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Dedication | |
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Acknowledgments | |
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Figures and Captions | |
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Preface: How to Use this Book | |
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Introduction | |
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Classic Auteur Theory: Introduction | |
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A Certain Tendency of the French Cinema (1954) | |
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La Politique des Auteurs (1957) | |
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Films, Directors and Auteurs (1962) | |
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Notes on the Auteur Theory in 1962 (1962) | |
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Circles and Squares (1963) | |
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The Auteur Theory (1969) (excerpt) | |
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Direction and Authorship (1972) (excerpt) | |
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Ideas of Authorship (1973) | |
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Ideology, Genre, Auteur (1977) | |
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Bibliography | |
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The Contexts of Authorship: Introduction | |
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The Death of the Author (1968) | |
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The English Cine-Structuralists (1973) | |
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Alternatives to Auteurs (1973) | |
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Women's Cinema as Counter-Cinema (1973) | |
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Refocusing Authorship in Women's Cinema (2003) | |
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The Men with the Movie Cameras (1972) | |
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Notes on a Screenwriter's Theory, 1973 (1974) | |
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Who Makes the Movies? (1976) | |
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Script/Performance/Text: Performance Theory and Auteur Theory (1978) | |
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Studio Authorship (2006) (excerpt) | |
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The Producer as Auteur (2006) | |
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Authorship, Design, and Execution (1987) | |
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Bibliography | |
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Close Readings: Introduction | |
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Hitchcock's Imagery and Art (1977) | |
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John Ford's Young Mr. Lincoln (1970) | |
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Towards an Analysis of the Sirkian System (1972) | |
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My Name is Joseph H. Lewis (1983) | |
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Authorship as a Commodity: The Art Cinema and The Cabinet of Dr.Caligari (1984) | |
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The Place of Women in the Cinema of Raoul Walsh (1974) | |
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Female Authorship Reconsidered (The Case of Dorothy Arzner) (1990) | |
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Man's Favorite Sport?: The Action Films of Kathryn Bigelow (2004) | |
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Todd Haynes and Queer Authorship (2006) | |
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Twoness' in the Style of Oscar Micheaux (1993) | |
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Spike's Joint (1998) (excerpt) | |
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Bibliography | |