Post-War European Films and the Concept of Auteur Essay

Post-War atomic number 63an Films and the Concept of Auteur - Essay ExampleThe raise Post-War European Films and the Concept of Auteur describes the seecept of the auteur, especially in the context of post-war European cinema, from the tears of the Spanish director Almodovar. The composition also focuses on the different themes that can be found in the works of Almodovar, in wander to explain why the auteur is now an important part of contemporary European cinema.There have been a lot of developments in European cinema since the Second World War ended. Some of the bourgeonmakers in Europe in reality experimented with new ideas and concepts on how to make films, as well as on the very technique and purpose of film reservation in itself. Some filmmakers experimented on social realism, while some also experimented in making magical realist, existentialist, psychological, and symbolic films. However, there is one particular development on post-war filmmaking in Europe that has cau ght the solicitude of the researcher, and this is the concept of auteur.In fact, many popular European filmmakers are actually categorized by scholars of film studies as an example of an auteur, and one of the most famous is the Spanish director and filmmaker Pedro Almodovar, the director of the films Matador, Hable con Ella, and Volver. In order to explain the importance of the concept of the auteur in European cinema, it is important first to jell this concept, especially in the context of post-war filmmaking in Europe. The word auteur is actually a French word, this word actually means the author.... According to film scholars, the concept of the auteur actually refers to the original idea of the French filmmaker Francois Truffaut (1932-1984), who in his manifesto The Policy of Auteurs, declared that Cinema as an art made by a filmic operative and not by a writer, wherein the filmic artist, or the filmmaker, is actually the auteur (Truffauts manifesto La Politique des Auteurs n. p.). In this case, then, the concept of the auteur actually emphasizes the role of the filmmaker (or the director in that case), in the creation of the film itself, wherein the film is actually a creative product of the auteur (the filmmaker) also, it then follows that films actually represent the filmmakers actual creative pot (Truffauts manifesto La Politique des Auteurs n. p.). In this case, in the treatise of Truffaut, he actually argues that despite the booking of film in an industrial or commercial process, wherein elements of the studio may heavily determine the event of the film but the theory of auteur hush up actually holds that the creative voice (or the creative elements) of the film still actually shines out, and this come from the artistic and creative viewpoint of the auteur (Truffauts manifesto La Politique des Auteurs n. p.). In this case, the theory of auteurism actually came out from this concept, wherein films can actually be analyzed or understood consor t to the different characteristics and themes of the auteur, and wherein common themes of the auteur can actually be identified with his works (Truffauts manifesto La Politique des Auteurs n. p.). In fact, the concept of the auteur actually contributed much to the development of post