Who Is The Film Auteur In Hitchcock's Films?

The term auteur was introduced for the first time in the famous 1954 article “Une Certaine tendance du cinéma français” (“A Certain Tendency of the French Cinema”) , which was written by François Truffaut and was published in the French magazine Cahiers du cinema (Notebooks on cinema). Truffaut along with the editor of the Cahiers magazine, André Bazin, as well as other film critics such as Jean-Luc Godard, Eric Rohmer, and Jacques

Hitchcock utilizes sound, camera work, MacGuffins, and plot twists to tell the storylines of the movies. Hitchcock understood the importance of camera work and sound because he began his career making silent films.12 It is why he uses many close up shots so the audience can pay attention to specific details and the emotions on the character’s face. He does not rely on dialogue to tell the story. He uses sound to help convey the message of a scene.

Hitchcock started in the movie business by designing cards that were used in silent films. He then started to direct films. He left to move to Hollywood in

Hitchcock Etudes were composed by Nicole Lizée in 2014, and released on her album Bookburners. With a combination of disjointed soundtrack music and dialog with similarly altered video segments, Lizée reconstructs a whole new experience of the Hitchcock films. Watching Lizée’s composition I really appreciated and enjoyed the way she deconstructed and recreated the works. As a Hitchcock fan I really enjoyed the new sense of terror and romance she brought to the piece. I believe this piece qualifies as fringe because of Lizée’s unique method of composition.

Alfred Hitchcock successfully performs suspense and shock in a number of ways. One way was when he reveals that the cop is following her, making us think that he found out concerning the money she stole. Another way is when we see Norman staring through the hole, examining her as if he is waiting to make his move. The last technique that Hitchcock constructed suspense is when we identify a shadowy character gazing at her take a shower, making us wonder who it could

Both of Alfred Hitchcock’s films, North by Northwest and Rear Window, were great movies with lots of suspense. The suspense, however, would not have been created without the entire mise-en-scene of the movies. Hitchcock was a master at using the elements of lighting, sound, and cinematography to heighten the suspense in his movies. The first key element of mise-en-scene that played a significant role in both movies was lighting.

These were explored by the use of the motifs of birds, eyes, hands and mirrors (Filmsite.org, n.d.). Hitchcock skilfully guides the audiences through a tale

It is used to make the story become more real, and easier for the reader to place himself in the story, and feel the same way as the characters. Stephen King is using the terror effect throughout the whole story. He is making the feeling of dread and anticipation the main factors in the horrifying experience. He also uses the horror effect, when he is writing about The Boogeyman, but he leaves out the gross out part. Edgar Allan Poe is in the same way using both terror and horror to give the reader the most horrifying experience.

After watching The 39 Steps (1935), I realized that Alfred Hitchcock really did have a talent for establishing suspense through films. Even though suspense was the primary focus, Hitchcock managed to effectively and intelligently mix humor, romance, and thriller. He uses a variety of techniques to convey these feelings to the audience. According, to some of his interviews with Francois Truffaut, Hitchcock mentions his love for The 39 Steps, specifically about the techniques he uses to create a bewitching experience throughout the film. In this film, he uses a variety of themes that he continued to constantly use throughout his later films.

In the film Rear Window, the director, Alfred Hitchcock uses a variety of techniques to create suspense and leave viewers on the edge of their seats throughout the film. Hitchcock uses a good assortment of tempo to create thoughts in the viewer's mind. He slows down the pace to create anticipation, and speeds it up to show a change in intensity. In the ending scene of Rear Window, Alfred Hitchcock uses changes in pace and tempo, lighting, and a short term deadline to constitute an immense atmosphere of suspense in the viewer's mind.

There a various reasons to why Steven Spielberg has been considered as auteur. For instance the fantasy theme, is a common thread between these three film specifically. The fact that Spielberg has three films that have a common theme may suggest that he may use fantasy themes to establish himself as an auteur.

There are many things that make “Citizen Kane” considered as possibly one of the greatest films every made; to the eyes of the passive audience this film may not seem the most amazing, most people being accustomed to the classical Hollywood style, but to the audience with an eye for the complex, “Citizen Kane” breaks the traditional Hollywood mold and forges its own path for the better. Exposition is one of the most key features of a film, it’s meant introduce important characters and give the audience relevant details and and dutifully suppress knowledge in turn. “Citizen Kane” does not follow this Classic Hollywood style exposition, instead going above and beyond to open the film with revealing as little information as possible and confuse/intrigue

Wes Anderson is a very well-known and established director in his field. Over the years, Anderson has developed a unique style of film and a basic formula for how each film will look in the end. The film The Grand Budapest Hotel showcases a lot of Anderson quirks from the vibrant colors to the tiny miniatures that he used to show the landscape. The Grand Budapest Hotel is uniquely Wes Andersons and really showcases his style.

The Auteur Theory-Intro Part Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to avoid the rules of the studio system and create films that were distinctively their own.

Ryan Bassil (2013) has argued that director Baz Luhrmann has completely missed the depiction of how F. Scott Fitzgerald wrote his novel, The Great Gatsby. As the era enjoyed social vitality, artistic and cultural dynamism, it gave rise to the name “The Roaring ‘20’s in America (IIE,2016:19), which was a time of wealth, and seemingly endless possibilities. This essay will therefore repudiate why Bassil’s statement is flawed and why Luhrmann’s personal style or aesthetic, his materials and the diegesis enhances the fortunes of the characters and intrigues his viewers and therefore augments the film entirely.