Introduction
The process of film analysis is multifaceted and can be addressed from a variety of perspectives. The auteur’s theory is one of the important ideas in this regard. According to the auteur theory, the director is the movie’s primary author and creative force. It makes the case that the movie reflects the aesthetic vision of the director. According to this notion, each movie directed by a specific person will have recognizable, recurrent themes and visual cues that let the viewer know who the director is and demonstrate a constant aesthetic identity across their filmography (Andrews, 2021). This theory is one of the most intriguing approaches to studying films since, in my opinion, its fundamental tenets capture the essence of every film. By doing so, one can become fully immersed in the author’s world and discover allusions and references that are concealed from the naked eye. Brian de Palma’s movies Scarface (1983) and Blow Out (1981) are clear demonstrations of auteur style due to their unique footage style and boldness in addressing violence and sex on the big screen.
Unique Style of Brian de Palma
De Palma was influenced by several well-known filmmakers, including Hitchcock, which led some of his critics to label him as nothing more than an imitator. However, his art, image, attitude, and mood all exhibit De Palma’s own approach. From an artistic standpoint, he frequently depicts provocative themes of sex and violence and employs intriguing story turns that engage audiences. In addition, he frequently depicts events from many angles or depicts simultaneity using split screens, producing an immersive experience that is uncommon at this level.
For instance, Blow Out is De Palma’s quintessence since it effectively synthesizes all of the author’s inspirations and then recombines them to properly express the vision. Michelangelo Antonioni’s classic film (1966) setting is utilized by De Palma’s picture to produce a distinct thriller that Antonioni’s film adamantly refused to be. The movie also has a lot to say about what contemporary American history was like at the time and the willingness of the populace to ignore various forms of corruption.
Technical Competence
It may be said that few other auteurs have examined the audience’s relationship with cinema and how its artificiality can trick them with such attention. In a world with billions of mobile phones and an open worldwide network, DePalma has always considered how to change images and, in turn, an idea that is more relevant than ever. His films regularly featured this in their ideas and images. He had a certain shooting style that revived the old favorites without undermining the plot. Most of DePalma’s movies employ carefully choreographed long shots and split screens in two different places (Kapsis, 2022). Scarface, for instance, frequently employs split-diopter shots that enlarge the foreground subject or person while keeping the focus on something else in the background. This type of style is in itself a testament to the director’s love of the image and a clear representation of his vision.
De Palma never changes course from where he is; instead, he chooses to make use of the script’s many intricacies. He frequently goes beyond and encourages viewers to explore not just how the story develops but also the constantly shifting visuals and surroundings. This is accomplished both through his manipulation of the storyline, as shown in Scarface, and by the immersive technical quality of the portrayal.
Interior Meaning
Because they draw so much attention, De Palma’s trademark techniques—such as split screen, long shots, slow motion, and the surveillance camera—are sometimes regarded as style for style’s sake. De Palma employs these methods, nevertheless, for a reason—the way they are presented encrypts important interior meanings. The author’s tone and meaning may be grasped when one is able to look behind DePalma’s cinematic design. De Palma never arrives at a clear-cut decision despite archetypes and schematic frameworks. By demonstrating that there is no such thing as a single truth or that our understanding of it is partial, he misleads expectations. Even when his characters display yin and yang interactions right away, he makes things more difficult by switching personalities midway through the film, juggling many false identities like Tony in Scarface.
Conclusion
One of the fundamental approaches for developing thorough ideas and highlighting significant facets of film is the auteur theory. This idea makes it simple to dissect and then reconstruct the work of various filmmakers. In this instance, Brian de Palma’s work was chosen and evaluated in light of the director’s consistently high level of technical proficiency. This was mainly accomplished through utilizing thematic components and aspects of the movie that might convey a deeper meaning about the character and the message presented in it. It can be argued that this is the best approach to implement the author’s idea in these circumstances. The objective is to stimulate further thought and fresh insights into what is shown on the screen. It serves as a beginning point for further investigation and thought. Concrete analysis, as opposed to classification or entertainment-based analysis, will profit from these concepts and insights.
References
Andrews, D. (2021). No start, no end: auteurism and the auteur theory. In Theorizing Art Cinemas (pp. 35–55). University of Texas Press.
Kapsis, R. E. (2022). SIX Coping with the Hitchcock Legacy: The Case of Brian De Palma. In Hitchcock (pp. 188-215). University of Chicago Press.