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38-563: Club Tenco is an Italian non-profit association dedicated to supporting "canzone d'autore" ( Auteur music ). It was established in Sanremo in 1972 by Amilcare Rambaldi. The third association named after singer-songwriter Luigi Tenco after the clubs founded in Rome and Venice in 1967, it has been described as the "Italian leading point for songwriting" and "a fundamental driving force behind new ideas for quality music". According to its statute, its scope

76-515: A continuation of the intellectual form of criticism that Revue had printed, which prominently featured his articles advocating for realism as the most valuable quality of cinema. As more issues of Cahiers were published, however, Bazin found that a group of young proteges and critics serving as editors underneath him were beginning to disagree with him in the pages of the magazine. Godard would voice his discontent with Bazin as early as 1952, when he challenged Bazin's views on editing in an article for

114-428: A distinctive bright yellow background. Each issue contained four or five articles (with at least one piece by Bazin in most issues), most of which were reviews of specific films or appreciations of directors, supplemented on occasion by longer theoretical essays. The first few years of the magazine's publication were dominated by Bazin, who was the de facto head of the editorial board. Bazin intended Cahiers to be

152-420: Is "to gather all those who, brought together by Luigi Tenco's message, seek to valorise "canzone d'autore", pursuing artistic dignity and poetic realism within popular music". The club publishes records and books and organises exhibitions and festivals throughout Italy, the most important of them being the "Rassegna della canzone d'autore", commonly known as Premio Tenco, which was founded in 1974 and during which

190-481: Is a French film magazine co-founded in 1951 by André Bazin , Jacques Doniol-Valcroze , and Joseph-Marie Lo Duca . It developed from the earlier magazine Revue du Cinéma ( lit.   ' review of cinema ' established in 1928) involving members of two Paris film clubs— Objectif 49 ( Robert Bresson , Jean Cocteau , and Alexandre Astruc , among others; lit.   ' objective 49 ' ) and Ciné-Club du Quartier Latin ( lit.   ' cinema club of

228-491: Is an art geared toward popular culture, a film's immediate influence, the director, is viewed as the artist, whereas an earlier contributor, like the screenwriter, is viewed as an apprentice. James Agee , a leading film critic of the 1940s, said that "the best films are personal ones, made by forceful directors". Meanwhile, the French film critics André Bazin and Roger Leenhardt described that directors, vitalizing films, depict

266-403: Is treated as artwork while the auteur, as its creator, is the original copyright holder. Under European Union law , largely by influence of auteur theory, a film director is considered the film's author or one of its authors. The references of auteur theory are occasionally applied to musicians, musical performers, and music producers. From the 1960s, record producer Phil Spector is considered

304-406: The mise en scène (the "dominant object of study" at the magazine) of such filmmakers as Jean Renoir , Roberto Rossellini , Kenji Mizoguchi , Max Ophüls , and Jean Cocteau , many of whom Bazin had introduced them to. By the end of the 1950s, many of the remaining editors of Cahiers , however, were becoming increasingly dissatisfied with the mere act of writing film criticism. Spurred on by

342-476: The New Hollywood era had emerged with studios granting directors broad leeway. Pauline Kael argued, however, that "auteurs" rely on creativity of others, like cinematographers. Georges Sadoul deemed a film's putative "author" could potentially even be an actor, but a film is indeed collaborative. Aljean Harmetz cited major control even by film executives. David Kipen 's view of the screenwriter as indeed

380-401: The "gang of five" forced Rohmer out and installed Rivette as his replacement in 1963. Rivette shifted political and social concerns farther to the left, and began a trend in the magazine of paying more attention to non-Hollywood films. The style of the journal moved through literary modernism in the early 1960s to radicalism and dialectical materialism by 1970. Moreover, during the mid-1970s

418-490: The Editions de l'Etoile (the company publishing Cahiers ) was acquired by the press group Le Monde . Traditionally losing money, the magazine attempted a make-over in 1999 to gain new readers, leading to a first split among writers and resulting in a magazine addressing all visual arts in a post-modernist approach. This version of the magazine printed ill-received opinion pieces on reality TV or video games that confused

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456-490: The English term. Via auteur theory, critical and public scrutiny of films shifted from their stars to the overall creation. In the 1960s and the 1970s, a new generation of directors, revitalizing filmmaking by wielding greater control, manifested the New Hollywood era, when studios granted directors more leeway to take risks. Yet in the 1980s, upon high-profile failures like Heaven's Gate , studios reasserted control, muting

494-518: The English word, "theory"; hence coining the phrase the " auteur theory " by which this critical approach is known in English-language film criticism. After the publication of Truffaut's article, Doniol-Valcroze and most of the Cahiers editors besides Bazin and Lo Duca rallied behind the rebellious authors; Lo Duca left Cahiers a year later, while Bazin, in failing health, gave editorial control of

532-708: The Hollywood studio system, directed his own 1960 film The Bellboy . Lewis's influence on it spanned business and creative roles, including writing, directing, lighting, editing, and art direction. French film critics, publishing in Cahiers du Cinéma and in Positif , praised Lewis's results. For his mise-en-scene and camerawork, Lewis was likened to Howard Hawks , Alfred Hitchcock , and Satyajit Ray . In particular, Jean-Luc Godard credited Lewis's "personal genius" for making him "the only one in Hollywood doing something different,

570-461: The January issue by Truffaut attacked what he called La qualité française ( lit.   ' the French quality ' , usually translated as "The Tradition of Quality"), denouncing many critically respected French films of the time as being unimaginative, oversimplified, and even immoral adaptations of literary works. The article became the manifesto for the politique des auteurs ( lit.   '

608-581: The Latin Quarter ' ). Initially edited by Doniol-Valcroze and, after 1957, by Éric Rohmer (aka, Maurice Scherer), it included amongst its writers Jacques Rivette , Jean-Luc Godard , Claude Chabrol , and François Truffaut , who went on to become highly influential filmmakers. It is the oldest French-language film magazine in publication. The first issue of Cahiers appeared in April 1951. Much of its head staff, including Bazin, Doniol-Valcroze, Lo Duca, and

646-471: The September issue of Cahiers. Gradually, the tastes of these young critics drifted away from those of Bazin, as members of the group began to write critical appreciations of more commercial American filmmakers such as Alfred Hitchcock and Howard Hawks rather than the canonized French and Italian filmmakers that interested Bazin. The younger critics broke completely with Bazin by 1954, when an article in

684-565: The United States. Giese argues women in the US are rarely allowed to direct unless they are already celebrities, and that they are rarely afforded proper budgets. She cites women as making up less than 5% of American feature film directors , while the Hollywood Reporter stated that only about 7% of directors were women among the 250 highest-grossing films in 2016. In some law references, a film

722-457: The auteur theory. Pauline Kael , an early critic of auteur theory, debated Andrew Sarris in magazines. Defending a film as a collaboration, her 1971 essay " Raising Kane ", examining Orson Welles 's 1941 film Citizen Kane , finds extensive reliance on co-writer Herman J. Mankiewicz and on cinematographer Gregg Toland . Richard Corliss and David Kipen argued that a film's success relies more on screenwriting. In 2006, to depict

760-469: The directors' own worldviews and impressions of the subject matter, as by varying lighting, camerawork, staging, editing, and so on. As the French New Wave in cinema began, French magazine Cahiers du cinéma , founded in 1951, became a hub of discourse about directors' roles in cinema. In a 1954 essay, François Truffaut criticized the prevailing "Cinema of Quality" whereby directors, faithful to

798-425: The film form, and would, along with the films of young French filmmakers outside the Cahiers circle, form the basis for the cinematic movement known as the French New Wave . Meanwhile, Cahiers underwent staff changes, as Rohmer hired new editors such as Jean Douchet to fill the roles of those editors who were now making films, while other existing editors, particularly Jacques Rivette, began to write even more for

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836-437: The first auteur among producers of popular music. Author Matthew Bannister named him the first "star" producer. Journalist Richard Williams wrote: Spector created a new concept: the producer as overall director of the creative process, from beginning to end. He took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, told the singers how to phrase, masterminded all phases of

874-452: The late 1960s, performers typically had little input on their own records. Wilson, however, employed the studio like an instrument, as well as a high level of studio control that other artists soon sought. According to The Atlantic ' s Jason Guriel, the Beach Boys' 1966 album Pet Sounds , produced by Wilson, anticipated later auteurs such as Kanye West , as well as "the rise of

912-491: The magazine to Rohmer and largely left Paris, though he continued to write for the magazine. Now with control over the magazine's ideological approaches to film, the younger critics (minus Godard, who had left Paris in 1952, not to return until 1956) changed the format of Cahiers somewhat, frequently conducting interviews with directors deemed "auteurs" and voting on films in a "Council" of ten core critics. These critics came to champion non-American directors as well, writing on

950-679: The magazine was run by a Maoist editorial collective. In the mid-1970s, a review of the American film Jaws marked the magazine's return to more commercial perspectives, and an editorial turnover: ( Serge Daney , Serge Toubiana, Thierry Jousse, Antoine de Baecque, and Charles Tesson). It led to the rehabilitation of some of the old Cahiers favourites, as well as some new film makers like Manoel de Oliveira , Raoul Ruiz , Hou Hsiao-hsien , Youssef Chahine , and Maurice Pialat . Recent writers have included Daney, André Téchiné , Léos Carax , Olivier Assayas , Danièle Dubroux, and Serge Le Péron. In 1998,

988-518: The magazine. Many of the newer critical voices (except for Rivette) largely ignored the films of the New Wave for Hollywood when they were not outright criticizing them, creating friction between much of the directorial side of the younger critics and the head editor Rohmer. A group of five Cahiers editors, including Godard and Doniol-Valcroze and led by Rivette, urged Rohmer to refocus the magazine's content on newer films such as their own. When he refused,

1026-446: The main author is termed Schreiber theory . In the 1980s, large failures prompted studios to reassert control. The auteur concept has also been applied to non-film directors, such as record producers and video game designers , such as Hideo Kojima . Even before auteur theory, the director was considered the most important influence on a film. In Germany, an early film theorist, Walter Julius Bloem , explained that since filmmaking

1064-566: The only one who isn't falling in with the established categories, the norms, the principles", "the only one today who's making courageous films". As early as his 1962 essay "Notes on the auteur theory", published in the journal Film Culture , American film critic Andrew Sarris translated the French term la politique des auteurs , by François Truffaut in 1955, into Sarris's term auteur theory . Sarris applied it to Hollywood films, and elaborated in his 1968 book, The American Cinema: Directors and Directions 1929–1968 , which helped popularize

1102-427: The policy of the authors ' ), which became the label for Cahiers younger critics' emphasis on the importance of the director in the creation of a film—as a film's "author"—and their re-evaluation of Hollywood films and directors such as Hitchcock, Hawks, Jerry Lewis , Robert Aldrich , Nicholas Ray , and Fritz Lang . Subsequently, American critic Andrew Sarris latched onto the word, "auteur", and paired it with

1140-426: The prestigious Premio Tenco ("Tenco Prize", a career award to singer-songwriters and cultural operators) and Targa Tenco ("Tenco Plate", a prize established in 1984 and given for the best works of the year) are assigned. Official website Auteur#Popular music American actor Jerry Lewis directed his own 1960 film The Bellboy via sweeping control, and was praised for "personal genius". By 1970,

1178-436: The producer" and "the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art. ... Anytime a band or musician disappears into a studio to contrive an album-length mystery, the ghost of Wilson is hovering near." Cahiers du Cin%C3%A9ma Cahiers du Cinéma ( French pronunciation: [kaje dy sinema] , lit.   ' notebooks on cinema ' )

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1216-532: The reality of the studio system ". In 2013, Maria Giese critiqued the lack of American women who are considered to be within the pantheon of auteur directors. She argues that there is no shortage of non-American women directors that could be considered auteurs, and lists Andrea Arnold , Jane Campion , Liliana Cavani , Claire Denis , Marleen Gorris , Agnieszka Holland , Lynne Ramsay , Agnes Varda, and Lina Wertmuller as being among them, but goes on to say that women are rarely afforded financing for films in

1254-419: The recording process with the most painful attention to detail, and released the result on his own label. Another early pop music auteur was Brian Wilson , mentored by Spector. In 1962, Wilson's band, the Beach Boys , signed to Capitol Records and swiftly became a commercial success, whereby Wilson was an early recording artist who was also an entrepreneurial producer. Before the " progressive pop " of

1292-494: The return of Godard to Paris in 1956 (who in the interim had made a short film himself), many of the younger critics became interested in making films themselves. Godard, Truffaut, Chabrol, Doniol-Valcroze, and even Rohmer, who had officially succeeded Doniol-Valcroze as head editor in 1958, began to divide their time between making films and writing about them. The films that these critics made were experimental explorations of various theoretical, artistic, and ideological aspects of

1330-401: The screenwriter as the film's principal author, Kipen coined the term Schreiber theory . To film historian Georges Sadoul , a film's main "author" can also be an actor, screenwriter, producer, or novel's author, although a film is a collective's work. Film historian Aljean Harmetz , citing classical Hollywood's input by producers and executives, held that auteur theory "collapses against

1368-576: The script, merely adapt a literary novel. Truffaut described such a director as a metteur en scene , a mere "stager" who adds the performers and pictures. To represent the view that directors who express their personality in their work make better films, Truffaut coined the phrase "la politique des auteurs", or "the policy of the authors". He named eight writer-directors, Jean Renoir , Robert Bresson , Jean Cocteau , Jacques Becker , Abel Gance , Max Ophüls , Jacques Tati , and Roger Leenhardt , as examples of these "authors". Jerry Lewis , an actor from

1406-441: The traditional readership of the magazine. Le Monde took full editorial control of the magazine in 2003, appointing Jean-Michel Frodon as editor-in-chief. In February 2009, Cahiers was acquired from Le Monde by Richard Schlagman, also owner of Phaidon Press , a worldwide publishing group which specialises in books on the visual arts. In July 2009, Stéphane Delorme and Jean-Philippe Tessé were promoted respectively to

1444-422: The various younger, less-established critics, had met and shared their beliefs about film through their involvement in the publication of Revue du Cinéma from 1946 until its final issue in 1948; Cahiers was created as a successor to this earlier magazine. Early issues of Cahiers were small journals of thirty pages which bore minimalist covers, distinctive for their lack of headlines in favor of film stills on

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