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How can we define authorship in TV - Assignment Example

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Auteur can be compared to the author of a book or novel or the artist of a painting. One of its key components is the creative control that the filmmaker exercises in…
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How can we define authorship in TV
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How can we define hip in TV? How can we define hip in TV? Auteur is a French word for whichis used in cinema parlance to determine the creator of the film. Auteur can be compared to the author of a book or novel or the artist of a painting. One of its key components is the creative control that the filmmaker exercises in the creation of the film (Fast Pass TV 2009).
The purpose of Auteurism is to determine the author or maker of a film. Typically, authoriship of a film or TV program as in this case is assigned to the director and the auteur theory determines the competence of the director as a criterion of the film’s artistic value (Sarris 1962). Given this argument, it follows that the identification of the technical competence of the director would enable critic and viewers alike to determine the quality and artistic value of the TV program.
Auteurism however has been criticized in its application to film and TV show making because the creation of a film or show involves a lot of people in its production process that it would be difficult to say that a certain individual was solely responsible of the authorship or creation of the film (Moran 1999). Moreso, in a Hollywood setting where a multitude of people had to work and collaborate together to create a film. We can cite for example the film The Big Sleep (1946) which was a product of collaboration with different film makers. It involved novelist Raymond Chandler who wrote the novel which was the basis of the film, Howard Hawks, screenwriters William Faulkner, Leigh Brackett and actors Humphrey Bogart and Lauren Bacall (Lev 1988) all were distinguished artists in their own right. It is also important to note that the film made a last minute revision in January of 1946 invites discussion about authorship because it clarifies when and who decides for the change of the film indicating ownership of the film (Lev 1988). This is an important notion of auteurism because it highlights the complicity in according authorship in a film as argued by the critics of auteurism.
In contemporary setting in creating a TV program various creative people are involved to complete the production. It involves Director, Producer, Creator, Executive producer, Assistant producer, Researcher, Star, Writer, all of which have creative inputs to complete the production of a TV program. Such, if we are to determine authorship in the strict meaning of the word, it would be difficult to assign it to a single individual because no individual can complete a TV program by himself.  We can however infer to the experience of the movie The Big Sleep in determining ownership of the film despite the multitude of distinguished people who worked on the project. In The Big Sleep, while the contributions of Raymond Chandler William Faulkner, Leigh Brackett and actors Humphrey Bogart and Lauren Bacall are generally recognized in the film industry, the official auteur of the movie was Howard Hawks. The credit went to him because of the fact that it was him who proposed the idea of The Big Brothers to Warner Brothers as part of his “third film to be made under the non-exclusive contract” (Lev 1988:4). While assigning Hawks to be the single author of the film is highly debatable, his collaboration with Warner Brothers explain the circumstances why a single individual was credited for authorship for a work that was done by many people which could also be applied in a TV program in determining ownership despite the many talents who made the program.
Fast Pass TV (2009) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Retrieved from
Lev, P (1998) The Big Sleep:produciton history and authorship. Canadian Review of American Studies 1(19): pp. 1-21
Moran, M. (April 27, 1999). The Problem With Auteurism. Retrieved from
Sarris, A. (1999) Notes on the Auteur Theory of 1962.  Film Theory and Criticism,
Fifth Edition.  Ed. Leo Braudy.  New York: Oxford Read More
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