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Auteur theory was articulated in the 1950s by French film critics, most notably by Francois Truffaut. ... The works of an auteur director are stamped by the personality and unique artistic vision of its creator, and are as recognisable and distinctive as the creators of any other work of art. In auteur films, it is the director who controls the artistic statement, takes credit for the film and is responsible for attracting the audience.
When auteur theory was being developed, Alfred Hitchcock was frequently acknowledged as the consummate exemplar, and his name evokes immediate expectations in terms of themes and techniques. ... Hitchcock was influenced by the German Expressionists, and admired their ability "to express ideas in purely visual terms" (Spoto 68). It is this visual expression of thought and psychology that Hitchcock achieves throughout his films. ... In a scene in Blackmail, Hitchcock uses a complex pattern of sound and dialogue based around the word knife to reflect feelings of guilt and in the The Thirty-Nine Steps there is a cut from a womans scream to the similar sound of a train whistle. ... This attribution of symbolic power to inanimate objects is another hallmark of Hitchcock: a bread knife (Blackmail), a key (Notorious). ... The specific psychology that is presented in the films, such as the fascination with wrongful accusation and imprisonment, is a significant part of the Hitchcock signature. ... Hitchcock also found visual expression for his themes in recurrent motifs that express his vision of the world: staircases (Strangers On A Train, Vertigo, Psycho), sinister houses (Psycho), chasms (Vertigo, North by Northwest) and National Landmarks (most obviously in North by Northwest which includes the United Nations Building and Mount Rushmore).
Approximate Word count = 1321
Approximate Pages = 5.3
(250 words per page double spaced)
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