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  • noun

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a filmmaker who has a personal style and keeps creative control over his or her works

References in periodicals archive ?
Auteurism is also discussed in Joe Tompkins' chapter on the critical-industrial function of the auteur figure, where he demonstrates how the marketing of horror legend George Romero and the Splat Pack directors of the 2000s (Rob Zombie, Eli Roth) benefited not only the filmmakers themselves but also the industry and its many factions.
We want to end this analysis by stating that the legitimacy of auteurism lies not in one film but in many.
Burke argues that a false idea of Fellini as a reactionary purveyor of subject-centered auteurism has blinded theoretical criticism to the post-auteur, poststructuralist and postmodern impetus in his later works, which continually destabilizes individualist subjectivity and effaces authorship.
2) The publication in 1968 of Sarris's monumental book The American Cinema: Directors atid Directions, 1929-1968, was singularly influential in solidifying the discourse of classic auteurism.
As a young generation of filmmakers began emerging from film schools, they arrived with a self-awareness of auteurism not found in earlier generations.
This conception we now hold as twenty first century spectators was not always the case in the history of cinematic works and is owed mainly to Francois Truffaut, who published in 1954 "A certain tendency of the French Cinema," underlining what is now called auteur theory or auteurism.
Reygada's film Stellet licht (2008) opens Part V, "Experimental Auteurism and Intertextuality.
Yet Stahl brings a formidable assortment of analytical tools to bear-- including Sennett's critique of the new capitalism, Thomas Frank's history of the marketing of cool, Robert Allen's social history of documentary, and a bit of auteurism informed by Bourdieu--in building a trenchant analysis of Dig
A second seminal analytical slant for "Bonnie and Clyde" is auteurism.
I am convinced that it has to do with two ideologies: the ideology of auteurism, strong in the French audiovisual field, weak in Britain; and the literary ideology, so strong in Britain, and contested continually in France.
Is it a surprise that French theory of formal aesthetics and auteurism ultimately appeared more palatable for American Film Studies than the politically inflected legacy of German anti-populist critical theory?
And when a body of film challenges and provokes audiences, defying easy interpretation or categorization, then the appeal of auteurism is even stronger.
According to Darke (1993), who authored a critical evaluation of this period in Cahiers' history, Daney identified two features of auteurism that would reflect the journal's contemporary socio-political outlook.
Indeed, were we in search of the most flagrant abuses of critical auteurism in recent times then we need look no further than the secondary literature on Barthes, Foucault and Derrida, which is for the most part given over to scrupulously faithful and almost timorous reconstitutions of their thought.
Further, Moine also stresses the importance of mise-en-scene, or the elements that appear within the film's frame, as well as auteurism and the creative presentation of recurring narrative themes as accompaniment to the continued evolution of global film genre as parts of the whole.