Auteurism in the Lady from Shanghai

In: Film and Music

Words 473
Pages 2
Date of submission:

“Is it possible for a director to personally carry out every aspect of production? Surely, if the director is the true Auteur this is what is required. If the director does not fulfill all the production functions, how is the 'author' of a film identified and established?” Extract from “The Singer or the Song?” (Cheshire, 2002)
“The new film would resemble the person who made it, not so much in the autobiographical content but rather through the style, which impregnates the film with the personality of its director. Intrinsically strong directors will over the years exhibit a recognizable style and personality” (Stam, 2000)
“Auteur study stressed the how over the what, a history of films over films in history. Although the danger of excesses was already apparent to Andre Bazin, who warned against a "cult of personality "and other sins, we should also note that auteur criticism had seminal importance in stressing formal questions of visual analysis.”(Truffaut, 1954) “O’Hara is mixed up in a murderous plot cooked up by Bannister's partner Grisby(Glenn Anders) Welles cooks up a dreamlike (though never surrealist) fluency and strangeness along with a salty tang of black comedy and desire between O'Hara and Elsa” (Bradshaw, 2002)
“In sum, the viewer is offered the pleasure of seeing cinema extended as neither the studio tradition nor film noir had yet done up to 1947. Welles works within an aesthetic matrix that had already stamped him as a foremost auteur in the movie industry, but his visual and narrative obsessions also inflect cinema in ways unknown up to that time.” (Staples, 1966)

“When I start out to make a fool of myself, there's very little can stop me. If I'd known where it would end, I'd never let anything start, if I'd been in my right mind, that is.…...

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