Figures and Captions.
Preface: How to Use this Book.
Part I: Classic Auteur Theory.
1. Francois Truffaut: A Certain Tendency of the French Cinema (1954).
2. André Bazin: La Politique des Auteurs (1957).
3. Ian Cameron: Films, Directors and Auteurs (1962).
4. Andrew Sarris: Notes on the Auteur Theory in 1962 (1962).
5. Pauline Kael: Circles and Squares (1963).
6. Peter Wollen: The Auteur Theory (1969) (excerpt).
7. V.F. Perkins: Direction and Authorship (1972) (excerpt).
8. Edward Buscombe: Ideas of Authorship (1973).
9. Robin Wood: Ideology, Genre, Auteur (1977).
Part II: The Contexts of Authorship.
10. Roland Barthes: The Death of the Author (1968).
11. Charles Eckert: The English Cine-Structuralists (1973).
12. Graham Petrie: Alternatives to Auteurs (1973).
13. Claire Johnston: Women’s Cinema as Counter-Cinema (1973).
14. Angela Martin: Refocusing Authorship in Women's Cinema (2003).
15. Richard Kosarzski: The Men with the Movie Cameras (1972).
16. Richard Corliss: Notes on a Screenwriter's Theory, 1973 (1974).
17. Gore Vidal: Who Makes the Movies? (1976).
18. Peter Lehman: Script/Performance/Text: Performance Theory and Auteur Theory (1978).
19. Jerome Christensen: Studio Authorship (2006) (excerpt).
20. Matthew Bernstein: The Producer as Auteur (2006).
21. Bruce Kawin: Authorship, Design, and Execution (1987).
Part III: Close Readings.
22. Maurice Yacowar: Hitchcock's Imagery and Art (1977).
23. Editors of Cahiers du Cinema: John Ford’s Young Mr. Lincoln (1970).
24. Paul Willeman: Towards an Analysis of the Sirkian System (1972).
25. Paul Kerr: My Name is Joseph H. Lewis (1983).
26. Michael Budd: Authorship as a Commodity: The Art Cinema and The Cabinet of Dr.Caligari (1984).
27. Claire Johnston and Pam Cook: The Place of Women in the Cinema of Raoul Walsh (1974).
28. Judith Mayne: Female Authorship Reconsidered (The Case of Dorothy Arzner) (1990).
29. Barry Keith Grant: Man’s Favorite Sport?: The Action Films of Kathryn Bigelow (2004).
30. Michael DeAngelis: Todd Haynes and Queer Authorship (2006).
31. J. Ronald Green: Twoness' in the Style of Oscar Micheaux (1993).
32. S. Craig Watkins: Spike’s Joint (1998) (excerpt).
""Presents an arresting, thoughtful procession of ideas about who makes a movie."" Afterimage
""The question of authorship in cinema remains a crucial area of debate. Barry Keith Grant's excellent reader, which brings together most of the important French, British and American material, looks set to become a required text on the subject."" Jim Hillier, University of Reading, England
""Without doubt the best collection available on film authorship, which remains the single most challenging issue in film studies and the abiding mystery of cinema. From the groundbreaking polemics of the 1950s and ‘60s to cutting-edge analyses by top contemporary scholars, Auteurs and Authorship examines this endlessly salient topic in a remarkable array of essays that, taken together, provide the most comprehensive, in-depth treatment available."" Tom Schatz, University of Texas, Austin
“Deep and fulfilling examination of the theory ... [and] inclusion of virtually every valuable essay on cinema auteurism makes [it] an indispensable book.” RogueCinema.com
- An introductory and comprehensive book on auteurs within film studies: the study of film directors who are considered to have a distinctive, recognizable vision
- Addresses the range of theoretical issues and aesthetic and historical debates relating to film authorship, whilst providing author criticism and analysis in practice
- Examines a number of mainstream and established directors, including John Ford, Alfred Hitchcock, Howard Hawks, Douglas Sirk, Frank Capra, Kathryn Bigelow, and Spike Lee
- Features historically important, foundational texts as well as contemporary pieces
- Includes numerous student features, such as a general editor’s introduction, short prefaces to each of the sections, bibliography, alternative tables of contents, and boxed features
- Each essay deliberately focuses across film makers’ oeuvres, rather than on one specific film, to enable lecturers to have flexibility in constructing their syllabi