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QUESTION

First, read Chapter Two, "The Auteur Theory," from Signs and Meaning in the Cinema by Peter Wollen, found immediately below (or after) this assignment on the course "Home" web page. Take notes on the

First, read Chapter Two, "The Auteur Theory," from Signs and Meaning in the Cinema by Peter Wollen, found immediately below (or after) this assignment on the course "Home" web page. Take notes on the reading, so to fulfill the second and third parts of this question (immediately following). 

Second, define Auteur Theory. What role does it see as the director's in the making of films? Why is it best applied to the analysis of an entire body of work rather than an individual film?

Third, briefly summarize Wollen's comparison and contrast of the heroes in the works of Howard Hawks and John Ford and their characterization of women. Consider this an application of the theory.

Fourth, using this approach, view one film below and any other two additional ones by the same Director (for a total of three). While watching them, look for common themes and trademark (cinematic) techniques for the treatment (depiction, handling, etc.) of the material. Through these, express the Director's "artistic vision."  

Death of a Bureaucrat / La muerte de un burocrata (Cuba, 1966) Dir., Tomas Gutierrez Alea

Women on the Verge of a Nervous Breakdown / Mujeres al borde de un ataque de nervious (Spain, 1988) Dir.,  Pedro Almodóvar

Through a Glass Darkly / Såsom i en spegel (Sweden, 1961) Dir., Ingmar Bergman

Oasis / Oasiseu (South Korea, 2002) Dir., Chang-dong Lee 

The Color of Paradise / Rang-e khoda (Iran, 1998) Dir., Majid Majidi 

The Girl Who Sold the Sun / La petite vendeuse de soleil (Senegal, 1999) Dir., Djibril Diop Mambéty

1947 Earth (India, 1998) Dir., Deepa Mehta

The Wild Child / L'enfant sauvage (France, 1970) Dir., Francois Truffaut 

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