Blake Edwards
1. How do any one of the films screened in weeks 6-12 of the course represent and/or foreground authorship?
Dating back to the 1920’s, the term ‘auteur’ was debated over, claiming to describe an “author of script and film-maker as one and the same” versus the view of scripts being appointed from authors or scriptwriters (1996, p12).
Over the [course of 50 or so odd] years,. Known for his distinctive brand of comedy, the work of Blake Edwards, demonstrates the authorial stamp that is often referred to in theories of the auteur, resulting in a style or approach to cinema that could be described as ‘Edward-ness’. [He makes prominent use of his self-conscious manipulation of particular elements of film style and systematically arranges certain techniques used within certain films.
As such, this essay aims to examine how Edwards’ film, S.O.B (1981), foregrounds his authorship. This will be done through the examination of some utilized stylistic, ideological and thematic traits present in the film S.O.B, as well as in other Edwards’ films].
Many director’s [throughout the ages] have paid homage to additional director’s in order to both adopt certain stylistic elements within their films and to compliment them in the sense of appropriation; for example Lloyd Kaufman’s homage to Charlie Chaplin in regards to characters and scripts, and Woody Allen’s reverence to Jean-Luc Godard in regards to camera techniques. Perhaps the most distinctive element of Edwards work is the style of comedy that characterises much of his filmography. Distinguished by…[briefly explain what the essential dimension of his comedy is and then move on to a discussion of topping the topper’]
Blake Edwards’ conception of the stylistic trait of ‘topping the topper’ was investigated in an interview by Harlan Kennedy (1981, p.26), where Edwards recaps a scene pitched to him by writer Leo McCarey, his mentor at the time.
The scene depicts a young man chasing, by foot, after his girlfriend,
Dating back to the 1920’s, the term ‘auteur’ was debated over, claiming to describe an “author of script and film-maker as one and the same” versus the view of scripts being appointed from authors or scriptwriters (1996, p12).
Over the [course of 50 or so odd] years,. Known for his distinctive brand of comedy, the work of Blake Edwards, demonstrates the authorial stamp that is often referred to in theories of the auteur, resulting in a style or approach to cinema that could be described as ‘Edward-ness’. [He makes prominent use of his self-conscious manipulation of particular elements of film style and systematically arranges certain techniques used within certain films.
As such, this essay aims to examine how Edwards’ film, S.O.B (1981), foregrounds his authorship. This will be done through the examination of some utilized stylistic, ideological and thematic traits present in the film S.O.B, as well as in other Edwards’ films].
Many director’s [throughout the ages] have paid homage to additional director’s in order to both adopt certain stylistic elements within their films and to compliment them in the sense of appropriation; for example Lloyd Kaufman’s homage to Charlie Chaplin in regards to characters and scripts, and Woody Allen’s reverence to Jean-Luc Godard in regards to camera techniques. Perhaps the most distinctive element of Edwards work is the style of comedy that characterises much of his filmography. Distinguished by…[briefly explain what the essential dimension of his comedy is and then move on to a discussion of topping the topper’]
Blake Edwards’ conception of the stylistic trait of ‘topping the topper’ was investigated in an interview by Harlan Kennedy (1981, p.26), where Edwards recaps a scene pitched to him by writer Leo McCarey, his mentor at the time.
The scene depicts a young man chasing, by foot, after his girlfriend,
References: Naremore, J. , 'Authorship ' in Robert Stam & Toby Miller (eds) A Companion to Film Theory. Malden, Mass. Blackwell. 1999. pp. 9-24 <https://equella.rmit.edu.au/rmit/items/7eb08ae1-90d3-cb1f-7f27-06f0ed148dd2/1/31259009887121.pdf> Meisel, M., American Directors Volume II, edited by Jean-Pierre Coursoson and Pierre Sauvage (New York, McGraw-Hill, 1983) <http://www.screeningthepast.com/2011/04/on-blake-edwards/>