The left bank groups approach to filmmaking shared progressive political learnings and documentarian pasts, they saw cinema like any other art such as literature and plastic arts. Left bank directors include, Varda, Resnais, Marker, Colpi and Demy.
The right bank group was the more popular and financially successful group of directors. This bank is in favour of experimentation and realism. Some directors include Godard, Truffaut, Rohmer, Chabrol and Rivette.
Astrucs contribution to auteur theory was that the director who oversees all audio and visual elements of a film is considered to be more of an “author” that the writer of the screenplay. This is his concept of camera-stylo, the fact that a film is a personal expression of a directors/auteurs.
Alexandre Astruc was a French film critic and film director. His contribution to the auteur theory centers on his idea that directors should wield their cameras like writers use their pens.
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Agnès Varda1.La Pointe-Courte (Agnès Varda, 1955)2.Le Bonheur (Agnès Varda, 1965)3. One Hundred and One Nights (Agnès Varda, 1995)
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Jean-Luc Godard1.Breathless (Jean-Luc Godard, 1960)2.Contempt (Jean-Luc Godard, 1963)3. Goodbye to Language (Jean-Luc Godard, 2014)
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François Truffaut1. The 400 Blows (François Truffaut, 1959)2. Day for Night (François Truffaut, 1973) 3. Finally, Sunday! (François Truffaut, 1983)
An auteur is an artist with a distinctive approach, usually a film director whose filmmaking control is so unbounded but personal that the director is likened to the “author” of the film, which thus manifests the director’s unique style or thematic focus.
Auteur theory theory of filmmaking in which the director is viewed as the major creative force in a motion picture. Essentially it is the idea that the director has complete control and the film is consider as a piece of art.