theory of filmmaking in which the director is viewed as the major creative force in a motion picture. Arising in France in the late 1940s, the auteur theory—as it was dubbed by the American film critic Andrew Sarris—was an outgrowth of the cinematic theories of André Bazin and Alexandre Astruc. A foundation stone of the French cinematic movement known as the nouvelle vague, or New Wave, the theory of director-as-author was principally advanced in Bazin's periodical Cahiers du cinéma (founded in 1951). Two of its theoreticians—François Truffaut (Truffaut, François) and Jean-Luc Godard—later became major directors of the French New Wave.

The auteur theory, which was derived largely from Astruc's elucidation of the concept of caméra-stylo (“camera-pen”), holds that the director, who oversees all audio and visual elements of the motion picture, is more to be considered the “author” of the movie than is the writer of the screenplay. In other words, such fundamental visual elements as camera placement, blocking, lighting, and scene length, rather than plot line, convey the message of the film. Supporters of the auteur theory further contend that the most cinematically successful films will bear the unmistakable personal stamp of the director.