Posted: February 3rd, 2015

Auteurism Analysis of a Director

Paper, Order, or Assignment Requirements

Analyse a film, explicitly within the framework of one of the six theoretical approaches discussed on the module (70%; 4000 words).

For an AUTEUR analysis, analyse at least 3 films.

You must analyse the film using one of the specific theories presented on this module (the essential and
additional reading of AUTEURISM).
No need to introduce your chosen theory again, but do refer back to the theory when
carrying out your analysis. Remember, you are analysing the film from the perspective of the Auteur theory.

You can choose between Roman Polanski, Quentin Tarantino or Christopher Nolan.

Four Criteria I will use to assess:
1. In your essay you need to demonstrate an ability to employ the complex, abstract concepts from one
particular theory taught on the module to analyse a recent film of your choice (from mid-1990s onwards)
2. You need to write a well-argued, convincing essay (demonstrating care and attention to detail), one that
successfully applies a theory to the analysis of films.
3. Correct spelling and grammar
4. Correct formatting (Times New Roman 12 point; using 1.5 line spacing; use page numbering)
5. Use frame enlargements if necessary, but only if they form an integral part of the analysis (if they back up
your analysis. Use VLC software, to make stills from a film, it’s easy.

Word count: do not go under word count; but you can go over by a maximum of 10% if necessary.
The analysis shouldn’t be a summary of someone else’s analysis (either published or
unpublished). Plagiarism (copying, paraphrasing, collusion, duplication) will result in disciplinary action.

Readings:
– Wollen, Peter (2008) “The auteur theory”, in Barry Keith Grant (ed.) Auteurs and authorship: A film reader. Oxford: Blackwell, pp. 55-64.
– Elsaesser, Thomas, and Warren Buckland (2002) Studying contemporary American film, pp. 117-128 (on thematic criticism)
– Brian Henderson (1973), “Critique of Cine-Structuralism (Part 1)”, Film Quarterly Vol. 27, No. 1, pp. 25-34
– Andrew, Dudley (1984) Concepts in film theory. New York: Oxford University Press (chapter 7).
– Buckland, Warren (2012) Film theory: Rational reconstructions. Abingdon: Routledge (chapter 1).
– Buckland, Warren (ed.) (2012) Special issue of the New Review of Film and Television Studies (volume
10, number 1), on Wes Anderson.
– Caughie, John (ed.) (1981) Theories of authorship: A reader. London: Routledge & Kegan Paul. (Part II
is devoted to auteur-structuralism).
– Cook, Pam. The cinema book – several editions available (there is a long section on auteurism, including
several pages on auteur-structuralism).
– Gooch, Joshua (2007) ‘Making a go of it: Paternity and prohibition in the films of Wes Anderson’,
Cinema Journal, 47(1), pp. 25-48.
– Grant, Barry Keith (ed.) (2008) Auteurs and authorship: A film reader. Oxford: Blackwell.
– Lapsley, Robert, and Michael Westlake (2006) Film theory: An introduction. Second edition. Manchester:
Manchester University Press. [auteur-structuralism is discussed on pp. 108-112]
– Lévi-Strauss, Claude (1968) ‘The structural study of myth’, in Structural anthropology, vol. 1. London:
Allen Lane.
– Stam, Robert (2000) Film theory: An introduction. Oxford: Blackwell. [auteur-structuralism is discussed
on pp. 123-126]