The theme and the message of artistic art forms are largely at the mercy of the various perceptions that individuals have about them as no two individual perceptions are completely alike. This notion is especially evident when reviewing and interpreting the ideas of classical film theorists and their opinions on the purpose of what the unique art form of film is meant to be, and what methods should be used in order to achieve that purpose. This contrasting difference across different realms of film theory can be seen when looking at the ideas of realist film theorist André Bazin and auteurist film theorist Andréw Sarris. For Bazin, the power of film is derived from its ability to represent reality as it exists with as little artistic interpretation
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Within auteur theory nearly all of the true impact of film as an art form comes the director as the person to give film “any distinctive quality” (Sarris 585). Sarris points out one of the premises of auteur theory as being the “distinguishable personality of the director” (Sarris 586). Furthermore he states that “the way a film looks and moves should have some relationship to the way a director thinks and feels” (Sarris 586). The importance of the personality of the director in auteur theory is only one premise of the theory as a whole however. Auteur theory emphasizes technique, personal style, and meaning allowing the director to become a technician, a stylist and an auteur (Sarris 587). These essential elements of film are best manipulated by the director as he or she fulfills the three major rolls. Sarris notes personality as being very important as “a distinguishable criterion of value” that when recognizable within film gives it merit (Sarris 586). Furthermore, due to technological advances directorial position can fall to nearly anyone but personality is not as easily found and artistically applied to film (Sarris 587).Sarris states that quite possibly “there is no definition of the Auteur theory” which is likely due in part to its third premise of interior meaning. For example, Sarris notes that “interior meaning is extrapolated from the tension between a director’s personality and his material” (Sarris 586). Interior meaning cannot be clearly defined, yet regardless is a definitive result of the vision of the director, this ambiguity is an essential reason why auteurist theory might fall under heavy criticism from other theorists such as
Within auteur theory nearly all of the true impact of film as an art form comes the director as the person to give film “any distinctive quality” (Sarris 585). Sarris points out one of the premises of auteur theory as being the “distinguishable personality of the director” (Sarris 586). Furthermore he states that “the way a film looks and moves should have some relationship to the way a director thinks and feels” (Sarris 586). The importance of the personality of the director in auteur theory is only one premise of the theory as a whole however. Auteur theory emphasizes technique, personal style, and meaning allowing the director to become a technician, a stylist and an auteur (Sarris 587). These essential elements of film are best manipulated by the director as he or she fulfills the three major rolls. Sarris notes personality as being very important as “a distinguishable criterion of value” that when recognizable within film gives it merit (Sarris 586). Furthermore, due to technological advances directorial position can fall to nearly anyone but personality is not as easily found and artistically applied to film (Sarris 587).Sarris states that quite possibly “there is no definition of the Auteur theory” which is likely due in part to its third premise of interior meaning. For example, Sarris notes that “interior meaning is extrapolated from the tension between a director’s personality and his material” (Sarris 586). Interior meaning cannot be clearly defined, yet regardless is a definitive result of the vision of the director, this ambiguity is an essential reason why auteurist theory might fall under heavy criticism from other theorists such as