Written and prepared for JRMC 8240, a graduate elective at the University of Georgia
Auteur theory, a highly coveted title in regards to film, suggests that a film director is the primary ‘author’ of a film and that their individual creative vision and style are reflected in their work. According to the National Film Institute’s definition of ‘auteur theory,’ this concept includes three requirements: technical skill, distinctive personality, and interior meaning (National Film Institute, n.d.).
Beyond filmmaking and television, many directors work on advertisements and music videos to expand their repertoire. Usually only a few minutes in length, the stars themselves of these shorts are either the musical artist or a brand/product. Several argued modern-day ‘auteurs’ have been involved in such projects over the past few decades. If a director’s signature style and thematic recurrences can be seen across their bodies of work, regardless of the script or genre of the film, what about the medium itself? Can any type of motion picture, no matter the purpose or length, be legitimately categorized under auteur theory?
A closer look at different directors with particular styles will determine if ‘auteur theory’ expands beyond the big screen, or if thematic and visual similarities are merely coincidence, and what it means in terms of future characterization.
Martin Scorsese
Martin Scorsese is a legendary filmmaker known for his distinctive visual style, his love of cinema, and his exploration of themes related to the human condition. Over his five-decade career, Scorsese has created some of the most iconic films in cinematic history, and his work has had a profound influence on generations of filmmakers. Scorsese’s early films, like “Taxi Driver,” explore the seedy underbelly of New York City and the struggles of marginalized people trying to find their place in the world. These films are characterized by their raw, gritty style and intense performances, and they helped establish Scorsese as a master of urban filmmaking. In the 1980s, Scorsese expanded his skillset with films like “Raging Bull” which showcase his ability to tackle complex characters and explore the darker aspects of the human psyche. He also delved into period pieces, such as “Goodfellas,” which explore the worlds of organized crime and the complex relationships between power, loyalty, and violence. In the 21st century, Scorsese has continued to push boundaries with films like “Gangs of New York,” “The Departed,” and “The Wolf of Wall Street,” which tackle contemporary issues while still maintaining his signature style. Throughout his career, Scorsese’s films have been characterized by their visual flair, their complex characters, and their willingness to take risks and explore new ideas. His body of work stands as a testament to the power of cinema and the enduring influence of a true trailblazer (Durante, 2021).
So, is Scorese an auteur? As we’ve discussed in class, the title is quite prestigious and should be used sparingly. For the sake of this paper’s argument, we will just assume that he– and the others mentioned– are. Scorese, the veteran that he is, has experience with both music videos and luxury advertisements. He directed Michael Jackson’s “Bad” music video: released in 1987, an iconic and influential piece of pop culture. It signaled a departure from Jackson’s previous music videos, showcasing a more edgy and rebellious side of the artist– heavily aligning with Scorsese’s signature filmmaking style during the decade. The video follows the story of young man Daryl, who faces the struggle between hometown-roots loyalty and the desire to break out of his past environment’s conformity and start a better life. The video also features a striking aesthetic, with Scorsese’s signature visual style and cinematic approach. One of the most memorable moments of the video is the confrontation scene in a subway station, where Jackson engages in a dance-off with his former friends. This scene is symbolic of the struggle between personal growth and peer pressure, and it remains one of the most iconic dance sequences in music video history. “Bad” became an instant hit and the video’s success can be attributed to its powerful storytelling and demonstrated collaborative genius of Jackson and Scorsese, merging the worlds of music and cinema to create a groundbreaking visual experience (Mills, 2020).
Another visually striking work from Scorsese is Chanel’s Bleu de Chanel commercial from 2010. The men’s fragrance ad stands out in the industry for its cinematic quality and its ability to evoke a sense of mystery, sophistication, and allure. A voice-over narration by French actor Gaspard Ulliel accompanies the sequence, expressing thoughts on the unpredictable nature of life, freedom, and the pursuit of one’s desires. Throughout the advertisement, there are shots featuring Ulliel moving through various settings, including an opulent theater, a dimly lit bar, and a rooftop at night, all while maintaining an air of confidence and intrigue (YouTube, 2010). These settings create a sense of glamor and sophistication, aligning with the image the brand seeks to convey. Scorsese’s directorial style shines through, as the commercial incorporates his signature visual flair, attention to detail, and mastery of storytelling. It utilizes Scorsese’s expertise in creating captivating narratives. This ad was created in 2010, the same year that Scorsese directed Boardwalk Empire (HBO’s slick, Prohibition-era political gangster drama) and only three years before The Wolf of Wall Street, arguably Scorsese’s most hedonistic work, also showcasing the pursuit of one’s desires.
Ava DuVernay
As an auteur filmmaker, Ava DuVernay has developed a distinctive filmmaking style that is characterized by her commitment to social justice, her focus on marginalized communities, and her skillful storytelling techniques. Her films often tackle important social issues and shed light on the experiences of African Americans and other underrepresented groups. One of DuVernay’s notable strengths is her ability to humanize her characters and provide nuanced portrayals that go beyond stereotypes. She delves deep into their emotions and motivations, allowing audiences to connect with and understand their struggles. Her emphasis on character development and empathy is a prominent aspect of her filmmaking style (Ward, 2017).
DuVernay also pays meticulous attention to visual aesthetics and utilizes powerful imagery to convey her narratives. Her cinematography and shot composition often evoke a sense of intimacy and capture the essence of her characters’ journeys. She also uses visual motifs and symbolism to enhance the thematic depth of her stories. This is prevalent in her sole music video directing credit, Jay-Z’s “Family Feud” featuring Beyonce. The video is a masterful collaboration between all three artists. DuVernay seamlessly weaves together themes of power, family, redemption, and societal struggles, utilizing striking visuals and a non-linear narrative structure (Stutz, 2017). The video stands as a testament to the artistic vision of its creators and invites viewers to reflect on their own relationships and responsibilities within their families and communities. Furthermore, “Family Feud” explores themes of feminism and gender equality, as Beyoncé plays a prominent role as a priestess and symbol of power. It aligns with both her and Beyoncé’s broader body of work, which often addresses social issues and encourages discussions on race, identity, and empowerment.
Spike Lee
Similar to DuVernay’s filmography, is the notorious Spike Lee’s. Overall, Spike Lee’s style as an auteur reflects his unwavering commitment to challenging societal norms, exploring the complexities of race and identity, and provoking meaningful dialogue through his thought-provoking storytelling and visually engaging approach (Von Zumwalt, 2019). As a storyteller, Lee’s films often reflect his personal perspective and social consciousness. He frequently incorporates elements of social commentary, satire, and political activism into his work. Lee also maintains a strong authorial presence through his on-screen appearances, often playing pivotal roles in his films and becoming an emblematic figure within his own storytelling. Lee’s career gained prominence with his breakout film, “She’s Gotta Have It” (1986), a low-budget independent feature that showcased his innovative storytelling techniques and marked him as a leading figure of the burgeoning independent film movement. The film introduces recurring themes in Lee’s work, such as identity, sexuality, and the complexities of African American experiences. His next infamous project, “Do The Right Thing” (1989), continues to explore racial tensions and social issues with an unflinching and confrontational approach reflective of the times.
Both films hold the test of time and many similarities can be traced back to the film from his 2022 Nike “Seen It All” commercial. One significant similarity is their exploration of racial tensions and the complexities of race relations in America. “She’s Gotta Have It” addresses themes of interracial relationships and challenges societal norms and expectations surrounding sexuality and identity. “Do the Right Thing” delves into the simmering racial conflicts in a Brooklyn neighborhood, examining the frustrations and explosive confrontations that arise from racial divisions. Similarly, the Nike commercial touches on the impact of racial profiling and the experiences of Black athletes, highlighting the challenges they face and aiming to inspire resilience and determination in the face of adversity. Another shared characteristic is the presence of strong female characters. “She’s Gotta Have It” centers around Nola Darling, a confident and independent woman navigating her relationships and asserting her autonomy. Similarly, both “Do the Right Thing” and the Nike commercial feature women who exhibit strength and agency. In “Do the Right Thing,” characters like Mother Sister and Da Mayor have prominent roles, while the Nike commercial highlights the achievements and determination of female athletes. Stylistically, all three works showcase Spike Lee’s distinct visual flair and energetic storytelling. “She’s Gotta Have It” and “Do the Right Thing” employ vibrant colors, dynamic camera movements, and stylized compositions to create visually engaging and emotionally charged atmospheres. Similarly, the Nike commercial utilizes visually striking imagery, fast-paced editing techniques, and strong visuals to convey power, passion, and determination (Williams, 2022). Overall, the similarities between “She’s Gotta Have It,” “Do the Right Thing,” and the Nike’s “Seen It All” commercial lie in their exploration of racial tensions, the presence of strong female characters, Lee’s distinct visual style, and his dedication to addressing social issues. Even after 30 years of time difference, these works collectively exemplify Spike Lee’s storytelling approach, his artistic sensibilities, and his commitment to using his platform to provoke thought and inspire positive change.
Wes Anderson
Another modern-day auteur, Wes Anderson arguably reigns supreme over recognizable aesthetics. His big hits– Moonrise Kingdom, Fantastic Mr. Fox, The Royal Tenenbaums, and The Grand Budapest Hotel– combine animation, reality, vivid color palettes and comedic timing to define his style (National Film Institute, n.d.). Anderson’s quirks and characteristics are also apparent in his work for Prada in 2013. The collaboration resulted in three short films directed by Anderson to promote the luxury label’s latest fragrance line: “Candy,” “Candy L’eau,” and “Candy Florale.” Each film showcased Anderson’s signature aesthetic and storytelling approach, capturing the whimsical and idiosyncratic tone for which he is known. The films starred French actress Léa Seydoux as the protagonist, embodying the character of Candy, a playful and charismatic woman. Set against stylized and meticulously designed backgrounds, the films presented Candy’s vibrant and imaginative world (Wonderland Magazine, 2013). Anderson’s collaboration with Prada Candy highlighted his ability to create visually captivating narratives with meticulous attention to detail. The films incorporated Anderson’s recognizable color palettes, precise framing, and symmetrical compositions, creating a whimsical and slightly surreal atmosphere. Furthermore, the collaboration between Wes Anderson and Prada Candy showcased the blending of the fashion and film worlds, with Anderson infusing his distinctive cinematic storytelling into the fragrance campaign. The films captured the essence of Prada Candy, offering a visually stunning and engaging experience that aligned with the brand’s unique identity.
Agnes Varda
One of the first-ever cinematic auteurs, Agnes Varda was an infamous French filmmaker and pioneer of the French New Wave movement. She became known for incorporating personal experiences, memories, and reflections into her films. She had a poetic sensibility, exploring emotions, human connections, and the complexity of everyday life (Brody, 2019). In 2015, Varda collaborated with fashion label Miu Miu for a short film, entitled “Les 3 Boutons.” The short is a whimsical and imaginative short film that combines Varda’s artistic sensibilities with Miu Miu’s fashion aesthetics. The film features a playful and surrealist narrative centered around three young women who discover a magical button. As they explore its powers, they encounter unexpected and fantastical situations. The film captures Varda’s distinctive style, characterized by her poetic storytelling and attention to human emotions and relationships. She infuses the short film with her trademark blend of humor, surrealism, and social commentary (Hollwedel, 2015). Much like Wes Anderson’s work for Prada, the collaboration between Agnes Varda and Miu Miu also represents the merging of art and fashion, bringing together Varda’s distinct filmmaking style with Miu Miu’s brand identity. It resulted in a unique and visually captivating short film that offered viewers a glimpse into both Varda’s artistic vision and Miu Miu’s fashion sensibilities.
David Lynch
David Lynch, the renowned American filmmaker known for his surreal and enigmatic storytelling, has also directed several music videos throughout his career. His “Lynchian” films make distinctive use of surrealism, symbolism, atmospheric soundscapes, subversion of expectations, and exploration of dark and subconscious themes (Hellerman, 2021). Lynch’s music videos often exhibit a dreamlike quality and surrealistic elements– similar to his filmography. He creates strange and unsettling atmospheres, blurring the line between reality and the subconscious. Just like his feature films “Mulholland Drive” and “Blue Velvet,” these qualities are evident as well in music videos like “Crazy Clown Time” for David Lynch himself or “Wicked Game” for Chris Isaak.
Not only does Lynch have experience in music videos, but he has directed two notable commercials: Adidas “The Wall” from 1993 and Yves Saint Laurent’s Opium Parfum from 1991. While both commercials were directed by Lynch, they showcase his distinct style and approach to storytelling in different ways. “The Wall” features a surreal and dreamlike narrative set in a dystopian world. It follows a young woman, played by Madonna, who embarks on a mysterious and adventurous journey. The commercial incorporates elements of mystery, symbolism, and unconventional visuals that are characteristic of Lynch’s style. Lynch brings his unique storytelling techniques to create an atmosphere that captures both the energy of sports and the enigmatic quality of his films (Dunne, 2019). YSL’s Opium Parfum, on the other hand, has been described as ‘strange’ by some critics and ‘sexy’ by others. It showcases Lynch’s penchant for evoking sensuality and mystery. The commercial features a mesmerizing and seductive sequence of a woman applying the perfume while surrounded by vivid colors and luxurious settings. Lynch’s direction creates an alluring and ethereal atmosphere that reflects the allure and sophistication of the fragrance itself. The commercial employs his signature visual style and attention to detail, creating a captivating sensory experience (Anders, 2014).
Conclusion
Both formerly mentioned commercials were released during Lynch’s illustrious career as a filmmaker, where he had already established himself as a master of surreal and atmospheric storytelling. The opportunity to direct these commercials allowed him to apply his artistic vision to a different medium, showcasing his versatility as a director. This seems to be a common pattern with the auteurs– opportunity for expansion while retaining person style. It would be interesting to research the crossover between filmmakers and the advertising and music video industries, as well as others. Spike Lee, for example, also worked on the 2015 video game “NBA 2K16.” Wes Anderson and Agnes Varda proved that symbiosis between brands and filmmakers can be achieved through the seamless meshing of visual storytelling. While it may not always be foolproof, these examples are beyond the realm of coincidence. Auteur theory can in fact transcend filmmaking and attract recognition in a variety of mediums.
References
Anders, C. (2014, February 12). The most unsettling perfume ads, including two directed by David Lynch. Retrieved from https://gizmodo.com/the-most-unsettling-perfume-ads-including-two-directed-1540780530
Brody, R. (2019, March 29). Agnès Varda’s radically personal films. The New Yorker. Retrieved from https://www.newyorker.com/culture/postscript/agnes-vardas-radically-personal-films
Crow, J. (2014, January 6). David Lynch’s literary perfume ads: Dune, Lolita, and Kafka. Retrieved from https://www.openculture.com/2014/01/david-lynchs-literary-perfume-ads.html
Dunne, B. (2019, April 15). David Lynch directs Adidas’ latest Original Is Never Finished film. Retrieved from https://www.complex.com/sneakers/david-lynch-adidas-the-wall-commercial
Durante, D. (2021). Revitalizing Auteur Theory Through Martin Scorsese. Retrieved from http://purl.flvc.org/fsu/fd/FSU_libsubv1_scholarship_submission_1618510554_cf0c6b6c
Hellerman, J. (2021). David Lynch: Auteur. Retrieved from https://nofilmschool.com/david-lynch-auteur
Hollwedel, Z. (2015, October 2). Watch Agnès Varda’s new short film, “Les 3 boutons” [Video]. Retrieved from https://www.indiewire.com/news/general-news/watch-agnes-vardas-new-short-film-les-3-boutons-260234/
Mills, T. (2020). When Martin Scorsese directed Michael Jackson in the 18-minute “Bad” music video: A paid cinematic tribute to “West Side Story” (1986). Retrieved from https://www.openculture.com/2020/12/when-martin-scorsese-directed-michael-jackson-in-the-18-minute-bad-music-video-paid-cinematic-tribute-to-west-side-story-1986.html
National Film Institute. (n.d.). Auteur theory. Retrieved from https://www.nfi.edu/auteur-theory/
Stutz, C. (2017, December 29). Jay-Z drops star-studded “Family Feud” music video featuring Beyoncé and Blue Ivy. Retrieved from https://www.billboard.com/music/rb-hip-hop/jay-z-family-feud-ava-duvernay-beyonce-blue-ivy-video-8085603/
Von Zumwalt, N. (2019). A portrait of the artist as a teacher: Spike Lee. Retrieved from https://tisch.nyu.edu/tisch-research-news-events/news/a-portrait-of-the-artist-as-a-teacher-spike-lee
Ward, J. (2017, December). Ava DuVernay: A visionary filmmaker reshaping Hollywood. Smithsonian Magazine. Retrieved from https://www.smithsonianmag.com/arts-culture/ava-duvernay-visionary-filmmaking-reshaping-hollywood-180967217/
Wonderland Magazine. (2013, March 26). Fashion film: The first Prada Candy ad directed by Wes Anderson. Retrieved from https://www.wonderlandmagazine.com/2013/03/26/fashion-film-the-first-prada-candy-ad-directed-by-wes-anderson/
KATIE PLOWMAN 