"Do Easy" by Gus Van Sant

Gus Van Sant's early short is a mini masterpiece based on William Burroughs' short story "The Discipline of DE". It's a marvelous little film on doing the little things in life in the easiest and most efficient way possible. Van Sant ("Milk" 2008) also dedicated his film, "Good Will Hunting (1997 and ) to two writers who influenced him but has passed on: William Burroughs and the poet, Allen Ginsberg.

"Rethinking Authorship, Theories of Authorship"

by Barry Grant. A useful read for understanding auteurs as an issue in film world.

http://www.ejumpcut.org/archive/onlinessays/JC31folder/TheoAutCaughie.html#n

A Video Essay on "The Outlaw Josey Wales" and Clint Eastwood by Matt Zoller Seitz

Matt Zoller Seitz makes several interesting points and reveals valuable insights in his video essay on Clint Eastwood's 1976 western, "The Outlaw Josey Wales".

"Stagecoach" and approaching the western either through genre or through Ford as an Auteur (Concept Map)

Click on the image to enlarge.
What's missing from this graphic is the big macro features on narrative. When analysing Western for its genre we will need to consider narrative structure and plots, etc. Studies would also benefit from nexamination of key scenes which will allow a fruitful discussion of Macro features of the genre as well as the auteurs' treatment of them and their view of America at a given point in time.

Cahiers du Cinéma and the French New Wave (essay)

Dave Kehr's commemorative essay from 2001 on the 50th anniversary of the magazine, Cahiers du Cinéma, explains how the French New Wave Cinema ( La Nouvelle Vague ) emerged from the young men who wrote for Cahiers du Cinéma: François Truffaut, Jacques Rivette, Claude Chabrol, and Jean-Luc Godard, etc. These "young turks" attempted to sift what they considered to be the wheat from the chaff as they re-appraised Hollywood and its directors such as Howard Hawks and Alfred Hitchcock whom they considered to be "auteurs". Kehr's essay reveals how Truffaut et. al. preferred some directors others because the directors appeared a-political. For instance, Wyler, Huston and Wilder fell out of favour because they were seen as "left-leaning". These last mentioned directors were championed by the French leftist cinema magazine, "Positif". Although "Cahiers . . ." itself later turned left in the late 60s and early 70s when its articles were written by theorists who focussed on post modernist philosophy and ideology. Kehr's discussion of "the young turks" ideas about mise- en-scene is worth reading just on its own. All in all, this is a must-read for students who are studying French New Wave Cinema and who need a contextual understanding of how this movement began and how it went on to shape modern film criticism.

http://filmlinc.com/fcm/9-10-2001/cahiers.htm

There are some excellent resources for FS4 case study auteurs here

http://www.cornerhouse.org/education/schoolsandcolleges.aspx?page=43311