Auteur theory is a filmmaking concept referring to a director whose role in a motion picture is diverse. Usually, such directors are the primary creative force in a piece of film work. Therefore, the theory is grounded upon the impact and signature sensibility that a director has on this or her works. The theory posits a film director as more important than the author. This particular theory provides a means for viewing motion graphic artwork with the director of the film as its author. Andrews (2012) describes an auteur as an artist, particularly a film director who exerts centralized and subjective control to most of the creative work despite the fact that it is supposed to be a teamwork. Often the term auteur is used to refer to author because in film, a director who does most of the work is equivalent to an author of a play or a novel. Moreover, the name auteur is a French word that means author (Andrews, 2012). Tyler Perry is currently among the lead directors in the world. He has a strong affiliation with black people experiences, racism, class differences and feminist issues. This essay takes an in-depth analysis of auteur theory by examining how Tyler Perry’s style meets the criteria of an auteur.
There are several factors that are considered to categorize a director as an auteur. First, a director can be considered to be an auteur if their work portrays a reflection of their personality. They should be in a position of replicating their personal life experiences in their works through the different scenes and characters portrayed. Moreover, drawing from the theory, a director qualifies to be an auteur if they are able to create a signature that the audience can easily identify their work even without being informed that they are the ones who created it. Therefore, they should use specific techniques, interior meanings and personal styles that define them as artists (Andrews, 2012).
A good example of a director who fits the definition of an auteur is Tyler Perry. Goodykoontz & Jacobs (2011) note that the initial premise of auteur theory is a director’s technical competence as a criterion value or rather the consistency of their style. Often, the visual style of an auteur is majorly contributed by a director’s use of the same cinematographer. In majority of Tyler Perry’s films, he uses only three cinematographers consistently. Among these three, Toyomichi Kurita has been used from 2006 to 2011 while Alexander Gruszynski has been used from 2009 to 2014. The limitation of cinematographers has enabled Tyler Perry to maintain a consistent visual style thus making him qualify as an auteur (Morris, 2014).
A director is considered an auteur basing on their unique personality. They have to use certain repetitive characteristics that serves as their signature. In 15 of Tyler Perry’s films from 2006 to 2014, seven of them feature Madea and cohorts; Cora, Uncle Joe, Aunt Bam and Mr. Brown. These repeated characters are also played by the same people. Tyler perry is known for using the same actors in his films which make him distinguish himself and make him attain a high signature sensibility, a quality that qualifies one to be considered an auteur (Morris, 2014).
The third premise of the auteur theory revolves around the interior meaning drawing from the relationship between the personality of a director and their material. Every film that Tyler Perry has directed is rooted to his view of feminism and black experience in America. In almost all his films, there is a female protagonist who is dealing with women issues that range from abusive or unfaithful husbands to severe cases of rape. In The haves and the have nots, the lead protagonist is haunted by her past after being raped by her stepfather. In season three, she confronts her mother for not protecting her but her mother defends herself and goes on to narrate that she was also raped when young, "Don't no mama want to say this," Hanna tells Candace. "But I didn't want you. I didn't want no rape baby. I wanted an abortion! I wanted an abortion! “Also, in the same film, the black people struggle is recurrently depicted. Quincy Maxwell tells Jim Cryer that he became rich because he is white and for him, he cannot be rich because he is black.
In another Tyler Perry’s film, The Family That Preys, is about a woman of color who seems to be successful but has a dark secret. The secret here is her husband’s infidelity. Just like other Tyler Perry’s films, this particular one covers the themes of racism, class differences, family and marriage. Similarly, For Colored Girls, another Tyler Perry’s film also explores black women struggles (Aldridge, 2011). From these films, it is evident that Tyler Perry, being an African American, uses her personal experience and the love for feminism in his artwork.
Summing up, Tyler Perry can be identified as the ideal auteur in the contemporary film industry. He has all the qualities that have been stated as distinguishing features of directors who are auteurs. From the essay, it is apparent that Tyler Perry displays consistency in his visual style, same narrative themes, reference to his personal experiences, recurrent casts and cinematographers. Therefore, it is appropriate to categorize him as an auteur.
References
Aldridge, L. (2011). Mythology and affect: The brands of cinematic blackness of Will Smith and Tyler Perry. Spectator: The University of Southern California Journal of Film and Television, 31(1), 41-47.
Andrews, D. (2012). No start, no end: auteurism and the auteur theory. Film International, 10(6), 37-55.
Goodykoontz, B. & Jacobs, C. (2011). Film: From Watching to Seeing. Bridgepoint Education, Inc.
Morris, W. (2014). The year of Tyler Perry. Seriously AMERICA'S MOST IMPORTANT BLACK FILMMAKER. Film Comment, 47(1), 59.
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