The visions of Three Colors: Auteur theory as it applies to Kieslowskis trilogy

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Auteur theory takes the interesting view that it is a film's director that provides that film's primary personal vision and preoccupations, rather than the scriptwriter, the actors, or the producers. It has been part of the tradition of film commentary since it was first proposed in 1954, by Francois Truffaut, in his essay Une certaine tendance du cinema francais.


Another element of auteur theory comes from Alexandre Astruc's concept of the "camera-pen." This refers to the idea that a director should treat the camera like a writer uses a pen, using the medium to put agendas into action, rather than being held captive by a particular script's demands (Auteur theory). In this view, the role of the scriptwriter necessarily becomes increasingly minimal.
Auteurism, or film analysis based on the idea of a directorial vision, grew out of his ideas. It spread to the United Kingdom, where the review Movie became its first primary practitioner. In the United States, Andrew Sarris introduced it in his 1962 essay "Notes on the Auteur Theory." Sarris proposed some minimal requirements for a director to be considered an auteur: the director must demonstrate a level of competence in technique, evoke an individual style in terms of how a movie feels and looks, and even terms of overall theme. His work The American Cinema: Directors and Directions, 1929-1968, earned a reputation as the primary text for auteurism (Auteur theory).
Auteurism has had its critics. ...
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