http://tags.library.upenn.edu/tag/film+a PennTags Feed http://tags.library.upenn.edu/makerecord/project/4603 http://tags.library.upenn.edu/makerecord/project/4603 <p>Staples, Donald E. &quot;The Auteur Theory Re-examined&quot;. Cinema Journal, Vol. 6. (1966 - 1967): 1-7. </p><p>Donald Staples chronicles the development of the auteur theory in this article. Starting with the birth of auteur theory in the 1954 Cahiers du Cinima article by Frangoise Truffaut, in which Truffaut attempting to criticize .screen-writers. cinema., in which the creative process essentially ended once the screen-writer finished writing the script. From that point, a director merely put the writing on film without leaving a personal creative imprint on the film. As a result of Truffaut.s article, critics began to put emphasis on auteur theory when writing their reviews. It became necessary for a director to use the film as a way of inventing a personal aesthetic and for each film to demonstrate a step in the overall progression of the director.s creativity. The French New Wave is always closely associated with the concept of auteur theory. Director.s who were part of the movement often took control over the creative aspects of their film and oftentimes films by French New Wave directors are particularly distinct in style to the point where a director.s trademarks become recognizable. </p>