Auteur Theory

Andrew Sarris discusses the auteur theory (1962) in his article “Notes on The Auteur Theory in 1962.” While Sarris begins his article by address the inexistence of an English translation for the auteur theory, he attempts to define it through three premises.  First, Sarris claims that there is no extracinematic perception in the auteur theory. A director ‘bad’ director does not directly result in a ‘bad’ film as a film also relies on other aspects of mise-in-scene such as the costumes, the acting, and the music. Secondly, Sarris says the auteur theory relies on the “personality of the director as a criterion of value” (562). While the talent of a director cannot make or break a film – as stating in premise one – the director’s signature characteristics of his or her style should be revealed in a film. Lastly, the director leaves his or her ‘interior meaning’ in a film that explores the relationship between the director’s personality and the material. I find the final premise the most interesting because while the director does not make or break the film, the director does have a large role in the overall meaning of the film.