François Truffaut affirmed that there were no good and bad films, only good and bad directors. This essay will look at writers such as Truffaut, Sarris and Barthes, uncovering theories of authorship and correction from modern cinema of the past and how they reflect the issue. Looking at the film as an expression of the author, unfolding each element, investigating the director from inside the film and comparing how each director has their own approach to filmmaking will then show how this can then affect the overall outcome of the film. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essayWes Anderson is a visual director and filmmaker. His work reflects his personal development throughout his career and his place in the role of an author due to his stylistic approach. to the art of production. The overall theory of cinema from which the term auteur began, the theorist who gave birth to authorship, how an auteur can affect a film as it reflects to constitute the narrative of a film and the difference in genre cinematographic. The change of film and the difference between the Hollywood blockbuster and Wes Anderson. The author is the individual who creates and owns the original work of art, inner meaning, personal style and then technical skill. When the director is an artist in his own right and he expresses this by being obsessed with details where his cinematic approach is visible and his personality is shown and repeated in his art, the term auteur would be used. Films have authors who provide a distinct identity to the contributors of the text. “Truffaut's use of the French term 'auteur' to refer to the author” (Grant 2008 p.2) the author is contextually linked to the original writer. “Become a means of writing as flexible and subtle as a written language”. It positions cinema as an art while organizing it as a literal genre. The meaning of the word author or who the author is has changed due to the modification and exceptional points of view in the history of cinema, while a change is necessary in art and people's points of view also change. In the studio days, everyone involved in a film were contract employees, including the director, who followed the studio's style guidelines. The director didn't have much say in the matter, the studio also owned the stars, so he decided where and in which film they would appear. It evolved, questioned and changed. This challenges the industrial practices of Hollywood cinema and Hollywood theater is generally seen not as art but as entertainment. The studio chose the director they thought would be best for the film, but gave that director strict guidelines on how to follow the script within the production elements and not get the control that he would have today. An author would then be the screenwriter or artist who created the film because the director did not have his own vision. Now, when we talk about auteur, we imagine directors who take control of the entire film, from casting to final production, therefore doing everything themselves what the studios used to do. Directors often take care of other aspects of the film, such as writing the script. This shift has created a visible divide between classic Hollywood blockbusters and each film writer's unique style. When the term auteur was introduced by Andrew Saris in 1962, it was considered radical thatthe director is also involved and that cinema is considered as an art and an alternative “auteur cinema” of more personal directors who also write their screenplays. This is a collective process but, as Sarris pointed out, “meaningful consistencies are more likely when the director dominates the proceedings.” That a film is more meaningful and interesting when it is made by someone seen by an author because it is art rather than entertainment, there are more feelings involved. There are different theorists who discover different ways of looking at cinema and analyzing it. Theorist Roland Barthes explored narrative and anthropology. He suggested that there would be five codes that a narrative would follow, the codes describing 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 a narrative, clarity, unity and characters in a film. This film theory is a classic narrative, “cinema too obvious”. “Cinema is therefore made up of motivated signs which lead the spectator through the story to its inevitable conclusion.” This highlights the fact that a narrative follows a sequence, as Barthes says, because of the way humans see that they must have relevant structures to understand a film. This reflects the typical Hollywood studio style, but not the style of a film auteur where the film does not follow the narrative and the viewer often does not know what happens next. Why then the audience must watch closely and use all their senses to establish the narrative. The authorship theory where the director has a major creative force is that of film critic Andrew Sarris as "henceforth, I will abbreviate 'auteur politics' as auteur theory to avoid confusion. » It was a stable movement in the French New Wave. , François Truffaut and Jean-Luc Godard were major directors of the French New Wave and critics of French culture, but Truffaut attacked French cinema because of its vision and art. Theorists who argue that directors are auteurists reflect on today's auteur films that do not include classic Hollywood directors, they are cheaper and more personal films unlike major blockbusters. “becomes a means of writing as flexible and subtle as a written language”. The film “Tout va Bien” demonstrates cinema as a collaborative medium but also a work led by directors Jean-Luc Godard and Jean-Pierre Gorin A French-Italian film from 1972, this film illustrates cinema's past for having strong directors involved and the development of what cinema has become. “No good and bad films, only good and bad directors”? It can be argued that the word “film” could be a shared collaboration medium between creatives? because it's art and everyone involved in art needs to be seen. Therefore, whether a film is good or bad depends on everyone involved, and everyone should be credited, so the author might just be seen negatively, since it's all about the individual person rather than collaborative medium, but when a creative offers to work for a director, they would know the level of work and would always be credited, but when an audience member watches a film, they are there for a reason and in many case, it would be because of the author or the actors involved. However, it is the director who leads the movement in the films studied and who is the key driving force in the making of the film, each director imprints his own style on a film, demonstrating bytherefore the power of the director as an overall decision maker and this will determine whether the film will be favorably received or not. Wes Anderson, a highly recognizable American filmmaker, known for his defined optical style and clear genre, while inhabiting his cinema as the role of a modern-day auteur where audiences might wonder if this is how he sees the life. Anderson's films show details of visual style, comic dryness and emotional tasks. If you're a supportive audience, you'll be immersed in the action unfolding on screen. Every detail is thought out in Anderson's films. There is a noticeable correlation that makes each of his films feel like one film, but all the different storylines and approach are particularly noticeable, hence his unique characteristics in all forms. “Over a set of films, a director must exhibit certain stylistic characteristics, which serve as his signature.” Firstly, looking at its overall world building color palettes and their muted tones and absorbed pastel colors but also the relationship between color, emotion and personality of the characters. The color reveals that this is an Anderson film without even watching or reading it. In The Grand Budapest Hotel, Mr. Gustavo, played by Ralph Fiennes, describes his life as a “long, frivolous party.” Andersons reflects this in Mr. Gustavo's scenes with the roses and his regular bakery deliveries. The colors also feel like they are inside the film itself, relating to the landscape and reputation of being one with nature. The Grand Budapest Hotel, Moonrise Kingdom (Wes Anderson) takes place on an island off the coast of New England in the 1960s, looking at the color of this film and how it also correlates with Anderson's theme while inhabiting its own nostalgic color palette where muted yellow symbolizes safety. It tells the story of young Suzy and Sam about how they fell in love and occupies a color of trust between them, as well as their special bond and emotional connection. In addition to yellow, another primary color used is blue. This insinuates a dark side to Moonrise's kingdom as they fall from the church steeple while their shadows hold hands, also visible on the evil scout's uniform. Scene from the MoonRise kingdom where Suzy and Sam are, they embrace each other for protection, showing a massive amount of mustard yellow as their comfort color. Symmetry is usually visible when watching an Anderson film, it is the way he engages the audience, the symmetrical image surrounds and exceeds the audience's vision while guiding them to look and focus on a thing at a time and centralizing it because it is a natural position. This action also draws the audience in to prepare for the suspense/action that unfolds in his films and is oddly and arguably never predicted. By engaging cinematography, the camera follows the journey of a human as it scans the room as one would with one's own eye. 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, namely the bird's eye view and tracking, as well as the over-planning that takes place from the characters and the visual explanations to show the audience in detail while including visual drawings for pointing. the key elements. The music creates an atmosphere in all its charm. “Anderson uses music as a character in itself to increase the intrigue and create something in itself.” Anderson directs the music to reflect the films' other characters, the whistlecharacteristic of Fantastic Mr. Fox when he executes something well, this illustrates Anderson's use of music and its symbolic meaning to the character. Fantastic Mr. Fox (Wes Anderson) introduces his iconic walking player that he plays in when he is on a mission to receive the "Boggis Bunc and Bean." The string indicates that the music indicates that something is going to happen, which sets the mood. Recurring actors and character types support Anderson's auteur approach cinematically as they subconsciously reflect the style of each film individually. His persistence and attention to detail show that he knows the actors and their skills and where they fit into his unique dialogue. He therefore chooses them systematically and in certain cases, the actors seem comical, which reinforces his attention to detail. Owen Wilson plays in 6 of the author's films but not only that, he co-wrote his first 3 films, Bill Murray and Willem Dafoe and many other features of Anderson's films several times and for the most part never only once. Owen Wilson appears in Wes Andersons films. “Where ideally artists use all elements of their midrange harmonizers for an expressive purpose.” Anderson uses all elements to support his works and takes control of everything a studio production would have done. This presents him as a true author. His attention to detail when using 'Lady Nash' perfume as Mr. Gustavo's signature scent which then led to him getting caught later in the film. It's like having to monitor every move closely so that all the information is collected. Are these films for adults or for children? Probably both, because they interact and include both interests. Wes Anderson's characters are slightly anomalous to a classic Hollywood genre, but in a film like Moon Rise Kingdom, they resemble the characters. “On a group of films, a director must present certain stylistic characteristics, which serve as his signature.” The hallmarks of a Wes Anderson film include features such as a vibrant color palette, an adventurous musical tone as well as a visually stimulating camera angle. and comic actors. All these factors create his approach to art and cinema and emphasize his individuality and creative context. According to the feature films presented, they generally give the idea of ​​a children's fantasy film. However, the mature nuances in the plots of these fantasy films create depth and insight into a different, more adult perspective on life. Therefore, one might wonder what audience Anderson is appealing to. The most striking example of this observation is the 2018 animation “Isle of Dogs”. The audience for Wes Anderson will generally be the same as that for his own work, because he catches the eye of an artist, an individual who enjoys the creative process and focuses not just on the plot but on the overall sequence . Isle Of Dogs, this image shows the very details of the characters from his films, the textures are vivid and so interesting. The authors changed the way films were seen. “Inner meaning is extrapolated 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 is done if a vision is pushed and therefore the film has more meaning while including truth and beauty. Wes Anderson is an example of a modern day author and follows his own vision in supporting theorists while directing his own genre method. This supports François Truffaut's statement that there are no good and bad)/