The auteur theory has been a moot point for several years, and among others it has been criticize... more The auteur theory has been a moot point for several years, and among others it has been criticized for a thigh focus on directors and finished films. A similar tendency has been tracked in the Danish research, where the film research mainly notices directors and finished films. Therefore, Danish research has not yet discovered another type of auteurs: the screenwriters. With this thesis, I make a critical reflection on the auteur theory and auteur method based on the research question: How does the style of writing of the Danish screenwriter Tobias Lindholm chal-tinuation hereof I reflect on how Lindholm, as a writer, illustrate that the auteur theory needs alteration. I have answered the research question through an interdisciplinary study of the scripts The Hijacking (2011) and The Hunt (2012). In this, I highlighted seven so-of writing. I examined this through a text analysis that was-and the reading of the film by modern man. The text analysis was further supplemented by relevant terms and theories, for instance George Lakoff and Mark Johnsons theory of metaphors, Peter Harms Larsens description of types of scenes and author Robert McKee and screenwriter Linda Aronsons construction of style of writing in screenplays. Then I could make an auteur analysis of Lindholm, whereby it was possible to emphasize strengths and weaknesses of the auteur theory and respond to the research question. From the above, I could conclude that Lindholm can be termed a so-is a screenwriter with several similarities with the auteur-tions. His two scripts contain literary tools, extent and compression of speed through which his personal signature is expressed. This also supports the dramaturgy of The Hijacking and The Hunt scripts the relationship between the director and screenwriter through his literary and dramaturgical compe-auteur. With his writing of style, Lindholm demonstrates that not only the director has the vision for the finished film As can a screenwriter.
The auteur theory has been a moot point for several years, and among others it has been criticize... more The auteur theory has been a moot point for several years, and among others it has been criticized for a thigh focus on directors and finished films. A similar tendency has been tracked in the Danish research, where the film research mainly notices directors and finished films. Therefore, Danish research has not yet discovered another type of auteurs: the screenwriters. With this thesis, I make a critical reflection on the auteur theory and auteur method based on the research question: How does the style of writing of the Danish screenwriter Tobias Lindholm chal-tinuation hereof I reflect on how Lindholm, as a writer, illustrate that the auteur theory needs alteration. I have answered the research question through an interdisciplinary study of the scripts The Hijacking (2011) and The Hunt (2012). In this, I highlighted seven so-of writing. I examined this through a text analysis that was-and the reading of the film by modern man. The text analysis was further supplemented by relevant terms and theories, for instance George Lakoff and Mark Johnsons theory of metaphors, Peter Harms Larsens description of types of scenes and author Robert McKee and screenwriter Linda Aronsons construction of style of writing in screenplays. Then I could make an auteur analysis of Lindholm, whereby it was possible to emphasize strengths and weaknesses of the auteur theory and respond to the research question. From the above, I could conclude that Lindholm can be termed a so-is a screenwriter with several similarities with the auteur-tions. His two scripts contain literary tools, extent and compression of speed through which his personal signature is expressed. This also supports the dramaturgy of The Hijacking and The Hunt scripts the relationship between the director and screenwriter through his literary and dramaturgical compe-auteur. With his writing of style, Lindholm demonstrates that not only the director has the vision for the finished film As can a screenwriter.
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