Relevant bibliographies by topics / Auteurship

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

Academic literature on the topic 'Auteurship'

Author: Grafiati
Published: 10 January 2023
Last updated: 29 January 2023

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Journal articles on the topic "Auteurship"

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Rybina, P. "HAMLET’S APPROPRIATION IN AUTEUR AND INDEPENDENT CINEMA." Voprosy literatury, no. 2 (September 30, 2018): 38–53. http://dx.doi.org/10.31425/0042-8795-2018-2-38-53.

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The article focuses on the priorities in contemporary studies of cinematic adaptations. Looking at the various appropriations of this Shakespeare’s tragedy in art and indie movies, the researcher reveals how by underscoring the director’s visual imagination and the ‘power’ of a cinematic tradition one can revise the scope of adaptation studies. Concentrating on the signature elements of A. Kaurismäki’s and M. Almereyda’s cinematography, the author emphasizes the productivity of the audience’s ‘entrancement’ with the visual and sonic interpretation of the classical piece (through the use of the American film noir stylistics by Kaurismäki, and through Almereyda’s interplay of multiple on-screen realities). In the viewers’ memory, literary meanings are expelled rather aggressively by new cinematographic ones. Kaurismäki turns the tragedy into a tastefully stylized noir whodunit, while Almereyda went for a reflective narrative about neo-Hamletism at an age of expanding virtual realities. In her demonstration of how the directors achieved such effects, the author argues the priority of the cinematographic auteurship (including the case of collective auteurship) in the analysis of contemporary film adaptations.
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Ley, Graham. "Contemporary adaptations of Greek tragedy: auteurship and directorial visions." Studies in Theatre and Performance 39, no. 2 (December 3, 2017): 212–13. http://dx.doi.org/10.1080/14682761.2017.1410306.

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Hart, Stephen. "Slick grit: auteurship versus mimicry in three films by Francisco Lombardi." New Cinemas: Journal of Contemporary Film 3, no. 3 (December 1, 2005): 159–67. http://dx.doi.org/10.1386/ncin.3.3.159/1.

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Shankar, Arjun. "Auteurship and Image-Making: A (Gentle) Critique of the Photovoice Method." Visual Anthropology Review 32, no. 2 (November 2016): 157–66. http://dx.doi.org/10.1111/var.12107.

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Pounds-Williams, Tiffany. "Contemporary Adaptations of Greek Tragedy: Auteurship and Directorial Visions ed. by George Rodosthenous." Journal of Dramatic Theory and Criticism 34, no. 2 (2020): 145–48. http://dx.doi.org/10.1353/dtc.2020.0001.

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Mohd Zaki, Nurul Ezzati Aisya, and Wan Hartini Wan Zainodin. "P. Ramlee’s Cinematographic Auteurship of Cultural Values Representation in Antara Dua Darjat and Ibu Mertua-Ku." Jurnal Komunikasi: Malaysian Journal of Communication 36, no. 3 (September 29, 2020): 390–407. http://dx.doi.org/10.17576/jkmjc-2020-3603-24.

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Ince, Katherine. "Is Sex Comedy or Tragedy? Directing Desire and Female Auteurship in the Cinema of Catherine Breillat." Journal of Aesthetics and Art Criticism 64, no. 1 (January 2006): 157–64. http://dx.doi.org/10.1111/j.0021-8529.2006.00237.x.

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Lupitawina, Skolastika, and Agus Mediarta. "Film Pendek Dalam Budaya Populer: Studi Kasus Atas Film Pendek Iklan Di Indonesia 2012 - 2015." ULTIMART Jurnal Komunikasi Visual 8, no. 2 (November 12, 2016): 24–34. http://dx.doi.org/10.31937/ultimart.v8i2.465.

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Penelitian ini bertujuan untuk memetakan film pendek dalam lansekap budaya populer Indonesia. Penelitian dipersempit pada studi kasus untuk melihat pengaruh hegemoni dalam film pendek iklan. Subjek penelitian adalah sepuluh film pendek iklan berupa: 1) fiksi naratif (bukan serial) 2) didistribusikan di kanal YouTube resmi merek dagang 3) oleh sutradara film panjang Indonesia bermodal kebudayaan tertentu, tercantum pada kredit film 4) produksi 2012 – 2015. Film pendek iklan diteliti dengan metode kualitatif menggunakan analisis budaya, melalui observasi film dan kajian pustaka. Hasil penelitian menunjukkan bahwa: 1) film pendek bukanlah bentuk ekspresi steril dari pasar 2) film pendek iklan memiliki konvensi tersendiri dalam bentuk peletakan merek dagang 3) terdapat ekuilibrium kompromi dalam hubungannya dengan target massa karena film pendek iklan menuntut konten lebih umum, sementara keempat sutradara dikenal dengan elemen-elemen dewasa tertentu 4) sutradara dapat mempertahankan gaya visualnya (visual style), tetapi kehilangan arah (internal meaning) dari film-film panjang mereka. Keywords : kepengarangan (auteurship), merk dagang, sutradara film, hegemoni, film pendek
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Das, Joanna Dee, and Ryan Donovan. "Special Issue: Dance in musical theatre." Studies in Musical Theatre 13, no. 1 (March 1, 2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.

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This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds readers that choreography extends beyond human bodies. Finally, the articles all consider questions of methodology and history – how do we best study musical theatre? While there are several other areas of potential inquiry not covered in these six articles, this special issue, the first in the field to focus on dance in musical theatre, aims to help define and cohere an important subfield.
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Rahmawati, Aulia, Syafrida Nurrachmi Febriyanti, Ririn Puspita Tutiasri, Poppy Febriana, and Sumardjijati Sumardjijati. "Transmediation of Local Production in the Global Entertainment." International Journal of Social Science Research and Review 5, no. 10 (October 27, 2022): 481–88. http://dx.doi.org/10.47814/ijssrr.v5i10.676.

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Various streaming entertainment platforms, or often referred to as SVOD, have become entertainment for Indonesian viewers, shifting television as their daily entertainment channel. However, research that raises this issue is still very rare, especially in looking at how the viewers and subscribers of these various streaming services are. This paper aims to see, firstly, how entertainment streaming subscribers respond to this development, and secondly, how streaming subscribers negotiate local Indonesian shows on these various SVOD channels. The research was conducted by distributing questionnaires filled out by 264 respondents and then followed by qualitative interviews through FGDs with 25 participants who identified themselves as heavy viewers. Research shows that Netflix is ​​still the most-subscribed streaming channel, although many also subscribe to it illegally. Regarding local content, participants expect Netflix to imitate similar streaming channels by producing works by local Indonesian directors, not just as a distribution channel. Indonesia as the largest streaming subscribers in Asia deserve recognition not only in terms of audienceship, but also in terms of auteurship by producing netflix originals by Indonesian filmmakers.
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Dissertations / Theses on the topic "Auteurship"

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Westberg, Nathalie. "Ett multipelt auteurskap? : En fallstudie av Rebecca (1940)." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-77983.

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Den här uppsatsen behandlar huruvida det finns ett multipelt auteurskap och om termen auteur kan appliceras på andra filmskapare än regissören. Utifrån syftet ställdes sedan två frågor: Vilken roll har manusförfattaren jämfört med regissören när det kommer till auteurskap över en film? Samt frågan om på vilket sätt ett multipelt auteurskap skulle kunna formuleras? För att undersöka dessa frågor användes sedan en komparativ metod där romanen Rebecca jämförs med dess filmiska adaptation samt filmens manus. Baserat i fallstudien av Rebecca (1940) diskuteras sedan regissörens roll gentemot filmmanusförfattarens och författarens, samt vad dessa roller får för konsekvenser i termer av auteurskap.
This essay examines whether there is a multiple auteurship and if the term auteur can be applied to other filmmakers than the director. Based on this purpose, two questions where formulated: What is the role of the screenplay-writer compared to the director’s when it comes to auteurship over a film? The paper also examines the question of how a possible multiple auteurship could be formulated. To examine these questions, a comparative method was used in which the novel Rebecca was compared with its cinematic adaptation, as well as the film's screenplay. Based on the case study of Rebecca (1940), the director’s role is thereafter discussed compared to the screenplay-writers and the authors roles, as well as what the consequences of these roles have in terms of auteurship.
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Zakrisson, Axel. "Jacques Rivette : en båttur genom hans auteurskap." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-12741.

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Maljaars, Abraham. "Het Wilhelmus : auteurschap, datering en strekking : een kritische toetsing en nieuwe interpretatie /." Kampen : Kok, 1996. http://catalogue.bnf.fr/ark:/12148/cb36986694p.

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Liet, H. van der. "Kontrapunkter en studie i Poul Vads skønlitterære forfatterskab /." Odense : Odense universitetsforlag, 1997. http://catalog.hathitrust.org/api/volumes/oclc/40200520.html.

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Dür, Esther. "Erika Mitterer und das Dritte Reich Schreiben zwischen Protest, Anpassung und Vergessen /." Wien : Praesens, 2006. http://catalog.hathitrust.org/api/volumes/oclc/68628986.html.

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Jönsson, Martin. "If you are going to steal, steal from the best : om Peter Bogdanovichs auteurskap och Hawks-komplexet." Thesis, Växjö University, School of Humanities, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-547.

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Kuiper, Willem. "Die riddere metten witten scilde oorsprong, overlevering en auteurschap van de Middelnederlandse Ferguut, gevolgd door een diplomatische editie en een diplomatisch glossarium /." Amsterdam : Schiphouwer en Brinkman, 1989. http://catalog.hathitrust.org/api/volumes/oclc/22184418.html.

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Bees, Robert. "Zur Datierung des Prometheus Desmotes." Stuttgart : B. G. Teubner, 1993. http://catalogue.bnf.fr/ark:/12148/cb37096291b.

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Sastradipradja, Linda. "Agency, Authorship and Embodied Aesthetics: The Dancer as Auteur." Thesis, 2018. https://vuir.vu.edu.au/40012/.

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The substance of this thesis is to be found in its performative iteration, held at The Substation, Newport, Saturday July 15th, 2017. The performance work aimed to present an opportunity to encounter dancing that reveals the innermost nuances of a dancer’s mode of moving. Five dancers from New York and Australia – Stuart Shugg, Ori Flomin, Rachel Doust, Victoria Chiu and Alexandra Petrarca - each brought their substantial depth of embodied knowledge and aesthetic determination to examine their role as potential auteurs of their dancing. Throughout a series of solos that overlapped and intertwined between the industrial spaces of The Substation, the audience was able to move between the dancing, the dancers and the spaces as they would have at a gallery exhibition, with a view to charting their own journey through the performance experience. The written component of the PhD aims to ground the performative work in a conceptual elaboration of its key components. It begins by claiming the primacy of the dancer within the dance work. This is articulated through the notions of agency and auteurship and is further contextualised through a consideration of the dancer’s lineage and artistic provenance. The figure of the choreographer in relation to the dancer is critically reviewed within the context of this research. The centrality of the dancer is foregrounded within this PhD through the development of individual working methodologies that pertain to the singularity of each dancer’s mode of auteurship. All too often the dancer is displaced in favour of other hegemonic factors, such as hierarchical and organisational workplace priorities that do not recognise the primacy of the dancer as key to dancing. The aim of this thesis then is to explore the concept of the dancer as auteur, and to make this often invisible position manifest by creating work that emphasises its importance to dancing and dance making. Through the creative practice research, the performed presentation and the exegesis, this PhD investigates the consideration of the dancer’s role as auteur and the many constituents that contribute to her auteurship - her role, her/histories, lineages and provenance, her status within workplace hierarchies and her visibility as a protagonist of her dancing.
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Books on the topic "Auteurship"

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Maljaars, A. Het Wilhelmus: Auteurschap, datering en strekking : een kritische toetsing en nieuwe interpretatie. Kampen: Kok, 1996.

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Michell, John, and John F. Michell. Who wrote Shakespeare? New York, N.Y: Thames and Hudson, 1996.

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Kamuf, Peggy. Signature pieces: On the institution of authorship. Ithaca: Cornell University Press, 1988.

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The writer's way. 6th ed. Boston: Houghton Mifflin, 2005.

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The writer's ultimate research guide. Cincinnati, Ohio: Writer's Digest Books, 1995.

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Die riddere metten witten scilde: Oorsprong, overlevering en auteurschap van de Middelnederlandse Ferguut, gevolgd door een diplomatische editie en een diplomatisch glossarium. Amsterdam: Schiphouwer en Brinkman, 1989.

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Geertz, Clifford. Works and lives: The anthropologist as author. Stanford, Calif: Stanford University Press, 1988.

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Geertz, Clifford. Works and lives: The anthropologist as author. Cambridge: Polity, 1988.

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Kunst der Erinnerung, Poetik der Liebe: Das erzählerische Werk Hanns-Josef Ortheils. Göttingen: Wallstein, 2009.

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Grunberg, Arnon (Arnon Yasha Yves), 1971- and Hemmerechts Kristien 1955-, eds. J.M. Coetzee: Persoon en personage. Amsterdam: Cossee, 2010.

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Book chapters on the topic "Auteurship"

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Brown, Noel. "Alfred Hitchcock’s Missing Children: Genre, Auteurship, and Audience Address." In Children in the Films of Alfred Hitchcock, 11–30. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137472816_2.

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Pecic, Zoran Lee. "Between Real and Unreal: Representability and Auteurship in Queer Hong Kong Cinema." In The Palgrave Handbook of Asian Cinema, 559–82. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95822-1_27.

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"3 Ambiguities of auteurship." In Kathleen Collins, 51–82. Edinburgh University Press, 2020. http://dx.doi.org/10.1515/9781474440707-006.

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"INTRODUCTION Aronofsky, Auteurship, Aesthetics." In Bodies in Pain, 1–23. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781782385769-003.

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"Gender, Genre, and Female Auteurship:." In Mexican Genders, Mexican Genres, 111–38. Boydell & Brewer, 2021. http://dx.doi.org/10.2307/j.ctv1850j3z.10.

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"AUTEURSHIP AND THE LURE OF ROMANCE." In Bollywood Cinema, 113–48. Routledge, 2013. http://dx.doi.org/10.4324/9780203951392-9.

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Ghorbankarimi, Maryam. "Rakhshan Banietemad’s Art of Social Realism: Bridging Realism and Fiction." In ReFocus: The Films of Rakhshan Banietemad, 189–205. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474477611.003.0012.

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This chapter offers a survey of her documentary works in search of a unique social realist approach to filmmaking. The chapter argues that, although Banietemad’s auteurship might be evident in her films through their recurring links and themes, it is in her self-reflexive documentaries that we really see her artistic and critical approach to telling stories about ordinary people in society.
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"Auteurship, adaptation and the molecularity of Audition (1999)." In Japanese Horror Cinema and Deleuze. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501368325.ch-4.

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Atkinson, Sarah. "Epilogue." In From Film Practice to Data Process. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748693580.003.0007.

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This chapter closes the book with a look back at 2012 through the contemporary moment of 2017 reflecting upon recent changes and innovations in the film industry. Five years on from the temporal origin of the book’s focus of study, the film industry and film production has continued to be impacted by digital interventions in innumerable ways. Since 2012, new creative and logistical responses to technological innovations have proliferated, resulting in new types of film production and new exhibition practices. This chapter summarises the key concepts of the book - Production Aesthetic; collaborative auteurism; transitional auteurship; and workflow-warp and weft. The chapter looks forwards to the future of digital film studies–approaches and methods through a summary of the analytical framework developed within the book: through the unification and cross-analyses of the tripartite of text, production aesthetics and representational text(s) and their subsequent mobilization and dissemination.
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Graham, James. "The Cultural Economy of Auteurship in Independent Publishing: The Symbolic Success of the Photobook Ponte City." In Collaborative Production in the Creative Industries, 69–85. University of Westminster Press, 2017. http://dx.doi.org/10.16997/book4.e.

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