This week on “Christian’s Cinematic Syntax,” a new addition to my film journal has emerged through my reflection upon cinematic theory. I have always been interested in theories of cinema and the many aspects that have shaped its history. Consequently, I want to highlight a theory as a way to inform and apply it, within the parameters it created. I want to allow my readers to learn about a piece of cinema history, and appreciate a famed director, Michelangelo Antonioni, through the lens of an auteur theorist. Without further delay, let us explore the nature of the auteur theory.
“That is why I would like to call this new age of cinema the age of camera-stylo (camera-pen).” — Alexandre Astruc
Background on the theory: The auteur theory is a French film theory in which the director is considered the author (auteur) of their film. Since the theory states that the main authorship of a film is given solely to the director, we see that the theory developed cinema, calling it a reflection of an artist’s vision. The auteur theory differs from others, such as the formalist theory, because of the importance it places on a single creator. The originators of this theory are André Bazin and Roger Leenhardt, who, in the 1940s, founded a film magazine called Cahiers du Cinema, which was vocal about the director’s importance in cinema.