The essay "Post-War European Films and the Concept of Auteur" describes the concept of the 'auteur', especially in the context of post-war European cinema, from the films of the Spanish director Almodovar. The paper also focuses on the different themes that can be found in the works of Almodovar, in order to explain why the 'auteur' is now an important part of contemporary European cinema.
There have been a lot of developments in European cinema since the Second World War ended. Some of the filmmakers in Europe actually experimented with new ideas and concepts on how to make films, as well as on the very technique and purpose of filmmaking in itself. Some filmmakers experimented on social realism, while some also experimented in making magical realist, existentialist, psychological, and symbolic films. However, there is one particular development on post-war filmmaking in Europe that has caught the attention of the researcher, and this is the concept of 'auteur'.
In fact, many popular European filmmakers are actually categorized by scholars of film studies as an example of an auteur, and one of the most famous is the Spanish director and filmmaker Pedro Almodovar, the director of the films “Matador,” “Hable con Ella,” and “Volver”. In order to explain the importance of the concept of the “auteur” in European cinema, it is important first to define this concept, especially in the context of post-war filmmaking in Europe. The word auteur is actually a French word, this word actually means the 'author'....
According to film scholars, the concept of the auteur actually refers to the original idea of the French filmmaker Francois Truffaut (1932-1984), who in his manifesto “The Policy of Auteurs,” declared that “Cinema as an art made by a filmic artist and not by a writer,” wherein the filmic artist, or the filmmaker, is actually the auteur (“Truffaut’s manifesto: La Politique des Auteurs” n. p.). In this case, then, the concept of the auteur actually emphasizes the role of the filmmaker (or the director in that case), in the creation of the film itself, wherein the film is actually a creative product of the auteur (the filmmaker); also, it then follows that films actually represent the filmmakers actual creative vision (“Truffaut’s manifesto: La Politique des Auteurs” n. p.). In this case, in the treatise of Truffaut, he actually argues that despite the involvement of film in an industrial or commercial process, wherein elements of the studio may heavily determine the outcome of the film; but the theory of auteur still actually holds that the creative voice (or the creative elements) of the film still actually shines out, and this come from the artistic and creative viewpoint of the auteur (“Truffaut’s manifesto: La Politique des Auteurs” n. p.). In this case, the theory of “auteurism” actually came out from this concept, wherein films can actually be analyzed or understood according to the different characteristics and themes of the auteur, and wherein common themes of the auteur can actually be identified with his works (“Truffaut’s manifesto: La Politique des Auteurs” n. p.). In fact, the concept of the auteur actually contributed much to the development of post