Relevant bibliographies by topics / Auteurist cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Auteurist cinema'

Author: Grafiati
Published: 5 June 2025
Last updated: 1 August 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Auteurist cinema.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Auteurist cinema"

1

Donapetry, Maria, and Peter William Evans. "Spanish Cinema: The Auteurist Tradition." Modern Language Review 96, no. 1 (2001): 237. http://dx.doi.org/10.2307/3735807.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Allinson, Mark. "Spanish Cinema. The Auteurist Tradition." Hispanic Research Journal 3, no. 1 (2002): 92–93. http://dx.doi.org/10.1179/hrj.2002.3.1.92.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Barrett, Ciara. "The feminist cinema of Joanna Hogg." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 129–44. http://dx.doi.org/10.33178/alpha.10.08.

Full text
Abstract:
In this article, I provide a scholarly introduction to the cinema of contemporary British director Joanna Hogg that stands in direct contravention to existing auteurist and concomitantly phallogocentric critical discourses on her work. Thus I establish an alternative, feminist theoretical framework for analysis of Hogg’s films, synthesising feminist and structuralist methodologies. Via close textual analysis of each of Hogg’s three feature films, emphasising their implicit critique of phallogocentric narrativisation vis-à-vis the deployment of certain “melodramatic” conventions, I argue that t
APA, Harvard, Vancouver, ISO, and other styles
4

Theodar, Caleb, and Saranya P. "Script to Screen: Refining the Sense of Screenwriting and Directorial Cinema in Adapting The Da Vinci Code." Information & Media 96 (February 20, 2023): 8–20. http://dx.doi.org/10.15388/im.2023.96.62.

Full text
Abstract:
This research mainly explores the connection between Dan Brown’s The Da Vinci Code, with the filmmaker’s cinematic depiction of literature. Ron Howard as an adaptation director in the Hollywood industry is evaluated in the context of his auteurism and examined his approach of repudiating a substantial portion of the Catholic secrets which dodged the predicament of fidelity, a core of conventional Film Adaptation. Disregarding the controversy, fidelity is indeed a deliberate action overtly brought by the auteurist vision resulting from screenwriting. This article explores the modern implication
APA, Harvard, Vancouver, ISO, and other styles
5

Bhusal, Damodar. "Between Science and Cinema: Christopher Nolan's Auteurist Vision in Interstellar." Kaladarpan कलादर्पण 5, no. 1 (2025): 115–22. https://doi.org/10.3126/kaladarpan.v5i1.74742.

Full text
Abstract:
The paper attempts at exploring Nolan's auteurist vision in Interstellar, exploring how he navigates the complex intersection of science and cinema. Employing an interdisciplinary approach that draws from auteur theory, science fiction studies, and narratology, this research conducts an in-depth analysis of Interstellar. It examines Nolan's distinctive stylistic signatures, including his visual aesthetics, nonlinear storytelling techniques, and exploration of scientific concepts such as relativity, time dilation, and astrophysical phenomena. Through a close reading of the film's narrative stru
APA, Harvard, Vancouver, ISO, and other styles
6

Pettini, Silvia. "Auteurism and game localization — revisiting translational approaches." Culture & Society issue 4, no. 2 (2015): 268–88. http://dx.doi.org/10.1075/ts.4.2.05pet.

Full text
Abstract:
In the fertile ground between cinema and video games, Hideo Kojima’s Metal Gear Solid saga stands out for its auteur’s clear tendency to use film language and aesthetics and for his evident inspiration from pop culture and the American cinematic tradition. Moreover, the series is rich in quotations meant to pay tribute to cinema and communicate with movie-cultured players intertextually. With regard to the process of localization, auteurist references to film culture represent a constraint for translators rendering Kojima’s game into different languages for a Metal Gear Solid-educated audience
APA, Harvard, Vancouver, ISO, and other styles
7

Swanson, Cole D. "Tarantino’s Auteurist Anachronisms." 19th-Century Music 48, no. 1-2 (2024): 86–97. https://doi.org/10.1525/ncm.2024.48.1-2.86.

Full text
Abstract:
With a penchant for provocation, Quentin Tarantino has an unmistakably postmodern approach to soundtrack design. As an archetypal “melomane” auteur (Gorbman 2007), he frequently juxtaposes the iconic and the ironic, making use of late sixties pop-rock and the music of seventies genre films—spaghetti westerns, Blaxploitation, horror—in surprising and occasionally disturbing ways (Garner 2001, Tincknell 2006, Coulthard 2012). The latter half of his career has been explicitly oriented around historical revisionism, utilizing this music to imagine what “might have been” if life were more like cine
APA, Harvard, Vancouver, ISO, and other styles
8

Donapetry, Maria. "Spanish Cinema: The Auteurist Tradition by Peter William Evans (review)." Modern Language Review 96, no. 1 (2001): 237–38. http://dx.doi.org/10.1353/mlr.2001.a825524.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Seguí, Isabel. "Auteurism, Machismo-Leninismo, and Other Issues." Feminist Media Histories 4, no. 1 (2018): 11–36. http://dx.doi.org/10.1525/fmh.2018.4.1.11.

Full text
Abstract:
This article contextualizes and characterizes production practices in political cinema in Bolivia and Peru between the 1960s and 1990s, reading them as a communitarian endeavor that included many more women than official history acknowledges. It also documents the work of two overshadowed filmmakers—the Bolivian Beatriz Palacios and the Peruvian María Barea—mainly in their roles as film producers and managers of small producing companies, but also as directors. In order to effectively incorporate women into Andean cinema history, I advocate for a nonhierarchical historiographical methodology a
APA, Harvard, Vancouver, ISO, and other styles
10

Wells, Sarah Ann. "Brazil’s Deferred 1968." South Atlantic Quarterly 119, no. 3 (2020): 493–509. http://dx.doi.org/10.1215/00382876-8601362.

Full text
Abstract:
The consignment of industrial wage labor and its central figures to the status of ruins has become something of a cliché in contemporary scholarship and artistic practice. On this view, its demise first became apparent in the 1970s, the precise moment when Brazilian labor movements experienced their first significant gains. This article identifies, describes, and analyzes the emergence of a cinema-labor cycle in São Paulo (1977–82) that constitutes a key instance of Brazil’s “deferred 1968”: a complex response to the distinct pressures of a repressive military regime, entrenched paternalistic
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Auteurist cinema"

1

Aydin, Ali. "An Alternative Auteurist Approach to Sidney Lumet's Films : In Search of a Transgressive Cinema." Thesis, Stockholms universitet, Filmvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-128407.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Schilt, Thibaut. "Marginal pleasure and auteurist cinema: the sexual politics of Robert Bresson, Jean-Luc Godard, Catherine Breillat and François Ozon." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1116968586.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Schilt, Thibaut. "Marginal pleasure and auteurist cinema the sexual politics of Robert Bresson, Jean-Luc Godard, Catherine Breillat and François Ozon /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1116968586.

Full text
Abstract:
Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains viii, 255 p. Includes bibliographical references (p. 234-255). Available online via OhioLINK's ETD Center
APA, Harvard, Vancouver, ISO, and other styles
4

Hammons, Duncan G. "Scott Walker and the late twentieth century phenomenon of Phonographic Auteurism." Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1539237.

Full text
Abstract:
<p> The music of Scott Walker (b. Noel Scott Engel, January 9, 1943) continues to influence multiple generations of respected figures in popular music from David Bowie to Radiohead, yet Walker has not set foot on stage to perform since the 1970s. Instead, the singer-songwriter-producer's latter-day reputation has instead thrived upon the basis of his recorded works. Following a radical self re-invention on the Walker Brothers' farewell album <i>Nite Flights </i> (1978) Walker has pushed the boundaries of his chosen media to the extent that his recorded tracks belong more to the aesthetic spher
APA, Harvard, Vancouver, ISO, and other styles
5

Gheller, Enrico. "La politique et les auteurs : le néoréalisme italien au prisme de la cinéphilie française (1946-1956)." Thesis, Normandie, 2021. http://www.theses.fr/2021NORMC005.

Full text
Abstract:
Le cinéma italien d’après-guerre a sa place légitime dans l’Histoire sous l’étiquette du « néoréalisme ». C’est une panthéonisation encore difficile à remettre en cause aujourd’hui, qui schématise souvent l’image de ce cinéma de manière arbitraire. Une des particularités de ce courant serait sa facilité d’adaptation au-delà des Alpes : en effet, ce mouvement cinématographique a éveillé, en France, un débat très virulent qui a vu la participation de toutes les couches de l’intelligentsia. Le canon néoréaliste se consolideà partir d’une poignée de films et grâce au travail critique de quelques i
APA, Harvard, Vancouver, ISO, and other styles
6

Rodriguez, Rene Thomas. "Auteurs at an Urban Crossroads: A Certain Tendency in New York Cinema." Scholar Commons, 2015. https://scholarcommons.usf.edu/etd/5564.

Full text
Abstract:
Perhaps more than any other major American city in the 1970s, New York represented the decline of an urban existence. Job loss from factors related to deindustrialization and intense crime occupied local and national news, reflecting the increasing anxiety of America's future. New York City was positioned at the center of this frightening chaos. Films made during this period, known by film scholars and journalists as the "New Hollywood" captured the collective temperament of the people and the physical space they inhabit during its disintegration. The depiction of New York during the 1970s has
APA, Harvard, Vancouver, ISO, and other styles
7

Todd, Antony. "Auteurism and the reception of David Lynch : reading the author in post-classical American art cinema." Thesis, University of Southampton, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416901.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kupfer, Stephanie. "Female auteurs in evolution: the filmmaking of Claire Denis and Catherine Breillat." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6452.

Full text
Abstract:
According to the latest Celluloid Ceiling Report, conducted by the Center for the Study of Women in Television and Film at San Diego State University, only 7% of all directors working on the top 250 films in the United States in 2014 were women. These bleak statistics no doubt replicate the condition of women in countless other national cinemas. It is, therefore, critical that more attention be given to the women who do manage to succeed in the male-dominated film industry. In my dissertation, I examine the work of two major French women filmmakers, Catherine Breillat and Claire Denis, who hav
APA, Harvard, Vancouver, ISO, and other styles
9

Mary, Philippe. "Un nouvel ordre artistique : la "politique des auteurs", la Nouvelle Vague et l'invention du cinéma d'auteur (1950-1960)." Paris, EHESS, 2002. http://www.theses.fr/2002EHES0097.

Full text
Abstract:
Le cinéma français connaît, à la fin des années 50, une révolution symbolique, c’est-à-dire un moment de crise par lequel se trouvent redéfinis à la fois l’espace des discours et l’espace de la production des œuvres. Cette transformation commence par un travail critique, la « politique des auteurs » (Cahiers du cinéma) et se poursuit par les effets d’une production cinématographique que l’on rassemble ou repère sous le terme générique de « Nouvelle Vague ». François Truffaut, Jean-Luc Godard, Eric Rohmer, Jacques Rivette, Claude Chabrol, Alain Resnais, Agnès Varda sont les principaux agents de
APA, Harvard, Vancouver, ISO, and other styles
10

Pourvali, Bamchade. "L'"Essai filmé" comme forme de la modernité cinématographique, 1953-1997." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0034.

Full text
Abstract:
La modernité cinématographique désigne une remise en cause de la représentation classique au moment de la Seconde Guerre mondiale qui se manifeste par un retour au documentaire. Celui-ci se traduit de deux manières : au sein du cinéma hollywoodien, comme en témoignent la fin du Dictateur de Charlie Chaplin et le début de Citizen Kane d’Orson Welles; et dans l’Europe de l’après-guerre avec le néo-réalisme italien. Dans ce contexte, la critique cinématographique définit l’essai comme une des finalités du cinéma moderne alliant ontologie et langage comme en témoignent les textes d’Alexandre Astru
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Auteurist cinema"

1

William, Evans Peter, ed. Spanish cinema: The auteurist tradition. Oxford University Press, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bill, Krohn, and Eisenschitz Bernard, eds. Feux croisés: Le cinéma américain vu par ses auteurs (1946-1997). Institut Lumière, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

1966-, Gerstner David A., and Staiger Janet, eds. Authorship and film. Routledge, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Brisset, Stéphane. Le cinéma des années 80: De Diva au Grand Bleu, les 1200 films français des années 80, leurs auteurs, leurs acteurs et leur histoire. M.A. Editions, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

1965-, Ferrán Ofelia, and Glenn Kathleen Mary, eds. Women's narrative and film in twentieth-century Spain: A world of difference(s). Routledge, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Ty, Eleanor Rose. The politics of the visible in Asian North American narratives. University of Toronto Press, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Evans, Peter William. Spanish Cinema: The Auteurist Tradition. Oxford University Press, USA, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Evans, Peter William. Spanish Cinema: The Auteurist Tradition. Oxford University Press, USA, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Khosrowjah, Hossein. Abbas Kiarostami and Iranian National Cinema. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350534858.

Full text
Abstract:
The films of Abbas Kiarostami (1940-2016) are at once ambiguous and singular, challenging easy categorisation in national, generic, and formal terms. In this insightful study, Hossein Khosrowjah provides an in-depth exploration of Kiarostami's body of work, considering how his filmmaking confronts questions of cinematic representation, identity, and the myth of national unity. Challenging prevailing auteurist readings of Kiarostami’s work, Hossein Khosrowjah firmly anchors his filmmaking within the historical context of Iranian national cinema. Through a close reading of key films, includingCl
APA, Harvard, Vancouver, ISO, and other styles
10

Troon, Simon R. Cinematic Encounters with Disaster. Bloomsbury Publishing Inc, 2024. http://dx.doi.org/10.5040/9798765101537.

Full text
Abstract:
Cinematic Encounters with Disastertakes Hollywood’s disaster movies and their codified versions of natural disaster, post-apocalyptic survival, and extra-terrestrial threat as the starting point for an analytical trajectory that works toward new understandings of how cinema shapes and informs our conceptions of disaster and catastrophe. It examines a range of films from distinct regional and industrial contexts: Hollywood, indie movies, different kinds of documentaries from the US and elsewhere, and auteurist-realist cinema from Europe and Asia. Moving across and beyond critical and industrial
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Auteurist cinema"

1

Walker, Michael. "Beaches: Auteurist Inflections." In Endings in the Cinema. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-31657-0_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lázaro-Reboll, Antonio, Steven Marsh, Susan Martin-Márquez, and Santos Zunzunegui. "Strategic Auteurism." In A Companion to Spanish Cinema. Blackwell Publishing Ltd, 2012. http://dx.doi.org/10.1002/9781118322765.ch6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Fox, Alistair. "Auteurism, Personal Cinema, and the Fémis Generation." In A Companion to Contemporary French Cinema. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118585405.ch9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

D'Lugo, Marvin, and Paul Julian Smith. "Auteurism and the Construction of the Canon." In A Companion to Spanish Cinema. Blackwell Publishing Ltd, 2012. http://dx.doi.org/10.1002/9781118322765.ch5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Pecic, Zoran Lee. "Queer Auteurs of Hong Kong Cinema." In New Queer Sinophone Cinema. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-349-94882-6_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kunze, Peter C. "Talking Trash with Tarantino: Auteurism, Aesthetics and Authority in Not Quite Hollywood." In American–Australian Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66676-1_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Fallows, Tom. "A New Dawn: Cult, Risk and the Independent Film Producer, 1973–1979." In George A. Romero's Independent Cinema. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474479950.003.0003.

Full text
Abstract:
Chapter 2 evaluates the business methods that saw Latent Image’s successor Laurel evolve from a subsidiary into an independent corporate entity. By investigating producer Richard Rubinstein’s polymorphic funding strategies, this chapter asks what Laurel’s auteurist infrastructure meant during this period, contextualising this artistic remit within a broader business agenda. Scrutiny of Laurel’s risk management strategies leads to a discussion of corporate identity and branding, looking at the risk-reducing policies behind Romero’s cult reputation as a ‘horror auteur’. The effect of these eleme
APA, Harvard, Vancouver, ISO, and other styles
8

Powrie, Phil. "A Fistful of Polars: Chronicles of Discomfiture." In French Cinema in the 1980s. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711186.003.0009.

Full text
Abstract:
Abstract TRUFFAUT’s final film was a polar, an affectionate retrospective and regressive gesture to a popular genre refracted through an auteurist lens. In 1985, two other auteurs also made polars. Godard’s Detective opened in May 1985, with the curious combination of Nathalie Baye and the pop singer Johnny Hallyday. A few months later, Pialat, whose 1983 film A nos amours (1983) is considered one of the key films of the 1980s, released the starkly titled Police (September 1985), starring Depardieu and the then teen idol Sophie Marceau. I shall also be considering in this chapter a more commer
APA, Harvard, Vancouver, ISO, and other styles
9

Tierney, Dolores. "Introduction: The Cultural Politics of Transnational Filmmaking." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0001.

Full text
Abstract:
The introduction establishes the book’s argument; how transnational cinema has become central to Latin American filmmaking and film industries. It briefly traces the national and global processes (neoliberalism) that have pushed these industries towards transnational modes. The introduction also explores theories of transnational cinema and how these fit within the political, postcolonial and auteurist discourses around Latin American national cinemas. It also explores how these discourses function in relation to Latin America’s art cinema resurgence. Centring on Madeinusa (Peru/Spain Claudia
APA, Harvard, Vancouver, ISO, and other styles
10

Tierney, Dolores. "Alejandro González Iñárritu: Mexican Director Without Borders." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0003.

Full text
Abstract:
Chapter 1 analyses the cinematic transnationality of Iñárritu through an auteurist lens suggesting that his Mexican-produced Amores perros, US-produced 21 Grams, and Babel, and Spanish/Mexican co-produced Biutiful, problematise the notion of industrial and national borders and (for the deterritorialised productions) the assumption of political co-optation by a hegemonic mainstream cinema (Hollywood) because they share the same radical and alternative aesthetics and ideologies. The chapter traces continuities and critiques across the production contexts of Iñárritu’s films from Mexican independ
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Auteurist cinema' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography