ABSTRACT
Auteurism, like many other features of cinema, is a matter of supply and demand.It is a way of both making and experiencing fi lms, and increasingly of selling them, in which the largest part of the control of the intellectual and creative work involved in the fi lmmaking process, or of the responsibility and credit for this, is actively taken up by or ascribed to the fi lm’s director. Contemporary auteurism comprises a complex series of interrelated fi lm production, marketing, and reception practices and discourses which are all underpinned by a shared belief in the specifi c capability of an individual agent-the director-to marshal and synthesize the multiple, and usually collective, elements of fi lmmaking for the purposes of individual expression, or to convey in some way a personal or, at least, “personalized” vision.1
