Auteur Theory

In film criticism, auteur theory holds that a film reflects the director's personal Creative Vision, as if they were the primary "auteur" (the French word for "author"). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process... Starting in the 1960s, some film critics began criticising auteur theory's focus on the authorial role of the director. Pauline Kael and Sarris feuded in the pages of The New Yorker and various film magazines.[5][6] One reason for the backlash is the collaborative aspect of shooting a film, and in the theory's privileging of the role of the director (whose name, at times, has become more important than the movie itself). In Kael's review of Citizen Kane, a classic film for the auteur model, she points out how the film made extensive use of the distinctive talents of co-writer Herman J. Mankiewicz and cinematographer Gregg Toland... In 2006, David Kipen coined the term Schreiber Theory to refer to the theory of the screenwriter as the principal author of a film.

The auteur theory, which was derived largely from Astruc’s elucidation of the concept of caméra-stylo (“camera-pen”), holds that the director, who oversees all audio and visual elements of the motion picture, is more to be considered the “author” of the movie than is the writer of the screenplay. In other words, such fundamental visual elements as camera placement, blocking, lighting, and scene length, rather than plot line, convey the message of the film.

I think this is about creating Fractal Coherence through an infinite number of D and D decisions. And Agile Product Development lets the Product Manager Auteur create/maintain a Flow State that enables that Coherence.

Software Product Development:

Video Game model

  • Ultra-collaboration can be deadly in the game business,” Danny Bilson told at a press briefing in New York City recently. “One voice must lead.”
  • Some may argue that requiring programming knowledge from a potential video game auteur is too exclusionary, as many creative directors would be eliminated outright. For every one Will Wright, there are nine directors who have never written a single line of programming code. However, I would argue that if the same level of technical proficiency is expected from film auteurs, we must hold video game directors to this same standard.

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