Author's Theory

"NOTAS SOBRE LA TEORIA DEL AUTOR EN FICCIONES AUDIOVISUALES - EFREN CUEVAS"

In order to be considered an author, of value, name, character, etc. It turns out to be a process that, although it involves perception, later develops a rigorous criterion to evaluate the work in its proper way. The auteur is the purest consideration of someone considered a filmmaker, generally a director, who imprints a personal vision and a distinctive style on their works, turning them into an extension of their individual creativity. The auteur theory emerged at a time when cinema was seeking legitimation as a serious art form, like literature or painting. Critics of "Cahiers du Cinéma" argued that, like a novelist or painter, a film director can have a unique style and vision that manifests throughout his or her works.

...in 1968 that "in reality, the theory of the auteur is not so much a theory as an attitude, a framework of values ​​that turns the history of cinema into the autobiography of directors.

An "auteur" has a unique and personal perspective that is consistently reflected in his or her works. This may include recurring themes, philosophical or social concerns, and a particular worldview. They are innovators in their field, introducing new techniques or narrative approaches, the originality they expose allows them to stand out and be influential for other filmmakers.

...to follow this policy, if a film stands out for the marked mark that its director has left, it necessarily has to be a good film, regardless of the other elements that make up the film. But this is not only enough for author critics.

The author has explored how auteur theory applies not only to fiction but also to documentary film, highlighting the personal vision of documentary filmmakers and how this manifests itself in their work.

That director must also have shown a persistence of characteristics throughout his entire production, because, otherwise, he would not be an auteur...

The "auteurs" develop their own visual and narrative style that is identifiable through their filmography. This may include specific directing techniques, framing choices, use of color, editing, and sound design. They often have a high degree of control over the production of their films. This may mean that they are involved in various aspects of the creative process, from script writing to final editing.

Alan Lovell, 1969. By the auteur principle, I understand a descriptive method that seeks to establish, not whether a director is a great director, but what the basic structure of that director's work is.

Cuevas explores the origins of auteur theory in French film criticism of the 1950s and its subsequent evolution. He acknowledges the criticisms of this theory, particularly in relation to the collaborative nature of cinema. Cuevas highlights the importance of recognizing the collaborative nature of cinema. He argues that while auteur theory is useful, it should not ignore the contribution of other creatives, such as cinematographers, editors, and actors.