Post-War European Films and the Concept of Auteur Essay

Post-War European Films and the Concept of Auteur - Essay ExampleThe essay Post-War European Films and the Concept of Auteur describes the opinion of the auteur, especially in the condition of post-war European cinema, from the packs of the Spanish director Almodovar. The paper also focuses on the different themes that can be found in the works of Almodovar, in order to pardon why the auteur is now an important p subterfuge of contemporary European cinema.There have been a lot of phylogenesiss in European cinema since the Second serviceman War ended. Some of the filmmakers in Europe in truth experimented with new ideas and concepts on how to make films, as well as on the very technique and manipulation of filmmaking 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 caught the a ttention 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 define this concept, especially in the context of post-war filmmaking in Europe. The word auteur is actually a French word, this word actually meaning 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 artist 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 vision (Truffauts manifesto La Politique des Auteurs n. p.). In this case, in the treatise of Truffaut, he actually argues that despite the involvement of film in an industrial or commercial process, wherein elements of the studio may heavily determine the outcome of the film but the possibleness of auteur still 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 accordi ng to the different characteristics and themes of the auteur, and wherein common themes of the auteur can actually be determine 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