Level 3 Extended Diploma in Creative Media Production Film and T.V Film Studies Auteur theory assignmentBy Harry Burbidge
When we watch films, we may notice certain styles or common messages being consistently used. Directors who apply this are called an Auteur director. Auteur means Author in greek.
The Auteur theory is the concept behind a director being able to express his own personal and unique style, using the components of film making. This is just like how an author, or artist use their pen/paint brush to apply a particular style to their body of work (I.e particular words/language techniques/colour used).
In order to claim a director as an Auteur, they must have three components, distinct from other directors.
An Auteur Director must have a film with a specific technique. For example specific shot types (e.g. arial shots), mis en scene (e.g. costumes, props and lighting) and editing forms (e.g. continuity editing). The use of specific techniques help convey meaning.
Next there should be a personal style, such as particular genres, the director likes to use. Steven Spielberg's films usually comprise of high budget science fiction fantasies.
An Auteur director should include consistent interior meanings behind his/her films, including on going themes and considerations/messages, for audiences to obtain. Steven Spielberg's films usually focus on family related issues (e.g. In ‘E.T’ the family lack a father figure).
If able to apply these three techniques distinctly, a director can be considered an Auteur.
Auteur directors sometimes leave a signature in their films. For example Quentin Tarantino often uses a low angle shot of two people opening a car boot and looking down at whatever is inside.
Quentin Tarantino signature picture reference () Tobias Jones (year12 AS Media), Available at: http://tobiasjones.blogspot.co.uk/2013/12/jackie-brown-case-study.html (Accessed: 7th November 2015). The theory behind an Auteur director originated in 1960s, by french film journalists and critics.
They became tired of reviewing french films, causing them to indulge in watching films from the U.S.A, containing consistent themes and styles.
And so began the theory of an ‘Auteur director’, which was established into a french film magazine, known as ‘Cahiers du cinema’ (Notebooks on cinema).
Bibliography source for the above information: Autuer Theory definition and origin story - ( () Study, Available at: http://estudy.wiltshire.ac.uk/course/view.php?id=35988(Accessed: 7th November 2015). - Film Studies unit - Auteur Theory Presentation ).
Today we will be looking at British Film Director, Mike Leigh, perhaps best known for his films ‘Mr Turner’ (2014) and ‘Secrets and Lies’ (1996). We will see how his films make him an Auteur director.
Mike Leigh applies a Social Realist style to his films, exploring the realistic lives of working class people, from their living conditions, to financial issues.
This enables audiences, to be conveyed, the blunt reality of everyday people’s lives.
Mike Leigh’s use of Social Realism is able to be applied to his technique, style and internal meaning.
In ‘M.r Turner’, Mike Leigh uses single shots for most of his scenes, with very few cuts (aside from when wanting to signify a character’s emotion). This technique replicates how we as an audience see things in our day to day lives. We the audience see only one thing and do not cut from one person, or suddenly zoom into someone we see from a distance, like we see in films.
Sometimes the single shots will include pans and tracking motions. The use of tracks and pans almost give the illusion of a P.O.V like movement, as though we the audience are moving in the film environment. This enforces how we always see things moving, achieving a conveyance of reality.
However the single shots approximately last for only for around two minutes, retaining audiences attention span.
Below is an example of the single shot technique in Mike Leigh’s film ‘Mr. Turner’.
Bibliography source - () Cannes Film Festival (2014) - Mr. Turner CLIP - Mike Leigh Biopic HD, Available at: https://www.youtube.com/watch?v=PQKxClCHX2s (Accessed: 09th November 2015).
Mike Leigh uses method acting to convey realistically convincing character, audiences can easily see in people they meet, or know. According to Lesley Manville who acted in Mike Leigh's film ‘Another year’ (2010), Mike Leigh committed improvisation rehearsal sessions.
He starts with an initial idea for a film, which leaves space for a number of possible actors/actresses to fit the ideal characters. Sometimes he will audition people or recruit previous actors/actresses. For example,‘Timothy Spall starred in both ‘M.R Turner’ and ‘Secrets and Lies’.
Mike Leigh uses an exercise, involving the actor/actress, observing real people and then imitating them. This enables the actor/actress to convey a realistic personae to the character they are portraying.
After the cast is established, potential characters are devised. The actor/actress do an improvisation, where the character is at a ‘rest point’ (balanced and content stage in life), instead of a high dramatically tense point. This enables them to understand the characters daily activities (e.g. on a saturday morning, go for a run). When someone is at a content and relaxed stage in their life, they act more like themselves, as they do not feel pressured in any way to behave in a certain quality (e.g. award ceremony, wanting to look smart and smile all the time).
Before shooting, Mike Leigh gives a brief scene plot (e.g. “Scene 1, Mary goes to visit Tom and Jerry”).
He would also create a scenario about each character's journey.
Afterwards the scenes are structured and then shot.The dialogue is then improvised by the actors/actresses, instead of being wrote onto a script.
Method acting bibliography source - Mark Poole (Monday 6th September 2004) Improvisation - the Mike Leigh method Mark Poole, Available at: http://www.markpoole.com.au/articles/improvisation-the-mike-leigh-method.html (Accessed: 7th November 2015).
One example showcasing Mike Leigh's method acting is in ‘Vera Drake’, a film revolving around a working class woman, named ‘Vera Drake’ (portrayed by Imelda Staunton) who is discovered by the police to have carried out illegal abortions.
During a scene where ‘Vera Drake's’ family have dinner together, very subtle conversations are applied from the characters. The dialogue is not overly dramatic either, but instead very casual without the intention of foreshadowing or bearing significance to a dramatic plot point. The conversations flow naturally too.
For example when ‘Joyce’ (Heather Craney) mentions about her neighbours having a television, ‘Vera’ asks if she has seen it,, followed by ‘Joyce’ stating to have stared at it from the window. Following ‘Joyces’ reply, ‘Stan’ (Phil Davis) tells his brother ‘Frank’ (Adrian Scarborough) he will now have to get a television (implying ‘Joyce’ to be desperately wanting one). The conversation then flows toward them enquiring about the prices of a television set and shocked remarks. The conversation then smoothly flows to ‘Vera’ enquiring about how much money the neighbours have, leading to ‘Joyce’ adding, the neighbours to also have a nice car.
‘Stan’’ then mentions about how his son ‘Sid’ (Daniel Mays) wants to have a go at driving their family car.
As we can see the conversation in this scene runs smoothly, with responses and remarks, which allow for transitions to a slightly different but still related topic.
In everyday discussions (e.g. family barbecue), we talk about different subjects and a response to it may likely lead to us talking about something slightly different.
The gestures and facial expressions are not conveyed too dramatically either, but in a medium way to make reactions of characters more realistic.
Below is an example scene:
In the shot (Duration 6:01 - 6:10 ) ‘Phil’ is asking to know what ‘Vera’ has done, in a fearful and aggressive expression. But in a mild and non overly dramatic form. This gives a realistic response, as the slightly monotone expression emphasises the character to feel so shocked, due the impact of such news giving us confusion and a variety of other thoughts/emotions making it difficult for us to be able to express what we are feeling. In real life we very rarely gasp our mouths wide open, or put our hands over our cheeks with our eyes widened.
At (Duration 3:50 - 3:51) ‘Sids’ character (Daniel Mays) meanwhile conveys a medium smile gesture, which is not too exaggerated but in a more content and natural gesture. This gives a very broad representation of how everyday people may commit facial expressions and gestures, as a great minority convey overly dramatic gestures and expressions.
Everyday lives are not as dramatic, like in films, but are more subtle. Thus the improvised and casual form of acting enables for a realistic environment and characters to be effectively conveyed.
Method acting example in ‘Vera Drake’ and screen shot expression bibliography sources: mlbalbuena () Vera Drake part 8 - YouTube, Available at: https://www.youtube.com/watch?v=miLBSMOJK8E (Accessed: 09th November 2015).
Michael Leigh’s films are usually dramas, as the plots usually revolve around realistic characters and emotional struggles.
Mike Leigh's’ characters are mainly vulnerable and exhibit difficulty in expressing inexpressible feelings ( a feeling too hard to describe in words).
For example Mike Leigh’s ‘Another year’ revolves around a happily married couple and their lives throughout the four seasons of the year. One character named Mary (Lesley Manville) is a friend of the couple. However, she lives on her own, divorced and is seeking companionship once more. She acts as though she is happy, but exhibits difficulty in letting out her sadness and is implied to revert her inexpressible feelings by drinking.
Bibliography source of information - (26 September 2015, at 17:15.) Another Year (film) - Wikipedia, the free encyclopaedia, Available at: https://en.wikipedia.org/wiki/Another_Year_(film)(Accessed: 11th of October 2015).
Mike Leigh’s films centre on internal meanings, including family issues (e.g divorce, family relationship) and illnesses. These factors of which we as an audience can relate to, due to having loved ones and fears of losing them.
In ‘Vera Drake’, the family members all convey different emotional struggles after finding out ‘Vera’ is to face trial for having committed illegal abortions for women.
Her son ‘Sid’ is completely shocked and horrified at what ‘Vera’ has done and disowns her initially. Her husband ‘Phil’ and her daughter ‘Ethel‘ (Alex Kelly) exhibit fear and in believing she does not deserve this, as ‘Phil’ defends ‘Vera’ by claiming she committed the offence “out of the kindness of her heart” (I.e helping women who did not want to give birth).
Additionally ‘Joyce’ meanwhile feels embarrassed to even be seen with ‘Vera’, which creates a conflict between her and her husband, as she does not want to spend christmas at her house.
The scenario of someone we know and love going to trial for a committed crime, can be very shocking and scary. People with different morals are likely to exhibit mixed and distinct feelings from one another. This includes disowning the person, being frightened, or confused.
Other emotional struggles we see, are of ‘Vera’ not wanting her family to know what she did, as she begs the detective to not tell her husband why she has to be taken down to the police station.
At the equilibrium of the story, we see ‘Vera’ in her current reputation of a loved and respected wife and woman.
Therefore we can understand the difficulty Vera has in this struggle to tell her family what she did.
This is a very sensitive and emotional struggle many audiences can relate to, as the idea of having to tell people who love you, something bad you have done, can be very difficult and heightens fears as to how they would react.
Bibliography source - mlbalbuena () YouTube, Available at: https://www.youtube.com/watch?v=OWOrhAZh5Cs (Accessed: 09th November 2015).
mlbalbuena () YouTube, Available at: https://www.youtube.com/watch?v=sW6BfWPVdk4 (Accessed: 09th November 2015).
Mike Leigh also applies feminism, as his films usually pass the ‘Bechdel test’, which determines female independency in films/T.V programs.
Many of Mike Leigh’s films contain more than one female character. They are also commonly discussing their own opinions and subjects aside from men. For example during the barbecue scene in ‘Secrets and Lies’ (1996), there are five female characters in the scene. Two of which asks different questions, such as houses they live in and jobs they do. Additionally they make remarks into each other's occupations, as well as the food being served (e.g. when a large steak is served, one character says “Look at the size of that”) One of the characters ‘Jane’ (Elizabeth Berrington) asks ‘Hortense Cumberbatch’ (Marianne Jean - Baptiste ) “What did you study?”. After claiming to have studied “Optometry”, they also ask “did you go to university?”. Monica's character (Phyllis Logan) asks why Jane looks at people's’ eyes, who replies “you can tell a lot about people from looking at their eyes”. The other female characters comment replies such as “can you?”, “Windows to your soul” (referring to eyes as being the “windows to your soul”) and “That’s a nice way of looking at it”. This conversation gives a positive representation of women, as they show intrigue into an intellectual concept (I.e Optometry). There are brief mentions of boyfriends/husbands, especially during a conversation between Cynthia (Brenda Blethyn) and Hortense (Marianne Jean-Baptiste), but only very briefly. This enables audiences to be shown a fairly true representation of the majority of females, whom are very likely talk about boyfriends/husbands.
Bibliography source for ‘Secrets and Lies’ barbecue conversation scene - () Secrets and Lies 1996 complete full movie in English - YouTube, Available at: https://www.youtube.com/watch?v=Vk8TT3lTwjk (Accessed: 11th of October 2015).
Mike Leigh also applies marxism, due there being different power structures in varied classes. For example ‘Secrets and Lies’ shows a middle class female, Hortense Cumberbatch (Marianne Jean Baptiste) is shown to possess a very successful job as an ‘Optometrist’. A common representation found in upper and middle class characters, is them thinking lowly of working class people. Hortenses character, despite working very formal clothes, tidied hair and a formal use of language, displays a polite and modest nature.
She treats her birth mother Cynthia to meals and shopping, displaying a much kinder and positive representation of middle classes.
The cliche of working and upper/middle class people against each other is easily broken in Mike Leigh's films, as ‘Secrets and Lies’ shows Hortense (Middle class) treating her birth mother Cynthia (working class) to expensive restaurants and shopping.
During the barbecue, Both Hortense and Cynthia's family members ask questions about each other, from occupations and where they live.
Hortense also makes a comment on ‘Monica's’ house being “lovely”. Of course there are exceptions, such as in ‘Vera Drake’, with Joyce's character acting feeling uncomfortable with spending time at his husband's working class families house. However, due to being a period drama set in the victorian times, this would accurately display classes attitudes toward others.
However ‘Vera Drake’ and her family all display kind remarks and politeness to her, breaking the cliche stereotype of working classes opposing middle/upper class people.
According to Dick Pope (please give specific job role), when working on ‘Mr Turner’, “(Turner) used quite a lot of yellow in his highlights on the landscapes, and quite a lot of teal and blue-green in the shadow areas,” Pope says. “We added those colors to the shadows and the highlights.
This was claimed to give “depth’ to the scene.
Bibliography source: Steve Chagollan (2015) Cinematographer Talks About Light, Color of Mike Leigh's 'Mr. Turner' Variety, Available at: http://variety.com/2014/artisans/production/cinematographer-dick-pope-on-painting-light-and-color-for-mike-leighs-mr-turner-1201375195/ (Accessed: 11th October 2015).
Below are some examples.
Picture bibliography source: () Feature Lights, Camera, Action, Available at: https://www.google.co.uk/search?q=Mr.+Turner&biw=1886&bih=769&source=lnms&tbm=isch&sa=X&ved=0CAcQ_AUoAmoVChMIiJellKGdyQIVA-0UCh0XVA0G&dpr=1#imgrc=6k_zrBHEJmAvRM%3A (Accessed: 11th October 2015).
In this still from ‘M.R Turner’, we see mixed tone of light and dark, giving a more realistic tone and non dramatically intentioning atmosphere.
At the left hand side of the frame, we see ‘M.R Turner's’ father, William Turner ( Paul Jesson), face a light tone of pink, conveying the effect of sunlight through a curtain reflecting onto his face.
However, the other half of his face is darkened more, conveying the curtains to be nearly fully drawn. We can see the light has been achieved to a very accurate and realistic standard.
The pieces of paper and bowls also have a bright glint on them, which would make logical sense, due to them being close to the window and thus having the sun light reflection being more closer. As well as realistic lighting, realistic colour tones have also been applied.
In this screenshot from Mike Leigh's ‘Another year’, we can see varied tones of colours, from the dark brown jumper ‘Tom Hepple’ (Jim Broadbent) character wears, to the light blue dress worn by ‘Gerri Hepple’ (Ruth Sheen). The varied tones of colours help to give a more realistic depth of colour tone to the scene.
A couple of bright items such as a light green lamp and velvet red plant pot, have been included to, apply for some visual intrigue.
Picture bibliography source: () , Available at: https://www.google.co.uk/search?q=grand+budapest+hotel&biw=1886&bih=769&source=lnms&tbm=isch&sa=X&sqi=2&ved=0CAYQ_AUoAWoVChMI_L7dtpydyQIVA-wUCh10iwOP#tbm=isch&q=Mike+Leigh%27s+colour+palettes+Another+year&imgrc=qx0iobuOUVZiZM%3A (Accessed: 11th October 2015).
Usually films will contain a consistent colour pallette. For example in this screenshot from the grand budapest Hotel, there is consistent theme of bright and bold colours, from red to purple.
Picture biliography source: () The Grand Budapest Hotel, Available at: https://www.google.co.uk/search?q=grand+budapest+hotel&biw=1886&bih=769&source=lnms&tbm=isch&sa=X&sqi=2&ved=0CAYQ_AUoAWoVChMI_L7dtpydyQIVA-wUCh10iwOP#imgrc=ZpizwypXNbvLtM%3A (Accessed: 11th October 2015).
In this screenshot from ‘The Dark Knight Rises’ (2012), there is a consistent theme of dark tone colours, including black, grey, dark green and a dark tone of sand yellow.
Picture bibliography source: () , Available at: https://www.google.co.uk/search?q=The+dark+knight+rises&biw=1886&bih=769&source=lnms&tbm=isch&sa=X&ved=0CAYQ_AUoAWoVChMI3-LFk56dyQIVxW4UCh0JRwsG#imgrc=D9HuUOtisY66bM%3A (Accessed: 11th October 2015).
Mike Leigh's films however, do not use an entirely consistent colour pallette, as they sometimes incorporate a mix of dark, mid and bright toned colours, which while giving visual intrigue convey the very depth and picture of reality. Many films use an exaggeration of a consistent colour to ‘spoon feed’ audiences the mood and tone of the scene. However, using a mixed tone of colours helps to an inconsistent and thus realistic vibe to the scene.
Conclusion
It is therefore clear that Mike Leigh is an Auteur director, as he uses a distinct style of social realism, using method acting, internal meanings centred around marxism (I.e different classes) family related issues (e.g. convicted wife) and naturally mixed aesthetic styles.
Mike Leigh realistically replicates Britain and specifically the working class society in ‘Britain’.
So despite not including special effects or overly dramatic fictional stories, like ‘Steven Spielberg’, Mike Leigh makes for his distinction, in the realistic storylines, messages and characters he applies, which convey ‘Britain’ at its most organic, for British Cinema.
Bibliography
Autuer Theory definition and origin story - ( () Study, Available at: http://estudy.wiltshire.ac.uk/course/view.php?id=35988(Accessed: 7th November 2015). - Film Studies unit - Auteur Theory Presentation )
Quentin Tarantino signature picture reference () Tobias Jones (year12 AS Media), Available at: http://tobiasjones.blogspot.co.uk/2013/12/jackie-brown-case-study.html (Accessed: 7th November 2015).
Bibliography source for screen shots - () Cannes Film Festival (2014) - Mr. Turner CLIP - Mike Leigh Biopic HD, Available at: https://www.youtube.com/watch?v=PQKxClCHX2s (Accessed: 09th November 2015).
Method acting bibliography source - Mark Poole (Monday 6th September 2004) Improvisation - the Mike Leigh method Mark Poole, Available at: http://www.markpoole.com.au/articles/improvisation-the-mike-leigh-method.html (Accessed: 7th November 2015).
Method acting example in ‘Vera Drake’ and screen shot expression bibliography sources: mlbalbuena () Vera Drake part 8 - YouTube, Available at: https://www.youtube.com/watch?v=miLBSMOJK8E (Accessed: 09th November 2015).
Bibliography source of information - (26 September 2015, at 17:15.) Another Year (film) - Wikipedia, the free encyclopaedia, Available at: https://en.wikipedia.org/wiki/Another_Year_(film)(Accessed: 11th of October 2015).
Bibliography source - mlbalbuena () YouTube, Available at: https://www.youtube.com/watch?v=OWOrhAZh5Cs (Accessed: 09th November 2015).
mlbalbuena () YouTube, Available at: https://www.youtube.com/watch?v=sW6BfWPVdk4 (Accessed: 09th November 2015).
Bibliography source for ‘Secrets and Lies’ barbecue conversation scene - () Secrets and Lies 1996 complete full movie in English - YouTube, Available at: https://www.youtube.com/watch?v=Vk8TT3lTwjk (Accessed: 11th of October 2015).
Bibliography source: Steve Chagollan (2015) Cinematographer Talks About Light, Color of Mike Leigh's 'Mr. Turner' Variety, Available at: http://variety.com/2014/artisans/production/cinematographer-dick-pope-on-painting-light-and-color-for-mike-leighs-mr-turner-1201375195/ (Accessed: 11th October 2015).
bibliography source: () Feature Lights, Camera, Action, Available at: https://www.google.co.uk/search?q=Mr.+Turner&biw=1886&bih=769&source=lnms&tbm=isch&sa=X&ved=0CAcQ_AUoAmoVChMIiJellKGdyQIVA-0UCh0XVA0G&dpr=1#imgrc=6k_zrBHEJmAvRM%3A (Accessed: 11th October 2015).
Picture bibliography source: () , Available at: https://www.google.co.uk/search?q=grand+budapest+hotel&biw=1886&bih=769&source=lnms&tbm=isch&sa=X&sqi=2&ved=0CAYQ_AUoAWoVChMI_L7dtpydyQIVA-wUCh10iwOP#tbm=isch&q=Mike+Leigh%27s+colour+palettes+Another+year&imgrc=qx0iobuOUVZiZM%3A (Accessed: 11th October 2015).
Picture biliography source: () The Grand Budapest Hotel, Available at: https://www.google.co.uk/search?q=grand+budapest+hotel&biw=1886&bih=769&source=lnms&tbm=isch&sa=X&sqi=2&ved=0CAYQ_AUoAWoVChMI_L7dtpydyQIVA-wUCh10iwOP#imgrc=ZpizwypXNbvLtM%3A (Accessed: 11th October 2015).
Picture bibliography source: () , Available at: https://www.google.co.uk/search?q=The+dark+knight+rises&biw=1886&bih=769&source=lnms&tbm=isch&sa=X&ved=0CAYQ_AUoAWoVChMI3-LFk56dyQIVxW4UCh0JRwsG#imgrc=D9HuUOtisY66bM%3A (Accessed: 11th October 2015).