Now that Barthes has tried to definitively exclaim that the author is dead, we examine other cinematic forms of authorship this week, notably through the practice of producers, studio executives, and commercial properties. Through the work of Matthew Bernstein, Thomas Schatz, and Timothy Corrigan we find arguments for sub-facets of authorial figures in cinema, but ultimately note that the auteur theory can only be applied to cinema directors.
Matthew Bernstein states that rarely is there such a case when a producer can exist as an auteur, but nonetheless it is possible. Bernstein’s work actually hypocritical in this sense, that he can state the rare existence of producer auteur, yet in the same piece openly admit, “collaborators make contributions, but only a director can make a film” (Bernstein, 184). He furthers contradicts himself once again by emphasizing the authorial work of producers such as Wanger, Disney, and Selznick, notably Wanger and his relationship with director Robert Wise. These two collaborated together on multiple films, i.e. I Want To Live (Wise, 1958), in …show more content…
The commercial auteur is defined by recognition and a sense of celebrity that overshadows the film at all stages of creation. In contrast, the auteur of commerce manipulates the preconceived public image of the author, “the promotion of a certain intentional self” (Corrigan, 102), to commercially control the public’s awareness and understanding of the piece. Corrigan presents a different approach to authorship, an ideology that dates further back to the conception of the auteur theory and its desire to place credit upon the director, which counters his fellow theorists Bernstein and Schatz. Corrigan refutes Barthes concept from last week, “in whatever shape and in whatever form, auteurs are far from dead” (Corrgian,
Matthew Bernstein states that rarely is there such a case when a producer can exist as an auteur, but nonetheless it is possible. Bernstein’s work actually hypocritical in this sense, that he can state the rare existence of producer auteur, yet in the same piece openly admit, “collaborators make contributions, but only a director can make a film” (Bernstein, 184). He furthers contradicts himself once again by emphasizing the authorial work of producers such as Wanger, Disney, and Selznick, notably Wanger and his relationship with director Robert Wise. These two collaborated together on multiple films, i.e. I Want To Live (Wise, 1958), in …show more content…
The commercial auteur is defined by recognition and a sense of celebrity that overshadows the film at all stages of creation. In contrast, the auteur of commerce manipulates the preconceived public image of the author, “the promotion of a certain intentional self” (Corrigan, 102), to commercially control the public’s awareness and understanding of the piece. Corrigan presents a different approach to authorship, an ideology that dates further back to the conception of the auteur theory and its desire to place credit upon the director, which counters his fellow theorists Bernstein and Schatz. Corrigan refutes Barthes concept from last week, “in whatever shape and in whatever form, auteurs are far from dead” (Corrgian,