Goldman's Auteur Theory

In movie research, the director theory is equivalent to a film director, but there are many talents to create it, in a sense it is the main author of the movie (Leblanc 19). For filmmakers working for Hitchcock, Wa pigweed, or Cohen brothers, this assertion is natural and obvious. Because they think that elements of common forms, styles, and themes of movies belong to a particular supervisor. For movie theorists, supervising theory also provides a convenient conceptual framework for parsing and analyzing these elements between movies (not the same movie).

Andrew Sarris created the word "auteur theory" to translate politician translators and was admired for being advertised in the media of the United States and Britain. I published a paper on 'Theory of Supervision' in 1962 movie culture magazine. He began applying his method to Hollywood movies and spread his thoughts in his book "American Film: Director and Direction" 1929-1968 (1968). The influence of Saris's work is that the main attention and general attention of each movie do not give much attention to the star and attract more attention to the whole product.

Auteur theory, film production theory whose director is regarded as the main creative force in the movie. As the American film critic Andrew Sarris called, the director's theory that appeared in France in the late 1940s is the product of André Bazin and Alexandre Astruc's film theory. As the cornerstone of the French cinema movement, it was called the author's theory as New Wave, New Wave, and a director, and was proposed mainly in Bazin's journal Cahiersducinéma (founded in 1951). The two theorists - François Truffe and Jean - Luc Godard later became the main director of the French New Wave

Auteurism was born from French film critique of the late 1940s derived from the film critique of André Bazin and Alexandre Astruc. This concept was invented to distinguish French New Wave film director and Studio system director as part of Hollywood film production and it has been applied to pop music producers and video game creators as well. Even before the director's theory is clearly defined, the director is considered to be the most important filmmaker. Early German film theorist Walter Julius Bloom thought that this was the art as a movie massa and the public was accustomed to the final product (in this case the director) as an artist and as a previous contributor. (Ie a script writer. As an apprentice