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Milland Alone: The End of the System, Post-Studio Stardom, and the Total Auteur

Milland Alone: The End of the System, Post-Studio Stardom, and the Total Auteur brooks e. hefner After all these years I finally realized that the only thing I ever wanted to be in this business was a director. --Ray Milland (256) despite its many complications and qualifications since the late Andrew Sar ris introduced it to American readers in 1962, the "auteur theory" remains a central concern in film and media studies. Film festivals and art house programs continue to be organized around the auteur, and scholarly monographs and essays still largely attribute authorial inten tion to directors. Rather than embracing the new independent era of 1950s and 60s US film, however, Sarris's influential mistranslation of the Cahiers du Cinéma "politique des auteurs" (1957) looked back with nostalgia to the film makers of the studio era, where talented direc tors wrangled with subpar material to make great films out of the "tension between the director's personality and his material," the tension between art and commerce ("Notes" 7). Such a conflict also animated French concerns with the politique (better translated as "policy" or "politics"). In André Bazin's early critique of the politique, he notes the absurdity of this kind of definition of film authorship: "[p]aradoxically, the supporters of the politique des auteurs http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Milland Alone: The End of the System, Post-Studio Stardom, and the Total Auteur

Journal of Film and Video , Volume 66 (4) – Nov 27, 2014

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018
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Abstract

brooks e. hefner After all these years I finally realized that the only thing I ever wanted to be in this business was a director. --Ray Milland (256) despite its many complications and qualifications since the late Andrew Sar ris introduced it to American readers in 1962, the "auteur theory" remains a central concern in film and media studies. Film festivals and art house programs continue to be organized around the auteur, and scholarly monographs and essays still largely attribute authorial inten tion to directors. Rather than embracing the new independent era of 1950s and 60s US film, however, Sarris's influential mistranslation of the Cahiers du Cinéma "politique des auteurs" (1957) looked back with nostalgia to the film makers of the studio era, where talented direc tors wrangled with subpar material to make great films out of the "tension between the director's personality and his material," the tension between art and commerce ("Notes" 7). Such a conflict also animated French concerns with the politique (better translated as "policy" or "politics"). In André Bazin's early critique of the politique, he notes the absurdity of this kind of definition of film authorship: "[p]aradoxically, the supporters of the politique des auteurs

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Nov 27, 2014

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