Barry Keith Grant is Professor of Communication, Popular Culture, and Film at Brock University. He is the author or editor of more than a dozen books, including Film Genre: From Iconography to Ideology, Film Genre Reader, The Dread of Difference: Gender and the Horror Film, Five Films by Frederick Wiseman, Voyages of Discovery: The Cinema of Frederick Wiseman and Documenting the Documentary: Close Readings of Documentary Film and Video.

"This book is a classroom. One hopes that by reading it, eager young cinephiles may pass through words into the true life of the screen." (Quarterly Review, December 2009) "Presents an arresting, thoughtful procession of ideas about who makes a movie." Afterimage"The question of authorship in cinema remains a crucial area of debate. Barry Keith Grant's excellent reader, which brings together most of the important French, British and American material, looks set to become a required text on the subject." Jim Hillier, University of Reading, England  "Without doubt the best collection available on film authorship, which remains the single most challenging issue in film studies and the abiding mystery of cinema. From the groundbreaking polemics of the 1950s and ‘60s to cutting-edge analyses by top contemporary scholars, Auteurs and Authorship examines this endlessly salient topic in a remarkable array of essays that, taken together, provide the most comprehensive, in-depth treatment available." Tom Schatz, University of Texas, Austin  “Deep and fulfilling examination of the theory ... [and] inclusion of virtually every valuable essay on cinema auteurism makes [it] an indispensable book.” RogueCinema.com

• List of Illustrations viiPreface: How to Use This Book xiAcknowledgments xiiiIntroduction 1Part I: Classic Auteur Theory 71 A Certain Tendency of the French Cinema (1954)François Truffaut 92 De la Politique des Auteurs (1957)André Bazin 193 Films, Directors and Critics (1962)Ian Cameron 294 Notes on the Auteur Theory in 1962 (1962)Andrew Sarris 355 Circles and Squares (1963) (excerpt)Pauline Kael 466 The Auteur Theory (1969) (excerpt)Peter Wollen 557 Direction and Authorship (1972) (excerpt)V.F. Perkins 658 Ideas of Authorship (1973)Edward Buscombe 769 Ideology, Genre, Auteur (1977)Robin Wood 84Further Reading 93Part II: The Contexts of Authorship 9510 The Death of the Author (1968)Roland Barthes 9711 The English Cine-Structuralists (1973)Charles W. Eckert 10112 Alternatives to Auteurs (1973)Graham Petrie 11013 Women’s Cinema as Counter-Cinema (1973)Claire Johnston 11914 Refocusing Authorship in Women’s Filmmaking (2003)Angela Martin 12715 The Men with the Movie Cameras (1972)Richard Koszarski 13516 Notes on a Screenwriter’s Theory 1973 (1974)Richard Corliss 14017 Who Makes the Movies? (1976)Gore Vidal 14818 Script/Performance/Text: Performance Theory and Auteur Theory (1978)Peter Lehman 15819 Studio Authorship, Corporate Art (2006)Jerome Christensen 16720 The Producer as Auteur (2006)Matthew Bernstein 18021 Authorship, Design, and Execution (1987)Bruce Kawin 190Further Reading 200Part III: Close Readings 20122 Hitchcock’s Imagery and Art (1977)Maurice Yacowar 20323 John Ford’s Young Mr Lincoln (1970) (excerpt)Editors of Cahiers du Cinéma 21224 Towards an Analysis of the Sirkian System (1972)Paul Willemen 22825 My Name is Joseph H. Lewis (1983)Paul Kerr 23426 Authorship as a Commodity: The Art Cinema and The Cabinet of Dr Caligari (1984)Michael Budd 24927 The Place of Women in the Cinema of Raoul Walsh (1974)Pam Cook and Claire Johnston 25528 Female Authorship Reconsidered (The Case of Dorothy Arzner) (1990) (excerpt)Judith Mayne 26329 Man’s Favorite Sport?: The Action Films of Kathryn Bigelow (2004)Barry Keith Grant 28030 Authorship and New Queer Cinema: The Case of Todd Haynes (2006)Michael DeAngelis 29231 Twoness and the Film Style of Oscar Micheaux (1993)J. Ronald Green 30432 Spike’s Joint (1998) (excerpt)S. Craig Watkins 317Further Reading 323