Auteurism and Its Impact on European Cinema - Essay Example

School: Topic: AUTEURISM AND ITS IMPACT ON EUROPEAN CINEMA Lecturer: Introduction Since the 1950s when the concept of auteurism, which was form from the auteur theory or authorship, gained roots in cinema, the subject has been met with a lot of controversy and debate. This is because there are some film analysts who see the concept as being a misrepresentation of the holistic practice of filmmaking, whiles others see auteurism as being relevant for the promotion of quality film production.1 From which ever position the term is looked at, one fact that cannot be denied is that auteurism is central in film studies and have largely influenced the approach to filmmaking, as well as the perspective of film critiquing. In this paper the writer takes a very close analysis of the concept of auteurism from a more theoretical and practical perspective. This is done by first analysing the meaning of the concept and then finding was in which the auteur theory can be applied in the European cinema as an important variable for filmmaking. The paper also takes a closer look at the works of director Pedro Almodovar to understand how his works have particularly reflected the use of auteur theory in European cinema. The paper closes by balancing the debate on auteurism by outlining some of the criticisms against auteur theory and how these criticisms may be factored into the development of European cinema. Overview of Auteur Theory Auteur theory is a philosophical stance in film criticism that argues that a film represents the director’s personal creative ideas in a manner that makes the director the author of the film.2 The word auteur was therefore taken from the French word of author, which makes auteurism stand for a director as being the primary author of a film. Auteurism and for that matter the auteur theory has influenced several areas of film studies, particularly film criticism. Thought of to be a theory advocated by Francois Truffaut and influencing films since the mid-1950s, auteurism is believed to give a distinguish identity to a film as the director’s creative voice behind the script that has been written by the film writer and screen player. In several cinematographic discourses, auteur theory is believed to have even extended its influence behind film criticism to the law binding the ownership of a film as a whole.3 It is known for example that under European Union law, the director of the film is considered the author or one of the authors of the film, giving directors a massive claim of original copyright ownership of films.4 In the real essence of it however, auteur theory is expected to impact on the actual process of film making and film studies. Impact of Auteurism on the European Cinema Robert Stam noted that when auteurism acknowledges the director as the author of the film, what this implies is that a director’s work is not the expression of individual brilliance but an encounter of a biography, an inter-text, an institutional context, and a historical moment.5 To discuss whether auteurism is particularly important for the European cinema is therefore a question of how the fusion of a director’s personality and historical moment in European films can affect the film industry in that part of the world. In the light of this, two possible impacts of auteurism on the development of film studies and filmmaking in the European cinema context are discussed. Impact of the theory on European film identity For most film analysts and critics, one of the most important impacts that auteurism can have on the European film industry is the fortification of the concept of regional identity.6 The concept of regional identity has been said to be a very important requirement for any sect of cinema to be distinctly set apart from what prevails in other settings.7 For example when an European film is compared to Indian film, American film and African film, it should be possible to readily tell the differences between these films based on some fundamental elements that the films possess. It is from this perspective that the auteur theory has been said to be particularly important for the European cinema in resurrecting its lost identity. Some critics of modern European films have doubted if the industry has not been excessively influenced by other film identities.8 The question of branding can also be raised if films lack the kind of identity needed to set them apart from what prevails in other settings. On the broad wings of auteurism however, it has been stated that directors can give films from Europe the needed identity based on the personalities, philosophies and core themes envisioned by the directors as being the embodiment and representation of the European setting. Film quality Apart from the issue of identity, quality is another issue that has often been referred to when debates of about films and their origins arise. Meanwhile, through the element of auteur theory which seeks to identify a common place where all issues with the critic of films can be placed, it is possible to say that the theory can help in shaping the quality of films in the European cinema. Certainly, if films are identified with a phrase like “a film by Pedro Almodovar” just because Pedro is the director of the film, then it should be possible to know the place to put any blame of quality on after the film is released. With the directors knowing this also, chances are that these professionals will put in a lot of efforts in ensuring that the quality of films becomes outstanding so that they will have good names being associated with them. Auteur theory can therefore be said to be important for European cinema because it sets a mental standard for directors when the directors know that they will be the people to take blames for any poor works done. As noted by Truffaut who is commonly referred to as the father of auteurism, there are no good or bad movies but good or bad directors. With this reasoning, directors will ensure that all departments of the filmmaking process from writing to post production editing are of sound quality so that they will have no blames to take. Where the theory is absent, it will be difficult to have a common ground to put blames of quality at, and European cinema will suffer from quality crisis. Reflection on the works of director Pedro Almodovar Based on all the discussions above, the director role of Pedro Almodovar is being used as a case study to exemplify how auteurism has been used in his works and how the concept can further be used for enhancing European cinema. It has been posited by Andrew Sarris that as part of the classification of directors as authors of films, they are expected to exemplify technical competence based on their technique, personal style, and interior meaning. These three areas are therefore the basis of briefly studying the works of Pedro Almodovar. Technique As far as technique is concerned, Pedro Almodovar is one director who has had his own share of good and bad times with technical issues, most of which have directly been attributed directly to him as the director of the movies. A typical example of bad moment with technique was his first film Pepi, Luci, Bom (1981), which the director acknowledges had a profusion of technical flaws that he termed it as style while promoting the movie.9 Quite apart from this, the director is known to be a legend in his field when it comes to his ability to make use techniques that make his films resonate profoundly with his audience. One crucial technique used in accomplishing this is his colourful visual style which has become known as his signature, an evidence of sharing the true identity and ownership of his films. Personal style In terms of personal style, Pedro Almodovar has been said to have so much command over his movies that it is very difficult for his films to be disassociated from his personal way of life.10 With the understanding of the auteur theory as indicating director’s ownership for the film, it is expected that like Almodovar does, not only will the film’s ownership be given to him through legal rights but his ability to stamp his personal style in the films. For example he has been noted to show superior audacity when portraying a variety of sexuality in thrilling and new ways as were seen in such movies as Volver (2006) and Broken Embraces (2009).11 Interior meaning When it comes to interior meaning, Pedro Almodovar has been characterised by many as being the sensation behind issues of women as he exhibits superior sensitivity when treating such issues in his films. His authorship has therefore been seen with the keen interest he puts on such feminine themes as was seen in Dar Habits (1983). Even as one of his early films, this film was produced as a near all-female cast so as to better sell the interior meaning the director has for issues of women. Possible criticism against auteurism In order to get the best of auteur theory, it will be important that the concept will not be looked at as being a blameless one. Rather, it is important to discuss its weaknesses and criticisms so that in its application, it will be possible to identify ways in which the concept can best be used in a manner that clearly minimised its limitations. One major criticism against the auteur theory is a position held by some that filmmaking is a collaborative process and that privileging the role of the director ahead of all others only amounts to a means of undermining the role that others play as contributors of the film.12 This argument has a lot of impact on the successful application of the theory within the European cinema. Particularly, when through the theory the contributors are submerged, it could lead to or create a posture of apathy and mediocrity on the part of the other people involved in the making of the film. Particularly, it would be noted that as part of the auteur theory, the works of scriptwriters, actors and cinematographers are highly diminished. It is not surprising that Truffaut proclaimed that there are no good and bad movies but good and bad directors.13 With such reasoning, the others may leave all their responsibility of ingenuity and innovation to the director, thinking that the director will be the final face to bear all the blame. Building on from the point made above, there is primary evidence from film historian Aljean Harmetz who is reported to have questioned the impact of the auteur theory on the studio system.14 By the studio system, reference is being made to the situation where film making is seen as a collaborative effort involving a collection of professional, experts and intellectuals who put in a lot of work before the film gets to the director and after the film leaves the director. With the auteur theory which gives the director so much power to influence the film with his or her personality, experience and feelings, one is tempted to question if films can ever have the kind of originality in concept as they are presented to directors by screenwriters. It is not surprising that several prominent screenwriters including Ernest Lehman, Robert Riskin and Guillermo Arriaga have on various platforms questioned the idea of the director as being more authorial than writers.15 Whiles applying the auteur theory to the European cinema therefore, it is important to focus on ways in which the originality of ideas and the concept of shared responsibility can be maintained whiles promoting auteurism. As much as possible, it should be possible to make all voices count whiles making the director the face behind those voices. Conclusion Using the case analysis of Pedro Almodovar and other arguments on how auteurism may impact European cinema, it can be concluded that auteurism is indeed a concept that is central to film studies and if allowed to be critically studied would have several positive impacts on filmmaking. This conclusion is made notwithstanding the criticisms commonly levelled against auteur theory as a medium of discrediting other contributors of films of their intellectual assets. This is because it is still possible to refine the central output of a film around the director and still having all other contributors such as cinematographers and writers duly acknowledged. In order to do this, it would be expected that the director will be positioned in such a way that makes it possible for him or her to account for the inputs of all the other industry players in the film. In essence therefore, the auteur theory is very necessary and relevant for the European cinema because it gives a single platform where the final output of a film work can be laid. With the responsibility that auteur theory gives to directors, the European cinema can be assured that its directors will have greater responsibility of becoming the embodiment of European film identity and the quality of it therefore. References Allinson, Mark. A Spanish Labyrinth: The Films of Pedro Almodóvar, Madrid: I.B Tauris Publishers, 2001 Andrew Neal, Review of Fifty Contemporary Filmmakers, London: Routledge, 2002 Barry Keith Grant, Theories of Authorship: Rethinking authorship, Jump Cut, no. 31, March 1986, pp. 14-16 Catherine Lupton, Chris Marker: Memories of the Future, London: Reaktion Books. 2005. D’ Lugo, Marvin, Pedro Almodóvar, University of Illinois Press, 2006 D’Lugo Marvin, Pedro Almodóvar, Paris: Ultimate Press. 2009. Eduardo Abrantes, ‘The Principle of Revelation’, Film-Philosophy 10.1, 2006, 43-53 John Hess, La politique des auteurs (part two) Truffauts manifesto, from Jump Cut, no. 2 (1974), pp. 20-22 Noel King, Changing the Curriculum: The Place of Film in an English Department, Australian Journal of Cultural Studies, 1.1, 1983, pp. 76-89 Richard Armstrong, They Lost It at the Movies: Film Culture in the Age of Positif and Cineaste, Bright Lights Film Journal, Issue 40, May 2003, p. 90-102 Read More