Luckily, the tides have changed within the filmmaking community. And so, that bankability is reserved for films that are identified with these cishet, mostly white, men. The bankability of a film, that film’s success is influenced by this singular identity. All of them are cishet, mostly white, men. When considering these auteurist directors, the commonalities are obvious. There isn’t an argument here about the subjective knowledge of cinephiles vs mainstream moviegoers there is only the understanding that Auteur Theory services the making of money, an investment, versus authorship of film. But to a mainstream audience, the audience producers and studios cater to? They’re the ones that will pay to see a film because of their perception of a director and that director’s work. To a “cinephilic” audience, they understand the holistic medium of film, and can even define the entire working team of many auteur directors as an auteur collective, because many of these directors collaborate with the same writers, music supervisors, cinematographers, etc. There is a bankability already put in place because of this associated brand. There’s a brand associated with these directors, an expectation of what kind of film they’ll create, and an already elevated status of the quality of the film. When hearing the word auteur, several directors come to mind: Martin Scorsese, Quentin Tarantino, David Lynch, Darren Aronofsky, Spike Lee, Woody Allen, Christopher Nolan, etc., and on and on we go. And as we go through history since the term auteur was coined in the 1950s, we can see that the theory has evolved into something much crasser. It’s fair to assume that the director’s vision influences the work of every artist involved in the craft of a film (let’s just assume producers and studio executives have less power than they actually have), so because of the director’s artistic vision, they alone are the true author of the film. In essence, the Auteur Theory claims authorship over a film by one individual vital in the creation of a movie: the director. But during the French New Wave, a different way of viewing film took shape, and it was defined as the Auteur Theory. There are countless people involved with the creation of a film, from set designers to costumer creators, all the way down to haggard, poorly treated assistants running around to appease some higher-up. When considering cinema, we consider it to be a collaborative art form.
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