Theory

Very much like the author of a book is given credit as its sole creator, auteur theory gives the film director credit for authoring the film, â€Å"imprinting it with his personal vision†(goodnight, 2011,sec. 7. 3,Para. 1). While auteur theory is a good starting point for film analysis, it places almost total responsibility for a film's artistic success or failure on the director. The problem is that not all film critics agree on the same definition of what is considered art. According to Andrew Saris, to be considered an auteur, a film director must qualify in three key areas: 1.Technical competence 2. Distinguishable personality and 3. Interior meaning A positive aspect about auteur theory is that directors can really make a name for themselves and become even more famous than their â€Å"Star actors†. While each of a director's films are unique in their own way, there still remains a common and recognizable thread that runs through them collectively that says â€Å" this is a Spielberg film, or â€Å"This is a James Cameron film†. On the other side, some say that the auteur theory is too full of holes and is not a good way to determine whether a film is true art.Some directors intentionally step outside the set parameters of what is generally considered technical competence. Others insist that because film is a collaborative effort, it is not fair to esteem directors more highly than screenwriters and actors who play equally important roles in the production of a film. I would consider Clint Eastward an auteur. He began his career very young as an actor in esters movies. After 16 years of acting and learning he began directing films. Eastward became famous first as an actor in films such as â€Å"Dirty Harry'.Later on in his career, though he played significant roles in each of his films, he was more known for his directorship of films like â€Å"Grand Torsion† and â€Å"Million Dollar Baby'. According to Prep Hemmer, in these f ilms, â€Å"Eastward shows himself as an auteur through his constant use of Juxtaposing relationships between a younger and older generation, is consistency of a tragic event occurring, bringing his films to end in a violent or tragic manner, and his choice of acting in the majority of his films as he challenges the declining role of American men†(Hemmer,n. . ).