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In film criticism, auteur theory holds that a film reflects the director's personal creative vision, as if they were the primary "auteur" (the French word for "author"). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process. In law, the film is treated as a work of art, and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory.〔(Google Books )〕 Auteur theory has influenced film criticism since 1954, when it was advocated by film director and critic François Truffaut. This method of film analysis was originally associated with the French New Wave and the film critics who wrote for the French film review periodical ''Cahiers du Cinéma''. Auteur theory was developed a few years later in the United States through the writings of ''The Village Voice'' critic Andrew Sarris. Sarris used auteur theory as a way to further the analysis of what he defines as serious work through the study of respected directors and their films. == Origin == Auteur theory draws on the work of a group of cinema enthusiasts who wrote for ''Cahiers du Cinéma'' and argued that films should reflect a director's personal vision. They championed filmmakers such as Stanley Kubrick, Akira Kurosawa, Nicholas Ray, Erich von Stroheim, Alfred Hitchcock, Howard Hawks, and Jean Renoir as absolute "auteurs" of their films. Although André Bazin, co-founder of the ''Cahiers'', provided a forum for auteurism to flourish, he explained his concern about its excesses in his article "On the Auteur Theory" (''Cahiers du Cinéma'' #70, 1957). Another element of auteur theory comes from Alexandre Astruc's notion of the ''caméra-stylo'' or "camera-pen", which encourages directors to wield cameras as writers use pens and to guard against the hindrances of traditional storytelling. Truffaut and the members of the ''Cahiers'' recognized that movie-making was an industrial process. However, they proposed an ideal to strive for, encouraging the director to use the commercial apparatus as a writer uses a pen, and, through the mise en scène, imprint his or her vision on the work (minimizing the role of the screenwriter). Recognizing the difficulty of reaching this ideal, they valued the work of directors who came close. The definition of an auteur has been debated since the 1940s. André Bazin and Roger Leenhardt presented the theory that it is the director that brings the film to life and uses the film to express their thoughts and feelings about the subject matter as well as a worldview as an auteur. An auteur can use lighting, camerawork, staging and editing to add to their vision. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Auteur theory」の詳細全文を読む スポンサード リンク
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