landon Palmer.
This moment has proven opportune for a reflection of what the auteur theory means and has meant for film criticism.
La politiques des auteurs, which originated in Cahiers du Cinéma in the 1950s and traveled, distilled but ready, to 1960s popular American film criticism, has irrevocably shaped how we’ve thought about and assessed movies to the point that it’s impossible to talk about cinema outside the claims of auteurism.
Not only did the work of André Bazin, Andrew Sarris and their contemporaries, combatants, and students allow for the serious study of film as an art form, but auteurism’s legacy has even entered the film industry itself (film authors are now brands to be advertised) and solidified conventional readings of film history as the story of talented, uncompromising visionaries behind the camera (collect them all!).
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