SamKeeper

Then Eve, Being A Force

Laughed At Their Decision



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I'm reading up on the actual history of auteur theory and some of the debates in the early 60s about it, and it's almost completely incomprehensible from a modern perspective. I don't know how much of this will make it in cause it's sort of a tangent but like... you've got Pauline Kael, a posting queen if there ever was one, just unleashing this barrage of invective against Auteur Theory as... commercial and anti-art because it's incapable of recognizing the talents of writer-directors working on personally motivated projects. it's genuinely bewildering and only makes sense when you put it in the context of the then-sclerotic French film industry, so her debates with American and British auteur theorists are ALREADY removed from their original context.

all of which is gonna pose a real problem for me, since I'm trying to engage with people using a definition of "auteur" which seems to mean "any director or creative generally we're mad at for saying marvel films are a bit crap"


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in reply to @SamKeeper's post:

It seems like we criticize Auteur theory a lot now, and it probably deserves to be challenged, but I always got the impression that it was useful and caught at the time because:

  1. it gave people a framework for critiquing movies as art, something the US Supreme Court didn’t officially recognize until the 50s, and
  2. it gave people a way to decouple movies from the studio system, which was on the way out

Would love to read more of Pauline Kael’s criticisms, or if there were other theories floating around at the time!

well the wild thing is that it developed out of this really rigid studio system in France but a lot of it was initially looking to American directors working in the studio system producing genre work (westerns, noir, &c), because it was just much livelier than what the qualite francais was putting out (really formulaic and ultra expensive period dramas).

so american and british imports of the theory were doing something similar (trying to blow up this calcified tradition) by analyzing the whole careers of a bunch of younger directors, it's just sort of illegible now because they were looking at a bunch of studio system directors from the 50s. very strange stuff!

but yeah it ironically I think has led to actually supporting a bunch of upstart directors in America in the 60s and 70s that are now household names and towering figures, and all of the directors from the 50s auteur theory originally championed ended up getting buried by it.