The definition of an auteur has been debated since the 1940s. Auteur Theory is Concept used in the 1960s by different directors of the French Nouvelle Vague (New Film French Movement). The approach soon found a home in the UK than the USA. An auteur is a singular artist who controls all aspects of a collaborative creative work, a person equivalent to the author of a novel or a play and he can use lighting, camerawork, staging, and editing to add to their vision. Which means a director must accomplish technical competence in his or her technique. The Cahiers critics applied the theory to directors like Alfred Hitchcock and Howard Hawks who had previously been seen as merely excellent craftsmen but had never been taken seriously as artists. By uncovering the complex depths in the work of directors like these, the young writers broke new ground, not only in the way a film was understood but in how cinema itself was perceived.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 that is the writer of the screenplay.
Roger Leenhardt and André Bazin presented the theory that it is the director that brings the film to life and uses the film to express their thoughts and feelings about the subject matter as well as a worldview as an auteur.The auteur theory, which was resultant 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 that is the writer of the screenplayRear Window (1954)After the idea of the director as the author was articulated, later directors more frequently began to create more self-consciously personal and self-referential works. While a figure like Hitchcock can be identified as an auteur because his personality emerges in all of his films despite the fact that they are telling stories that are not specific to him, a filmmaker like Federico Fellini would create films that not only bore marks of his interests and personality in recurrent images and themes, but explicitly reflected his own life. While the Italian filmmaker’s early works introduced many of his interests (like his obsessions with Catholicism, performance, and big-breasted women and his theatrical sensibility), as his career progressed, the writer-director delved ever deeper into his own unconscious and his films took an increasing turn for the surreal and carnivalesque. While a large part of what makes Fellini a representative auteur is the way his work was so specifically a product of his own personality and worldview, an even stronger reason for the application of the title is the fact that, despite the radical ways in which his style evolved, a Fellini film is always singular and instantly recognizable.