Auteurism - the idea that a director of a film is its source of
meaning and should retain creative control over the finished
product - has been one of film studies' most important paradigms
ever since the French New Wave of the late 1950s and early 1960s,
and the adoption of the term 'auteur' by Andrew Sarris. Through the
popular, controversial and critically acclaimed films of Olivier
Assayas, Jacques Audiard, the Dardenne brothers, Michael Haneke and
Francois Ozon, this book looks into how the meaning of 'auteur' has
changed over this half-century, and assesses the current state of
Francophone auteur cinema. It combines French philosophical and
sociological approaches with methodologies from the Anglo-American
fields of gender studies, queer theory and postmodernism. This
volume will be of interest to researchers and students of film
studies, European cinema and French and Francophone studies, as
well as to film enthusiasts. -- .
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