In film criticism, auteur theory holds that a film reflects the director's personal creative vision, as if they were the primary "auteur" (the French word for "author"). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
In law, the film is treated as a work of art, and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory.
Auteur theory has influenced film criticism since 1954, when it was advocated by film director and critic François Truffaut. This method of film analysis was originally associated with the French New Wave and the film critics who wrote for the French film review periodical Cahiers du Cinéma. Auteur theory was developed a few years later in the United States through the writings of The Village Voice critic Andrew Sarris. Sarris used auteur theory as a way to further the analysis of what he defines as serious work through the study of respected directors and their films.
Asti Spumante he's frozen orange
He is a good lad raised on the water
It's a little less tat then your council flat
it's a little less flat then your counil tat
When I was younger when I was nothing at all
Asti Spumante he's frozen orange
He is a good lad raised by a waiter
In a black bin liner in the boot of your car
Dump the leaves in Potters Bar
Your old Ford Zephyr ,your old Ford Zephyr
Won't start, start, start, start, start, start
They're making martyrs, English Tarmac
Why are you crying, are you a baby?
Never done nothing unless he was told
Never done nothing unless he was told
It's the best feeling in the world
Asti Spumante he's frozen orange
Asti Spumante he's frozen orange
Asti Spumante he's frozen orange