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At first it seems like a perfectly plausible theory: the director is responsible for the film, and so can be judged as to whether or not they are an auteur.
In addition to this, an auteur must have a differentiating style, almost instantly recognizable.
Perhaps the most well-known and easily recognizable examples for modern film makers would be that of Tim Burton.
These include spirals and, in particular, pumpkins which are seen in many of his films.
The cartoonish element to his work has also become somewhat of a trademark; the eccentricity of this is something that one expects when viewing a Burton film.
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Référence(s) : Gilles Menegaldo (ed.)., Tim Burton : A Cinema of Transformations Montpellier : Presses Universitaires de la Méditerranée, « Horizons Anglophones », 2018, 442 pages, ISBN 978-2-36781-259-5, 38 euros. This collection of articles explores the postmodern universe created by a filmmaker who mixes genres, aesthetics and cultural references in each of his productions.
Frankenstein’s creature soon emerges as a central figure, as the literal patching up and stitching of bodies or costumes that mirrors what Mélanie Boissonneau aptly calls Burton’s “Frankenstein method” (318), which consists in appropriating, assembling, and thus re-inventing existing material.
Burton not only borrows from many sources, but also re-uses his own earlier creations in endless variations.
Bérénice Bonhomme discusses the structuring role of drawing in Burton’s productions and argues that a Burton film is “a canvas that moves” (48).
Virginie Vuiglio examines the illustrations in and their relationships with the texts, which relate the stories of rejected children or teenagers.