By Applewood Books, Walt Disney Company
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Extra info for Walt Disney's Little Mermaid: The Sketchbooks Series
Example text
Similarly, in a reverse move, auteur theory downplayed the European work of former American directors (such as Joseph Losey). However, Wollen plays it safe by focusing his chapter on two well-known directors already confirmed as auteurs by the Cahiers critics and by Sarris – Howard Hawks and John Ford. One advantage of using these directors is that they each have a comprehensive corpus the auteur critic can work with. Wollen collects data from the films that constitute the core of Ford’s corpus – his Westerns (My Darling Clementine [1946], The Searchers, Rio Bravo [1959], The Man Who Shot Liberty Valence [1962], Cheyenne Autumn [1964]) – and notes that Hawks worked in almost every genre in Hollywood (81).
Arguing from a traditional auteur position, Robin Wood declared: ‘any sense we may receive of “scientific” objectivity is manifestly illusory; Wollen’s account of Hawks reveals as strong a personal bias as one will find in the most admittedly “subjective” criticism, the more dangerous for being 34 PETER WOLLEN’S ‘THE AUTEUR THEORY’ concealed beneath an appearance of detached analytic method’ (1976, 202). Wood presupposes Wollen’s analysis is complete and definitive, rather than the first stage in a fundamental reorientation of auteur theory.
For Wollen, Earp’s progress ‘is an uncomplicated passage from nature to culture, from the wilderness left in the past to the garden anticipated in the future’ (96). Rational legal authority/charismatic authority. These two types of authority ‘are combined naturally in Wyatt Earp’ (101). According to Wollen, therefore, Earp begins like Edwards and Doniphon by embodying nomad/wilderness/charismatic authority, but transforms into the three opposite terms as the film progresses. Bill Nichols disputes Wollen’s reading of My Darling Clementine, and offers an alternative structural analysis (discussed below).