h as Vertigo (Hitchcock) Written in the Wind (Sirk) Persona (Bergman) A bout de souffle (Godard) with particular attention to the concept of narrative closure can be useful in determining how the theory of Auteur developed in the Hollywood. The progress of Hollywood film has been a long journey from the primitive to the classical and the theory of Auteur had an important place in its development. The development of new wave theory and the theory of Auteur in France had a major influence in the growth of narrative strategies used in film. The revolutionary new way of understanding and interpreting films known as new wave theory is closely connected to the theory of Auteur. “An underlying assumption of auteur theory was Auteur’s idea that, despite film’s status as primarily a commercial entertainment medium, it could potentially be an art form as powerful in its means of expression as literature or poetry… According to the New Wave critics, it is the director and not the screenwriter whose artistic version is inscribed onto the film.” (Fabe 2004, P. 121). Certain directors such as Bergman, Bresson and Ozu who had a great deal of creative freedom in their works were recognized as artists only in the non-commercial art cinema of Europe and Japan. However, according to the French New Wave theorists, even in the most commercial realm, the works of certain filmmakers were marked by the director’s individual themes, psychological preoccupations, and stylistic patterns which determine the narrative strategy. This paper makes a comparative analysis of the narrative strategies of Vertigo (Hitchcock), Written in the Wind (Sirk), Persona (Bergman), and A bout de souffle (Godard) in relation to the concept of narrative closure, and the narrative features such as character motivation, framing, plot motives and cause-effect chains.
The New Wave theorists realized filmmakers of the auteurs as directors whose unique style and vision marked their films and Alfred