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Journal articles on the topic 'Auteur theory'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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1

Karatay, Ali. "CINEMA OF MIYAZAKI AND AUTEUR THEORY." Idil Journal of Art and Language 4, no. 18 (October 20, 2015): 111–22. http://dx.doi.org/10.7816/idil-04-18-06.

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2

Conley, Robert. "The Auteur Theory: Tarantino’s Blood." Film Matters 5, no. 1 (March 1, 2014): 77–79. http://dx.doi.org/10.1386/fm.5.1.77_1.

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3

Silverman, Jason M. "Pseudepigraphy, Anonymity, and Auteur Theory." Religion and the Arts 15, no. 4 (2011): 520–55. http://dx.doi.org/10.1163/156852911x580810.

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AbstractOne of the striking features of Second Temple Judaism is the appearance of the phenomenon of pseudepigraphy. Intertwined with this phenomenon are the questions of authorship, fidelity to tradition, and the creative formation of new works. This paper attempts to bring to bear the debates on the “Auteur” in Film Studies to the understanding of authorial persona and voice in the Jewish writings of the Persian and Hellenistic Period. By focusing on a broader set of issues centered on creative production, this paper hopes to find new ways of viewing the old problems inherent in redaction theory.
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4

Ferrand, Nathalie. "L'abbé Prévost, auteur galant ?" Revue d'histoire littéraire de la France 113, no. 2 (2013): 279. http://dx.doi.org/10.3917/rhlf.132.0279.

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5

Andrews, David. "No Start, No End:Auteurism and the auteur theory." Film International 10, no. 6 (January 1, 2013): 37–55. http://dx.doi.org/10.1386/fiin.10.6.37_1.

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6

Borge, J. "Olympio Guilherme: Hollywood Actor, Auteur and Author." Luso-Brazilian Review 44, no. 1 (June 1, 2007): 158–76. http://dx.doi.org/10.1353/lbr.2007.0023.

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7

von Moltke, Johannes. "KlugeTube, or Auteur Television." Germanic Review: Literature, Culture, Theory 85, no. 4 (September 30, 2010): 368–72. http://dx.doi.org/10.1080/00168890.2010.516223.

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8

Séailles, André. "Mauriac, «l'inquiétant auteur de Destins»." Cahiers de l'Association internationale des études francaises 45, no. 1 (1993): 149–62. http://dx.doi.org/10.3406/caief.1993.1813.

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9

Menne, Jeff. "The Cinema of Defection: Auteur Theory and Institutional Life." Representations 114, no. 1 (2011): 36–64. http://dx.doi.org/10.1525/rep.2011.114.1.36.

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This essay identifies a genre of Hollywood film developed in certain peak years of poststudio reorientation, 1967–1974, the narratives of which might be deemed anticlassical for their tendency to depict protagonists—typically a defecting couple—as objects more than subjects. These films, significantly the work of those directors known as auteurs, can be taken as the aesthetic version of the New Left's political repudiation of institutional life.
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10

Hammond, Nicholas. "Pascal, auteur spirituel." French Studies 61, no. 2 (January 1, 2007): 223–24. http://dx.doi.org/10.1093/fs/knm004.

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11

Merritt, Bishetta D. "Bill Cosby: TV Auteur?" Journal of Popular Culture 24, no. 4 (March 1991): 89–102. http://dx.doi.org/10.1111/j.0022-3840.1991.2404_89.x.

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12

Guérin, Jean Yves. "Fortunes et infortunes d'un auteur heureux." Revue d'histoire littéraire de la France 110, no. 4 (2010): 771. http://dx.doi.org/10.3917/rhlf.104.0771.

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13

Montini, Chiara. "Bilinguisme et autotraduction à l’ œuvre dans l’ écriture de Samuel Beckett." Samuel Beckett Today / Aujourd’hui 30, no. 1 (March 9, 2018): 85–96. http://dx.doi.org/10.1163/18757405-03001006.

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Résumé L’ autotraduction dans l’ œuvre de Beckett témoigne de la tentative de miner la fonction auteur (Foucault, 1969) et le rôle de l’ original dans la littérature occidentale moderne. Censée effacer celui ‘qui parle’, non plus en tant qu’ auteur, mais en tant que “traducteur servile,” l’ autotraduction met en scène un ‘moi’ sans cesse changeant. En multipliant les ‘egos’ de l’ auteur, les langues, les références et les textes, l’ autotraduction permet d’ interroger la croyance en l’ unité de l’ origine et donc l’ aura (Benjamin, 1937) de l’ œuvre d’ art et de l’ auteur. Écriture et traduction finissent par se rencontrer : elles sont les deux têtes de Janus Bifrons. Grâce à l’ autotraduction Beckett représente ce qu’ il y a de paradoxal dans l’ écriture et dans le rapport du sujet au langage.
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14

Stiker-Métral, Charles-Olivier. "Saint-Évremond : un auteur pour happy few ?" Dix-septième siècle 283, no. 2 (2019): 251. http://dx.doi.org/10.3917/dss.192.0251.

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15

Brouillette, Sarah. "Creative labour and auteur authorship: readingSomers Town." Textual Practice 23, no. 5 (October 2009): 829–47. http://dx.doi.org/10.1080/09502360903169193.

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16

Nacher, Anna, and Filip Jankowski. "Re-writing histories of colonization in video games: the case of Elizabeth LaPensée." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (June 15, 2021): 123–41. http://dx.doi.org/10.14746/i.2021.38.08.

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The article is aimed at presentation of the case study in video games creation by Indigenous auteur and designer, Elizabeth LaPensée, which at the same time demonstrates how video games can both mediatize the process of re-writing history and decolonize popular imagination. The analysis of LaPensée’s three games: Invaders, Thunderbird Strikes, and When the Rivers Were Trails to some extent follows her own strategies of self-identification as Anishinabee (Ojibwe). Drawing upon reconfiguration of the auteur theory and the framework of ludostylistics by Astrid Ensslin, we also strive to demonstrate how the notion of a singular author is in fact grounded in collective and collaborative qualities of indigenous digital culture, including digital game design.
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17

Doherty, Annabelle. "A Cinematic Cultural Memory of Courtship, Weddings, Marriage, and Adultery in July Monarchy France through Heritage Films Claude Chabrol’s Madame Bovary, Jean-Paul Rappeneau’s The Horseman on the Roof, and Catherine Breillat’s The Last Mistress." Adaptation 12, no. 2 (December 14, 2018): 118–48. http://dx.doi.org/10.1093/adaptation/apy016.

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AbstractThrough the cinematic experience of heritage films’ historical reconstitutions, audiences may acquire a vivid cultural memory of prior eras, where the powerful corporeal effect of the cinematographic language stimulates a lived sensation of the past. Yet the recreations of heritage cinema are, at times, refracted through the lens of auteurism, impacting the historical realism and effect of authenticity and in the case of adaptations transforming the original source text. This article considers key French heritage films to depict the July Monarchy in France, investigating how different auteurs influence the films’ sensual audio-visual recreations and consequently spectators’ filmic experience. Former new wave auteur Claude Chabrol’s adaptation Madame Bovary (1991) and its recreation of 1830–1840s France is compared and contrasted with later-generation auteur Jean-Paul Rappeneau’s Le Hussard sur le toit/The Horseman on the Roof (1995) and younger-generation auteur Catherine Breillat’s Une vieille maîtresse/The Last Mistress (2007), exploring history via their unique authorial aesthetics and ideologies. The depiction of (semi-)fictional historical figures during events of the July Monarchy is analysed, in the films’ portraits of past landscapes, focusing on the intimate settings of courtship, weddings, marriage, and adultery during the reign of Louis Philippe I. The article examines the adaptation of Chabrol’s vision of Gustave Flaubert’s canonical 1857 work, together with Rappeneau’s interpretation of Jean Giono’s 1951 novel and Breillat’s recreation of Barbey d’Aurevilly’s 1851 text. It explores the cinematic cultural memory of the past potentially acquired by spectators through the embodied experience of each auteur’s powerful heritage adaptation.
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18

Coutau, Caroline. "L’éditeur et son auteur." A contrario 27, no. 2 (2018): 97. http://dx.doi.org/10.3917/aco.182.0097.

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19

Begley, Varun. "“One Right Guy to Another”: Howard Hawks and Auteur Theory Revisited." Camera Obscura: Feminism, Culture, and Media Studies 22, no. 1 (2007): 43–75. http://dx.doi.org/10.1215/02705346-2006-020.

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20

Desai, Arshad, and Suckjoon Jun. "Promoting an “Auteur Theory” for Young Scientists: Preserving Excitement and Creativity …" BioEssays 40, no. 11 (September 19, 2018): 1800147. http://dx.doi.org/10.1002/bies.201800147.

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21

Wiradian, Nadya. "Content Analysis of "27 Steps of May" (2018) Using Auteur Theory." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 156–60. http://dx.doi.org/10.37312/imoviccon.v2i1.69.

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Indonesian cinema has been evolving quite rapidly these past few years, many great movies that strive beyond commercial and quantity purposes have been brought into realization by many young rising filmmakers. Ravi Bharwani with his drama 27 Steps of May serves as one of the movies that best elaborate on Indonesia’s dynamic as its finest and most analyzed worthy. This case study is rich in semiotics and best showcases Bharwani’s preferred filmmaking style, making him an auteur in the making.
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22

Sabourin, Lise. "Dorrya Fahmy, George Sand auteur dramatique." Studi Francesi, no. 170 (LVII | II) (July 1, 2013): 474. http://dx.doi.org/10.4000/studifrancesi.3153.

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23

Bochenek-Franczakowa, Regina. "Nathalie Ferrand, L’abbé Prévost, auteur galant." Studi Francesi, no. 174 (LVIII | III) (November 1, 2014): 595–96. http://dx.doi.org/10.4000/studifrancesi.1159.

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24

Zakharia, Katia. "AL-WAHRĀNĪ, AUTEUR DE MAQĀMAS." Arabica 49, no. 4 (2002): 403–28. http://dx.doi.org/10.1163/15700580260375399.

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AbstractAuteur mineur, al-Wahrānī a laissé trois maqāmas (dont une en deux versions). L'étude de ces textes illustre la place et la fonction de l'inter-textualité dans les textes classiques, montrant notamment la difficulté que rencontre un auteur secondaire à assimiler les sources auxquelles il emprunte de manière à produire, malgré ces emprunts, un texte original. Cette étude permet également de montrer que l'adab , loin de l'auto-célébration figée qu'on lui impute parfois, est un espace vivace, en contact avec les réalités linguistiques et sociales du quotidien. Enfin, cet article illustre indirectement, par l'utilisation qu'il fait des bibliothèques virtuelles, l'intérêt pour le chercheur arabisant de ces nouvelles sources de documentation.
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25

Smith, Alison. "The Author and the Auteur: Jacques Rivette and Luigi Pirandello." Australian Journal of French Studies 47, no. 2 (May 2010): 184–95. http://dx.doi.org/10.3828/ajfs.47.2.184.

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26

Chambon, Jean-Pierre. "Daudé de Prades auteur de coblas." Revue des langues romanes, Tome CXXIII N°1 (June 1, 2019): 189–207. http://dx.doi.org/10.4000/rlr.1876.

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27

Kemperink, Mary. "Modellen en de self-fashioning van de auteur." Nederlandse Letterkunde 19, no. 3 (December 1, 2014): 277–99. http://dx.doi.org/10.5117/nedlet2014.3.kemp.

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Abstract Models and the Author’s Self-fashioning. Some Reflections and the Case of Mina KrusemanThis article explores the ways in which the concept of the ‘model’ can be used for research into the self-fashioning of literary authors. After reviewing the role of the concept in theoretical contributions dealing with the process of self-fashioning (Goffmann, Meizoz, Heinich), it raises some crucial methodological issues, such as (1) how can one discover the specific model an author has based his/her self-image upon? or (2) how can one account for the fact that an author belongs to different social fields, apart from the field of literature, and that these different fields can generate different types of models? Finally, the possibilities of the concept of the model are demonstrated by use of the case of Mina Kruseman.
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28

McClure, Ellen. "Le monde de La Fontaine : ?uvre sans auteur ?" Dix-septième siècle 258, no. 1 (2013): 65. http://dx.doi.org/10.3917/dss.131.0065.

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29

DORLEIJN, Gillis J., and Wiljan VAN DEN AKKER. "De zelfprofilering van Albert Verwey als modern auteur." Spiegel der Letteren 50, no. 4 (December 31, 2008): 433–61. http://dx.doi.org/10.2143/sdl.50.4.2033502.

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30

VAN ZOGGEL, Marc. "Literaire pseudonimiteit als samenspel van auteur en lezer." Spiegel der Letteren 51, no. 4 (December 31, 2009): 471–94. http://dx.doi.org/10.2143/sdl.51.4.2042712.

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31

Lan, Shindy. "Style of “the Pictorial Shakespeare”—— Auteur Theory Applying to Akira Kurosawa’s Work." Review of Educational Theory 1, no. 4 (December 4, 2018): 137. http://dx.doi.org/10.30564/ret.v1i4.340.

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By investigating the cinematography and thematic concerns of Akira Kurosawa’s work under the auteurist criteria, it can be argued that Kurosawa is an auteur whose work possesses three distinctive authorial signatures: the active involvement of nature, the strong sense of stage-performance, the editing on movement; and the consistent visual style has corresponding meaning concerning his personal experience and socio-historical circumstances.
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32

Goss, Brian Michael. "Steven Soderbergh's The Limey: Implications for the Auteur Theory and Industry Structure." Popular Communication 2, no. 4 (November 2004): 231–55. http://dx.doi.org/10.1207/s15405710pc0204_3.

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33

Diop, Cheikh Mouhamadou Soumoune. "Boubacar Boris Diop : auteur, traducteur et éditeur en wolof." Études françaises 55, no. 3 (2019): 109. http://dx.doi.org/10.7202/1066609ar.

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34

Armogathe, Jean-Robert. "Pascal, auteur classique : la révision du texte des Pensées." Dix-septième siècle 290, no. 1 (2021): 75. http://dx.doi.org/10.3917/dss.211.0075.

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35

Hébert, Sophie. "Les « écritures confuses » d’Henri Thomas : perspectives poétique, générique, génétique." Études littéraires 48, no. 1-2 (March 15, 2019): 87–102. http://dx.doi.org/10.7202/1057992ar.

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Les carnets d’Henri Thomas développent une poétique singulière et se révèlent supports d’écriture privilégiés chez celui qui fit de la traversée de l’espace sous toutes ses formes un mode d’être-au-monde particulier. Immédiates, succinctes, frappantes, fusées poétiques destinées à éclairer leur auteur sur lui-même, les notes carnettistes d’Henri Thomas sont autant d’autobiographèmes cherchant à devenir expression quintessenciée de toute expérience de vie. L’étude des carnets manuscrits de cet auteur encore trop méconnu permet d’entrer plus avant non seulement dans les mystères de la création littéraire, mais aussi dans le processus qui mène le manuscrit à la publication.
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36

Koblenkova, Diana Viktorovna, and Diana Viktorovna Koblenkova. "Theory of Marginality and the Cinemaof Postmodernism (P.P. Pasolini,R. Khamdamov, J. Stelling, L. von Trier)." Journal of Flm Arts and Film Studies 2, no. 2 (May 15, 2010): 98–121. http://dx.doi.org/10.17816/vgik2298-121.

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The paper analyses four «auteur» films: «Salo, or the 120 Days of Sodom» (P.P. Pasolini), «Anna Karamazoff» (R. Khamdamov), «De Wisselwachter» (J. Stelling), «Breaking the Waves» (L. von Tier) in the context of the postmodern theory of marginality.
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37

Saputra, Ellen Agustine. "KAJIAN STRUKTURAL DAN KOMPARATIF FILM BEFORE TRILOGY DAN BOYHOOD KARYA AUTEUR: RICHARD LINKLATER." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 01 (April 16, 2022): 10–26. http://dx.doi.org/10.33633/andharupa.v8i01.4654.

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The classic theory of authorship has sparked debate among academics, practitioners, and film critics for many years. In film education, the theory of auterism is widely discussed because it provides an interesting overview of film techniques and styles that is developed by an auteur. Richard Linklater is an auteur serving as director and screenwriter in many of his films. This study uses qualitative research methods with structural and comparative methods, where structural approach is used to deconstruct Richard Linklater’s film through the characters, themes, and visual styles (types of frames and camera movements). The comparative method is used to find similarities and differences in Before Trilogy and Boyhood, also to reveal Richard Linklater’s authorship style. To conclude the research, Richard Linklater is a collaborative auteur. In his experimental approach of filmmaking specificially in the making of Before Trilogy and Boyhood, Richard Linklater always worked collaboratively with actors or editors. The difference between Richard Linklater’s films can be seen through visual aspects of the film, on the contrary, in terms of narrative aspect, Before Trilogy and Boyhood do not have significant differences. Many similarities can be found throughout the narrative aspects of his films.
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38

Van Belle, Jono. "Re-conceptualizing Ingmar Bergman’s status as auteur du cinema." European Journal of Cultural Studies 22, no. 1 (July 26, 2017): 3–17. http://dx.doi.org/10.1177/1367549417718211.

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Why is it that some film directors become and remain central in the reception of their works and others do not? Classical auteur theory suggests the answer lies in the personality of the director. In this article, we explore and re-conceptualize the status of auteur du cinema Ingmar Bergman, Swedish film director. In line with Dyer’s gap between the institution and the audience, we explore Bergman’s self-fashioning through his own published writings and compare this to what was written about him in the Swedish press between 1944 and 1983, his most active years as a film director. The result is an analysis of dominant and alternative cultural discourses concerning Bergman’s authorship that facilitates an exploration into the corresponding interpretative strategies located in the audience. Here, Bergman’s status as popular celebrity in Sweden contributes to a paradoxical image – and recognition – of the high-art auteur, not in the least through his own myth-making.
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39

Rountree, Cathleen. "Auteur Film Directors as Contemporary Shamans." Jung Journal 2, no. 2 (April 2008): 123–34. http://dx.doi.org/10.1525/jung.2008.2.2.123.

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40

Chartier, Pierre. "« Je ne compose point, je ne suis point auteur... »." Recherches sur Diderot et sur l'Encyclopédie, no. 36 (June 1, 2004): 7–15. http://dx.doi.org/10.4000/rde.277.

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41

Griffiths, Richard, and Sabine Hillen. "Le Roman monologue: Montherlant auteur, narrateur, acteur." Modern Language Review 98, no. 4 (October 2003): 1001. http://dx.doi.org/10.2307/3737986.

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42

de Glas, Frank. "De uitgeversrol in het succes van een Nederlandstalig literair auteur." Nederlandse Letterkunde 24, no. 1 (March 1, 2019): 91–132. http://dx.doi.org/10.5117/nedlet2019.1.004.glas.

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43

González Menéndez, Lidia. "Lengua, escritura y arraigo en la obra de Kim Thúy." Çédille 10 (April 1, 2014): 181. http://dx.doi.org/10.21071/ced.v10i.5558.

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Québécoise d’adoption, vietnamienne d’origine, Kim Thúy envisage l’écriture comme un endroit d’enracinement face à l’exil. La protagoniste de Ru (2009), sa première publication, se reconstruit soi-même et construit sa relation avec autrui dans un récit autobiographique où le périple tragique des boat-people articule une chronique personnelle presque intimiste, qui ne met pas l’accent sur l’exil mais sur la renaissance et la réconciliation. Ecrite à deux mains avec Pascal Janovjac, auteur de nationalité suisse avec ascendance franco-slovaque, À toi (2011) est une création hybride mélangeant roman épistolaire et correspondance entre écrivains à travers un océan et six fuseaux horaires. Tout en représentant le nomadisme et l’exil des co-auteurs, cette œuvre donne du relief à l’enracinement et représente l´écriture comme la célébration des mots.
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LUNEAU, MARIE-PIER. "DE CUEILLEUR DE CERISES À ÉCRIVAIN." Étude 43, no. 3 (September 4, 2018): 93–111. http://dx.doi.org/10.7202/1051088ar.

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La question du premier roman a suscité ces dernières années l’intérêt des chercheurs, mais la figure du primo romancier n’a pas été abordée sous l’angle de sa notice biographique. Si les travaux des sociologues de la littérature tendent à faire reposer l’identité de l’écrivain sur des principes de singularité, qu’en est-il spécifiquement pour le primo romancier, nouvel entrant dans le champ littéraire ? Et comment l’éditeur parvient-il à faire valoir cet auteur en principe peu connu ? Pour répondre à ces questions, cet article analyse les notices biographiques de 169 auteurs ayant publié un premier roman dans les dix dernières années (2007-2016), telles que présentées sur les sites Internet de huit éditeurs québécois.
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45

Prassoloff, Annie. "Le statut juridique de la femme auteur." Romantisme 22, no. 77 (1992): 9–14. http://dx.doi.org/10.3406/roman.1992.6047.

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46

Rajotte, Pierre. "Les récits de voyage des années 1940." Dossier 41, no. 2 (July 5, 2016): 45–55. http://dx.doi.org/10.7202/1036935ar.

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Au cours des années 1940, la pratique du récit de voyage se renouvelle en accordant plus d’importance au regard personnel des auteurs et en préconisant une plus grande ouverture sur le monde. D’une part, les auteurs abandonnent peu à peu une approche essentiellement descriptive qui se limite à valider le discours et le savoir culturel convenus au sujet des lieux visités. Même les auteurs qui parcourent le Canada afin de faire la promotion d’une forme de tourisme intérieur — ou de « tourisme national », pour reprendre l’expression d’Édouard Montpetit (1940) — tentent de rapporter leur voyage d’une manière plus personnalisée. D’autre part, avec la guerre, la rhétorique essentiellement ethnocentrique et nationaliste qui caractérisait auparavant les récits de voyage à l’étranger laisse peu à peu place à plus de nuance et d’ouverture à l’égard de l’altérité des divers pays visités. À la limite, un discours anticolonialiste commence à poindre dans certains écrits. Ces modifications dans le discours et dans la façon de le diffuser, notamment par la radio, susciteront bientôt un intérêt nouveau pour la pratique du récit de voyage. À la fin des années 1940 et au début des années 1950, des écrivains comme Jacques Hébert (auteur de la série Aventures autour du monde, huit récits publiés de 1948 à 1953) et Alain Grandbois (à l’origine de l’émission radiophonique hebdomadaire « Visages du monde » de 1950 à 1952) s’emploieront à tenter de relire le monde en le parcourant. De plus en plus, les écrivains voyageurs partiront en quête d’inconnu, de dépaysement et de différence, et c’est à l’étude de cette approche que se consacre cet article.
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47

Wiraatmaja, Triastama. "Implementation of Auteur Theory in The Butler (2013): Race-Relationship between Whites and Blacks." JURNAL SATWIKA 2, no. 1 (November 12, 2018): 47. http://dx.doi.org/10.22219/js.v2i1.7021.

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The objectives of this study are to show the depiction of racism, which are followed by prejudice and discrimination towards black Americans based on context-relationship with The Butler (2013) during 1920s until 1960s. This article used a qualitative method with auteur theory, mise-en-scene and thick description. Based on The Butler (2013), this study show that racism, which were followed by prejudice and discrimination towards blacks, emerged caused by slavestereotyping which stressed blacks as inferior and whites that uphold white-supremacy concept, as superior. Apparently that through The Butler, Lee Daniels wants to highlight that actually public policies or government laws which regulate citizens’ civil rights and slavery are not adequate to restrain or eradicate racism towards blacks American.
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48

Wiraatmaja, Triastama. "Implementation of Auteur Theory in The Butler (2013): Race-Relationship between Whites and Blacks." JURNAL SATWIKA 2, no. 1 (November 12, 2018): 47. http://dx.doi.org/10.22219/satwika.vol2.no1.47-57.

Full text
Abstract:
The objectives of this study are to show the depiction of racism, which are followed by prejudice and discrimination towards black Americans based on context-relationship with The Butler (2013) during 1920s until 1960s. This article used a qualitative method with auteur theory, mise-en-scene and thick description. Based on The Butler (2013), this study show that racism, which were followed by prejudice and discrimination towards blacks, emerged caused by slavestereotyping which stressed blacks as inferior and whites that uphold white-supremacy concept, as superior. Apparently that through The Butler, Lee Daniels wants to highlight that actually public policies or government laws which regulate citizens’ civil rights and slavery are not adequate to restrain or eradicate racism towards blacks American.
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49

Wiraatmaja, Triastama. "Implementation of Auteur Theory in The Butler (2013): Race-Relationship between Whites and Blacks." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 2, no. 1 (November 12, 2018): 47–57. http://dx.doi.org/10.22219/satwika.v2i1.7021.

Full text
Abstract:
The objectives of this study are to show the depiction of racism, which are followed by prejudice and discrimination towards black Americans based on context-relationship with The Butler (2013) during 1920s until 1960s. This article used a qualitative method with auteur theory, mise-en-scene and thick description. Based on The Butler (2013), this study show that racism, which were followed by prejudice and discrimination towards blacks, emerged caused by slavestereotyping which stressed blacks as inferior and whites that uphold white-supremacy concept, as superior. Apparently that through The Butler, Lee Daniels wants to highlight that actually public policies or government laws which regulate citizens’ civil rights and slavery are not adequate to restrain or eradicate racism towards blacks American.
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50

González, Jesús Ángel. "A genre auteur?: Enrique Urbizu’s post-Western films." Hispanic Research Journal 18, no. 1 (January 2, 2017): 60–73. http://dx.doi.org/10.1080/14682737.2016.1254885.

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