Francois Truffaut argued that there are no good and bad films, but only good and bad directors". This essay will examine writers such as Truffaut, Sarris, and Barthes, uncovering modern cinema's theories of authorship and correction from the past and how they reflect the issue. Looking at the film as an expression of the author, revealing each element, investigating the director from inside the film and comparing how each director has their own approach to cinema will then show how this can influence the entire outcome of the film. We say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get Original Essay Wes Anderson is a filmmaker and visual director, his work reflects his personal development over the course of his career and where he fits in as an auteur through his stylistic approach to the art of production. The general theory of film where the term auteur began, the theorist who created authorship, how an author can influence a film as they reflect to create a film's narrative, and the difference in film genre. The change in cinema and the difference between the Hollywood blockbuster and Wes Anderson's. The author is the individual who creates and holds the original work of art, the inner meaning, the personal style and therefore the technical expertise. When the director is an artist in his own right, and expresses this while obsessing over details where his cinematic approach is visible and personality is shown and repeated in his art, the term auteur would be used. Films have authors who provide a distinct identity to the text's contributors. “Truffaut's use of the French term 'auteur' to mean author” (Grant 2008 p.2) the author contextually refers to the original writer. “It becomes a medium of writing as flexible and subtle as written language.” He positions the film as art while also organizing it into a literal genre. The meaning behind the word author or who is the author has changed due to the changes and exceptional views in the history of cinema, while a change is needed in art and people's opinions also change. During the studio era, everyone involved in a film was a contract employee, including the director, and followed the studio's style guidelines. The director wouldn't have much say in this one, the studio owned the stars too, so he decided where and what movie they would star in. It has developed, challenged and changed. It is a challenge to the industrial practices of Hollywood cinema, and Hollywood theater is generally considered not art but entertainment. The studio chose the director they felt was best for the film, but gave this director strict guidance on how to follow the script while respecting the elements of the production and not getting any control like they would get today. An auteur would therefore be the screenwriter or artist who created the film because the director did not have his own vision. Now, when we talk about auteurs, we imagine directors taking control of the entire film, from casting to final production, thus doing everything that studios do themselves. Directors often handle other aspects of the film, such as writing the screenplay. This change has created a visible gap between classic Hollywood blockbusters and each film auteur's unique style. When the term auteur was introduced by Andrew Saris in 1962, it was considered radical that the director was so involved and that film was considered art and an alternative “cinema des auteur” of more personal directors who also write their own screenplays. It is a collective process but, as hasSarris pointed out, "meaningful consistencies are more likely when the director dominates the proceedings." That a film is more meaningful and interesting if directed by someone seen by an auteur because it is art rather than entertainment: there are more feelings involved. There are several theorists who discover different ways of looking at the film and how to analyze it. Theorist Roland Barthes explored narrative and anthropology. He suggested that there would be five codes that a narrative should follow, the codes describe the meaning of the text and whether it would be an open or closed text. The 5 codes were semantic, symbolic, action, enigma, and referential. Barthes' theory refers to the narrative, clarity, unity and characters of a film. This film theory is a classic narrative, "overly obvious cinema". «Cinema, therefore, is that made of motivated signs that lead the spectator through the story to its inevitable conclusion». This highlights the fact that a narrative follows a sequence, as Barthes states, due to the way humans see that they must have recognizable structures to understand a film. This reflects the typical style of Hollywood studios but not the style of a film auteur where the film does not follow the cover narrative and the viewer often does not know what happens next, which is why the audience needs to watch closely and use all the senses to establish the narrative. The theory of authorship in which the director has great creative force is by film critic Andrew Sarris as "henceforth, I will abbreviate "la politique des auteurs" as the auteur theory to avoid confusion." It was a stable movement in the French New Wave, François Truffaut and Jean-Luc Godard were the main directors of the French New Wave and critics of French culture, but Truffaut attacked French cinema for its vision and art. Theorists who argued that directors were auteurs reflects on today's auteurs who do not include classic Hollywood directors, are cheaper and more personal films unlike big blockbusters. 'becomes a writing medium as flexible and subtle as a written langue'. The film “Tout va Bien” demonstrates cinema as a collaborative medium but also as a work led by directors Jean-Luc Godard and Jean-Pierre Gorin French-Italian film from 1972, this film is an example of films from the past with strong directors involved and the development of what film it became. “No good and bad films, only good and bad directors”? Perhaps the word “film” could be a collaborative medium shared between creatives? because it is art and everyone involved in art should be seen. Therefore, whether a film is good or bad depends on everyone involved, and everyone should be credited so that the auteur can simply be viewed negatively because it becomes all about the individual person rather than the collaborative medium, but when a creative sets out to work for a director they would know the standard of the work and would still always be credited, but when an audience member watches a film they are there for a reason and in many cases it would be because of the creator or actors involved. It is however the director who leads the movement in the films studied and has the key push in the making of the film, each director imprints his own style on a film, consequently demonstrating the power of the director as an overall decision maker and this will determine whether the film will be successful. be welcomed or not. Wes Anderson, a very recognizable American director known for his clear optical style and clear genre, while interpreting his cinema as the role of a modern auteur in which the audience can consider whether this is how he sees life. Anderson's films show detail in the visual style,in comic dryness and emotional activities. If you have a supportive audience, you will be immersed in the action unfolding on screen. Every single detail is thought out in Anderson's films. There is a notable correlation that makes each of his films feel like a single film, but all the different plots and approach are particularly visible, hence its unique characteristics in all forms. “In a group of films, a director must exhibit certain characteristics of style, which serve as his signature.” Firstly, looking at his overall world, building color palettes and their absorbed soft tones and pastel colours, but also the relationship between colour, emotion and the personality of the characters. The color reveals it to be an Anderson film without even watching or reading it. In The Grand Budapest Hotel, M.Gustavo played by Ralph Fiennes, describes his life as a "long and frivolous party", so Andersons reflects this in the scenes of M.Gustavo with the pinks and his regular bakery deliveries. The colors also make you feel like you're inside the film itself, connected to the scenery and the reputation of being outside in harmony with nature. The Grand Budapest Hotel, Moonrise Kingdom (Wes Anderson) is set on an island off the coast of New England in the 1960s, looking at the color of this film and how it relates to Anderson's theme as it inhabits his color palette nostalgic where the soft yellow is symbolic and shows security, it tells the story of young Suzy and Sam of how they fell in love and represents the color of mutual trust and their special bond and emotional connection. In addition to yellow, another primary color used is blue. This insinuates a dark side to the Moonrise realm as they fall from the church steeple while their shadows hold hands, also seen on the villain scout's uniform. Scene from the MoonRise kingdom where Suzy and Sam are, they hug each other to protect themselves showing a large amount of mustard yellow as a comfort color. Symmetry is generally visible when watching an Anderson film, it is the way it engages the audience, the symmetrical image surrounds and surpasses the audience's vision guiding them to watch and focusing on one thing at a time and centralizing it as it consists of one position natural. This action then attracts the audience to prepare for the suspense/action that takes place in his films and which curiously and probably was never foreseen. Engaging cinematography, the camera follows the journey of a human as he darts across the room as he would with his own eyes. This action supports the stylistic vision and stimulates the audience's feelings for the film. To support Anderson's approach, he includes slow motion shots and angles to elevate the movement, being a bird's eye view and tracking and the excessive planning that happens from the characters and visual explanations to show the audience in detail while includes visual drawings to indicate key parts. Music creates an atmosphere in all its charm. “Anderson uses the music as a character in its own right to expand the plot and create something in and of itself.” Anderson directs the music to reflect the other characters in the films, Fantastic Mr. Fox's signature whistle when he does something well, this exemplifies Anderson's use of music and its symbolic meaning to the character. Fantastic Mr. Fox (Wes Anderson) features his iconic walk player which he plays when he's on a mission to get the "Boggis Bunc and Bean" string. The string states that the music indicates that something is about to happen which creates the mood. The recurring cast members and character types cinematically support Anderson's authorial approach as it subconsciously reflects thestyle of each film individually. His tenacity and attention to detail shows that he knows the actors, their skills and where they fit into his unique dialogue, so he constantly casts them and in some cases the actors look comical, this elaborates on his attention to detail. Owen Wilson stars in 6 auteur films but not only that: he co-wrote his first 3 films, Bill Murray and Willem Dafoe and many other Anderson films several times and mostly never once. Owen Wilson protagonist of Wes Anderson's films. “Where ideally artists utilize all elements of their harmonic mediums for an expressive purpose.” Anderson uses all the elements to support his works and takes control of everything a studio production would have done. This shows him as a true author. Her attention to detail when using 'Lady Nash' perfume as M.Gustavo's signature smell which then led to him being captured later in the film. The sensation is as if you had to carefully observe every movement in order to collect all the information. Are they films for adults or children? Probably both since they interact and include both interests. Wes Anderson's characters are slightly anomalous to the classic Hollywood genre, but in a film like Moon Rise Kingdom they have a resemblance to the characters. “In a group of films, a director must exhibit certain style characteristics, which act as a signature.” Characteristics of a Wes Anderson film include features such as bright color palettes, adventurous tone of the music, and a visually stimulating camera angle. and comedians. All these factors create his approach to art and cinema and underline his individuality and creative context. From the characteristics exposed, they overall give the idea of ​​a children's fantasy film. However, the mature nuances within the plots of these fantasy films create depth and insight into a different, more adult perspective on life. Therefore, it is questionable which audience Anderson is addressing. A prime example of this observation is the 2018 animation “Isle of Dogs.” Wes Anderson's audience will generally be the same as his work, similar as it attracts the eye of an artist, an individual who enjoys the process of creation and focuses not just on the plot but on the overall sequence. Isle of Dogs, this picture shows all the details of the characters from his films, the plots are vivid and so interesting. The authors changed the way films were viewed. “Inner meaning is extracted from the tension between a director's personality and his material.'” Saris says that the more involved the director is in the process, the more originality will appear. This happens if the vision is pushed and therefore the film acquires more meaning while including truth and beauty. Wes Anderson is an example of a modern author and follows his own vision by supporting theorists and at the same time guiding his own genre method. This supports François Truffaut's claim that there are no good and bad films, only good and bad directors probably because if an audience member likes a Wes Anderson film they will always like his films and there is a vision and the vision does not change. This is supported when you look at the right director who takes the form of an auteur like Wes Anderson does, and when you look at the right theorists who also support this with real life representation, narrative and genre, film is a medium collaborative and is controlled by everyone inside but there must be a director who establishes the genre and representation of the film. “Proponents of the auteur theory also argue that the most successful cinematic films will bear the unmistakable personal imprint of the director.” This applies to)./