Akira Kurosawa and Robert Zemeckis Essay -- essays papers

Akira Kurosawa and Robert Zemeckis As the term suggests, an auteur is an author, some nonpareil whose aesthetic sensibilities and impact are most authorised in the creation of a text. With literary texts, discerning composing is commonly no problem. But with collaborative art forms, such as subscribe to, decision making on authorship is lots more complicated. Gener everyy speaking, film theorists relieve oneself concluded that it is the director of a film who is the auteur, the most important seminal figure.But auteur theory is interested with more that one film it is concerned with the work of a director with his or her whole corpus of films, and with reliable dominant themes and stylistic aspects of these films. The text in auteur criticism is not one film, but the body of work of the director. Although both Akira Kurosawa and Robert Zemeckis extradite do many an(prenominal) successful films on that point is a distinct difference in the filmmakers works. The aut horship of the film is what creates the distinction between Kurosawa and Zemeckis films. Examining authorship is a challenge critics and writers have been attempting to do it for years. The most comprehensive definition that I have set up is the one quoted above from Bergers Cultural unfavorable judgment. In non-technical language, authorship is looked upon as an unknown distinct element that one of the films rove or crew brings to it. Always changing, this unknown element may be derived from, an actor, director, editor or even a cinematographer. In the past thither have been two distinctions made by critics regarding authorship. There is the claim that there is an elitist group of filmmakers who have a distinct definable quality to all of their films regardless of whether they are considered good or bad quality films. In essence, the caliber of the film itself seems to be irrelevant to the theory. This group is categorized chthonian the much sought after term of auteur. This said, a bad film made by an auteur is alleged to better than the best film made by a metteur en scene. This brings us to the idea of what can be considered when examining a metteur en scene. The definition seems to take on exactly the opposite quality than that of an auteur. A metteur en scene may make sightly or even good films, but there seems to be a link missing when comparing all their works as a whole. When regarding the works of an Auteur, we must examine their films as a... ...e is how he creates his film much of this is the level of control that a director exercises upon his body of work.Throughout Kurosawas career, he worked hard to repeatedly present the themes, which were important to him. This is not always the content in Zemeckis films, as we do not see Zemeckis using the alike themes consistently throughout his works. Using subjectivity, Kurosawa was able to bring the audience into the minds and black Maria of the characters involved. Thus, Akira Kurosawas work is clearly superior to directors who presented their stories more objectively. BibliographyWorks CitedBerger, Arthur Asa. Cultural Criticism A Primer of Key Concepts. London SAGE Publications, 1995Mackinnon, Gillies. Haunting visions. collection & Sound ns 4 (1994) 61Peary, Gerald. Akira Kurosawa Japans existential cowboy looks West and thinks easternmost American Film v. 14 (1989) 80-82 Ritchie, Donald. The Films Of Akira Kurosawa Third Edition. Los Angeles University of California Press, 1998Saynor, James. Accidental Auteur, lot & Sound v.3 (1993) 4-8Seltzer, Alex. Akira Kurosawa seeing through the eyes of the audience. Film Comment v. 29 (1993) 72-77