Penny Byrne
@pennybyrne
Penny Byrne
Fur-‐ thermore, notions of the experiential quality of spectatorship, which alternate between the realms of the symbolic and the affective, govern my analysis of Kubrick, whom critics lauded as being a “conductor” or “orchestrator” of the senses
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seminal
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Kubrick’s works are seminal (strongly influencing later developments)
auteur film theory followed on from the interest in mise-en-scène to concentrate on visual style—on the way in which films were composed and constructed for the viewer.
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Mise-en-scene-the way in which films were composed and constructed for the viewer. (a designer composes and constructs designs for the viewer) – Kubrick also did that, taking a semiotic of the everyday to set a feelling in a scene, so it is indirectly understood by the audience
This era, then, from the mid-1960s to the early 1970s, is the wellspring for the “New Hollywood,” an epoch that be-gins in 1975 and that is shot through with the concept of auteurism . As Mar-tin Scorsese remarked at that time, “Sarris and the ‘ politique des auteurs ’ was like some fresh air.”
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Mid-1960s to early 1970s. “New Hollywood”… politique des auteurs, was like some fresh air - Scorsese
movies were becoming the flashpoint for the nation’s culture wars and generational conflicts.
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Kauffman again, conflict influence
1966, one of the other leading film critics of the era, Stanley Kauffman, articulated his sense of the fact that motion pictures were reaching an entirely new level of cultural significance in the United States, by coining a descriptive term for the best and the brightest of American youth on college campuses by anointing them “the film... See more
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“The film generation”, 1966, Stanley Kauffman. Motion pictures were reaching an entirely new level of cultural significance. *It’s interesting that title sequences were getting more excitable at this time too.
Generally acknowledged as being introduced formally into the United States by the critic Andrew Sarris in 1962, the auteurist idea or the auteur theory was soon perceived as greatly inspirational to filmmakers and movie fans.
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Introduced to the U.S in 1962
“I argue, however, that the negotiated and collective author-ship is an almost unavoidable and determining reality in contemporary film/ television. . . . A systematic struggle over control still very much determines authorship, in some ways evoking the studio era.”
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The contemporary, ‘studio era’. Now it is all collective authorship and it is ‘almost unavoidable and determining reality in contemp film and tv
the question about creative control over the fi-nal film that reaches the screen
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is ‘at the heart of the question about the commercial art of the movies’