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Apr 30, 2024 · Who to Credit - Film or Video. The director should be credited as the author of a film. If the director is unknown, someone in a similar role, such as a producer and/or writer, can be credited. To clarify what role the person has in the production, their job title such as Director is put after their name in round brackets if the job title is known.
- Heidi Senior
- 2019
- Ascertaining Authorship in Cinema
- Authorship and Us Cinema
- Authorship and Postwar French Criticism
- Authorship and Mise-En-Scène
- Authorship and Film Criticism in Britain and The Us in The 1960s
- Auteur Structuralism and Beyond
- The Impact of Auteurism on The Development of Film Studies
- The Triumph of The Director as Auteur
- Further Reading
Cinema poses its own problems. Commercial filmmaking, which accounts for most of the films—European and world as well as American—shown in cinemas and reviewed in print, as well as most of the material made for television, is justifiably seen as a collaborative activity, involving the skills and talents of many different film workers. At the same t...
Apart from Griffith, US cinema certainly was looked at rather differently than European cinema—especially after the entrenchment of the studio system and the coming of sound. (Cinemas other than the US and European barely registered with US and European critics and audiences at this time.) Hollywood cinema came to be seen as more industrialized, mo...
In terms of international recognition—industrially and critically as well as in terms of audiences—European cinema was seen rather differently than US cinema. If US cinema was produced in factorylike conditions for mass consumption and entertainment, European cinema was seen much more in relation to, and as the equal of, the other arts. But it is a...
However, although French cinema and American cinema were very different in some respects, in others they were not. The more personal and individual French cinema that Truffaut and the others admired—Jean Renoir (1894–1979), Robert Bresson (1901–1999), Jacques Tati (1909–1982), Jean Cocteau (1889–1963), Max Ophuls (1902–1957), Jacques Becker (1906–1...
The tastes of both Movie in Britain and Andrew Sarris in the US were clearly influenced by those of Cahiers, and they shared similar ideas and emphases. The British magazine Movie, whose main editors and contributors included Ian Cameron, V. F. Perkins, Mark Shivas, Paul Mayersberg, and Robin Wood, opened its first issue (May 1962) with an assessme...
Given the debates and arguments about authorship in cinema, and given the changing cultural context, it was inevitable that auteurism would be put under pressure and evolve. Peter Wollen, influenced like Movie and Sarris in his tastes by those of the Cahiers's critics, wrote in the early 1960s in New Left Review and developed his ideas in the 1969 ...
For many writers on film for whom auteurism had been in many ways liberating, these post-structural theoretical debates were a step too far. One of the main results has been that, having been central to debates about the nature and function of film criticism and film studies for twenty-five years or more, since the 1980s questions about authorship ...
Outside of academic and other serious film writing and teaching, auteurism in relatively uncritical form has been much more obviously triumphant. Perhaps because it was always more critical—and evaluative—than theoretical, early auteurism was very readily assimilated into filmjournalism, relatively untroubled by later debates about the theoretical ...
Cameron, Ian. "Films, Directors and Critics," Movie 2 (September 1962): 4–7; reprinted in Movie Reader,edited by Ian Cameron, 12–15. London: November Books; New York: Praeger, 1972. Caughie, John, ed. Theories of Authorship: A Reader. London and Boston: Routledge and Kegan Paul, 1981. Editors of Cahiers du Cinéma. "John Ford's Young Mr Lincoln." In...
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Should a writer be considered the author of a movie?
Does a film need an author?
Should a film director be considered an auteur?
Which movies have a “written by” credit?
Jun 1, 2017 · In The Schreiber Theory, David Kipen argues that a writer is responsible for creating the world of the movie and should be considered the author of a film. However, collaborative theories, such as those proposed by Paul Sellors, provide a more practical framework for studying film authorship.
Most of the time you’ll see the author of the source material get credit that specifies the specific platform—“From a Play by,” “From a Novel by,” “From a Saturday Evening Post Story by,” “From a Series of Articles by,” “Based on a Story by,” etc.—and then the actual screenwriter will get a “Screenplay by” credit ...
Dec 28, 2020 · Per the credits of the first film, David Callaham is listed as sole author of the story and co-author of the screenplay, alongside director/star Sylvester Stallone.
- Max Borg
Does a film need to have an author? Perhaps, to qualify as "art," a film needs an author, an artist. The question of authorship is important in every art form, whether for reasons of intellectual property rights and the art market or for reasons of status and identification.
Jan 23, 2024 · The Writer’s Holy Grail: “Written By” Credit. Joint Writing Credits. Perks of Being “Written By” Types of Screenwriting Credits. Screenplay By. Story By. Screen Story By. Based On Characters Created By. Other Non-Writing Credits. How Writers Earn Screen Credit. Why Screen Credit Matters in Hollywood. Famous Cases of Credit Controversies. Conclusion
