Distinction on this basis has been a cause of the difficulty faced on whether to classify managers as either auteur or Metteurs-en-scene since it is not a clear-cut distinction (Wollen 1972).
The distinction between art cinema and classical cinema is quite clear. While art cinema is the most famous under film studies through the recognition it gets out of famous film makers, specific films or specific kinds of cinemas not forgetting some writers and the audience it targets. They are common with the auteur kinds of films with a sample of its film being the films include LAvventura (1960). David Bordwell and other filmmakers on the other hand coin the term classical film. They largely stress on the Metteurs-en-scene kind of arts or film, classical cinema is widely spread due to the dominance of these kinds of films and the choice that has been made by most filmmakers to follow in the making of such films. The art cinemas are presented in small film theatres as compared to the classical, which are conducted on large picture palaces. Art cinemas screen new films with repertory functions drawing their audiences form highly educated urban intelligentsia as opposed to the classical cinema, which is rich in culture and attracts the rural uneducated folks (Kolker 1980).
Movie brats such as Michelangelo Antonioni (b. 1912), Federico Fellini (1920–1993), Jean-Luc Godard (b. 1930), and Ingmar Bergman (b. 1918); the films include LAvventura (1960), 8½ (1963), À bout de souffle (Breathless, 1960) and Det Sjunde inseglet (The Seventh Seal, 1957) play a critical role when it comes to the impact that auterism has in relation to film production. According to the lectures, it is evident that a new generation of movie brats has the controls of the production of their films (Grist 2000).