INDIEBLOCK
AUTEURS
‘Auteur theory’ first came from the French New Wave of the 40s-50s, where the film critics of Cahiers du Cinéma (a film review journal) coined the term. Auteur criticism denotes that “the director possesses conscious intentions and, perhaps, unacknowledged ideas, all of which combine to produce a film, and, eventually, a body of work.” *(p. 410) In other words, an auteur is a filmmaker / director who formulates a certain style that is embedded into and present in their body of work.
Studio-era auteurs such as Orson Welles and Alfred Hitchcock were so unique in their filmic styles that they garnered attention based purely on their personas. Hitchcock especially was celebrated as the “Master of Suspense”. His wonderful ability to utilize camera techniques and sound to shock and surprise the audience left them coming back for more.
Blockbuster auteurs such as George Lucas and Steven Spielberg are better known for larger-scale productions, exposing audiences to otherworldly characters and CGI lands. By capitalizing on book, comic and gaming franchises, blockbuster auteurs are generally characterised as “exploiting the economic potential of vertically and horizontally integrated film corporations in post-studio Hollywood, including product tie-ins and DVD sales” *(p. 411-412)
As you can see, auteurs are common to both independent and blockbuster films, however the style of filmmaking, the director’s persona and content are some of the factors that differentiate them.
For more information on auteurs, see our case studies on Baz Lurhman and Mekelle Mills.
ACTORS
Actors are just as important as auteurs when it comes to Indiewood films.
Stars - Hollywood actors in particular, since we are discussing Indiewood - are so “instrumental that they influence the economic viability of not just individual films but entire film industries”. *(p. 367) Not matter how prolific the actor; what Indiewood does is “[supply] attractive vehicles for existing star performers.” **(p. 6) This works well for independent filmmakers, as they are able to enlist star talent for their films without the pressure of having to pay them a huge amount of money. Indiewood brings an independent filmmaker’s work to life (through festivals like Sundance), thus exposing their artistic integrity and attracting famous actors to their work.
Another thing actors bring to Indiewood films is the prestige. Filmmakers and crew members may receive recognition for their work, however the post-publicity is not nearly as intense as that of an actor’s. If an actor wins for their performance in an independent / Indiewood film, than the prestige that comes with it definitely contributes to and supports the film, and thus, brings the film director / producer their well-deserved recognition.
“Film awards are presented as economically disinterested appraisals of artistic achievement, and to a large degree their significance resides in how they act as markers of value cut off from commercial interests. Yet, in this sector of the film market, prestige is never entirely separate from profit...awards are valuable resources which can be deployed in marketing media to generate audience interest and maybe ticket sales.” *(p. 360)
* Pramaggiore, M. & Wallis, T. (2012) “Film Authorship” and “Cinema as Industry: Economics and Technology” in Film: A Critical Introduction, Third Edition, Laurence King Publishing, London, UK, pp. 441
**King, G. (2009) Indiewood, USA: Where Hollywood Meets Independent Cinema (Vol. 2), IB Tauris, USA
Two key components of Indiewood are the ‘auteur’ and the ‘actor’.
They are both defining, common factors of independent and blockbuster cinema.
Written by Ezra May Aringay