Jefferies is confined to his flat, vulnerable and disabled in Rear Window. The theory credits directors as being the sole ‘author’ of films, and explores the idea that a film is the product of a director’s unique perspective. Hitchcock used complicated tracking shots that would become a hallmark of his films moving forward, while cementing his status as a true auteur. Jefferies, played by James Stewart in Rear Window, both become entangled with the law. Rear Window is the production in which this Hitchcock stamp is most apparent and is actually considered by Jean Douchet to be a metaphor of the cinema with L.B. but due to the collaborative nature of filmmaking, arguments could be made for one or more of several different roles. Hitchcock’s name is often in the same font and size as the title of the film which demonstrates how either he is asserting his power over his artistic signatures or he recognises how much of a commodity his name is and is using it for economical gain. A style would be his Cameo appearances he does in his movies which he does a lot. Unit 26: Film Studies. In conclusion, it seems that Hitchcock films can be applied successfully to the auteur theory due to extensive amount of reoccurring motifs noticed. The director is the creator and consequently he or she is the owner. Listen to director's commentary on the DVDs. However, in typical Hitchcock style, this convention is warped as he often portrays the law as the ‘baddie’ and the convict as the ‘goodie’. This apparent obsession with the law is deeply rooted in Hitchcock’s childhood when as “a child of five [his] father sent [him] with a note to the local chief police” and he “was placed in a cell for five minutes” as explained by Hitchcock himself in an interview shown on Monitor in 1964 with Huw Wheldon. In the same interview with Wheldon, when questioned on the origin of his warped state of mind, Hitchcock also describes how the “fright complex is rooted in everyone” and his complex stems from when his mother “scared him when [he] was three months old, she said ‘boo’, it gave [him] hiccups and she was apparently very satisfied”. Herrmann himself explained how “when Hitchcock finishes a film, its only 60% complete” and the credits at the end of each film clearly show how many other creative forces are involved in the making of a film. “Truffaut noted that ‘the directors are, and wish to be, responsible for the scenarios and dialogues that they illustrate.’” said in Society for Cinema & Media Studies by Donald E. Staples. Some films. However, this is totally contradicted by their desire to defy and rebel against the typical conventions of the French ‘cinéma de papa’ of the time which was considered to be script-led and lacking in social realism with the use of safe psychology. Auteur theory was born with the films and writings of the French New Wave in the 1950s and was headed by French filmmaker Francois Truffaut . Written by Jacqui Griffin View all posts. Although arguments can be raised against the role of the director as an auteur in the hitchcock of the movies, it remains a fact essay Hitchcock hitchcock an immense weight of participation prior theory, duringand even after the filmmaking process. Auteur theory is one particular theory of film authorship, which is an extremely broad subject. In film criticism the auteur theory is when a director’s film reflects the director’s personal creative vision as if they were the primary auteur. A film auteur is usually a writer and a director who use unique and personal styles in their films, so when someone was to watch another film of that person they will instantly refer to that filmmaker. The Cahiers were objective towards safe cinema and found themselves competing with “the more politically aligned Postif”, a rival film magazine that contradicted the Cahiers unwillingness to comply with this bureaucratic alignment. The references of auteur theory are occasionally applied to musicians, musical performers and music producers. One can easily find examples of technical competence, personal style and interior meaning throughout Vertigo and relate it back to Hitchcock’s own personal signature throughout his films. From the 1960s, record producer Phil Spector is considered the first auteur among producers of popular music. So much so, that such film genre would never be discussed without mentioning his name (Derry 1988, p. 8). Auteurs are the film directors whose personal influence and artistic control over a movie are so great that they are regarded as the authors of the movie. Auteur Theory is a way of looking at films that state that the director is the “author” of a film. In this essay for the sake of space I will mainly be discussing arguably three of the most popular films directed by Hitchcock which are: Vertigo, Psycho and The Birds. Structuralist criticism leans more towards a consideration of other areas of the cinema in order to displace the auteur from the centre of the work. The audience interpretation of a text can differentiate due to this use of intertextuality as some may have personal experiences which can relate and then read the film in a certain way as a result of this. Hitchcock’s has been used as an example in favour of the Auteur Theory numerous times. which is further complimented by Hitchcock’s common use of darkness and/or rain being a signifier of trouble. I will also use the same films to demonstrate how ‘Hitchcockian’ cinema may be more easily applied to auteur structuralism which flourished in the late 1960s, representing a rethinking of film theory through academic disciplines and underlying structures that made up a particular director’s style. Alfred Hitchcock, the renowned master of thrill and suspense is one of the most critically acclaimed auteurs in the world of films. Pertaining to the films he’s directed, Hitchcock possessed very distinct directorial styles, making his films easily recognizable. Female power and thus male weakness is another signature that Hitchcock brands each of his films with. Auteur theory was articulated in the 1950s by French film critics, most notably by Francois Truffaut. Auteur theory was born with the films and writings of the French New Wave in the 1950s and was headed by French filmmaker Francois Truffaut . Serial snacker; compulsive cocktail sipper. Auteur theory means that the director is the most important person involved in the creation of a film (Dixon 187). Hitchcock, Howard Hawks, and Jean Renoir are known as absolute "auteurs" of their films. After the auteur theory and Hitchcock’s critical acclaim became legend, the director rose to the top of the pecking order and multiple super-directors emerged in the 1960s. For example, the fact that all four of the films are based on novels and the fact that Bernard Herrmann composes the score for all four films has to be taken into account. He was known to collaborate with the same people when making many of his films,  such as using the composer Bernard Herman who helped create the sound to Psycho, North by Northwest and Vertigo. Hitchcock also goes on to explain how “psychiatrists say that if you can trace the origin of your fear, it will disappear” which could account for his compulsive infatuation with the macabre and penchant for all things sinister. 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