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Tim Burton



This director is known for his 'off-beat and quirky style', also in his animated film often consist of exaggerated characters. Burton created his first film 'Beetlejuice', then 'Batman', which became a huge blockbuster success.





Some of Burtons trade marks as an auteur include, using the name Edward in many films, he often uses dinner table scenes. His films also include a gothic subtext occasionally, and his main characters often tend to be outsiders.


His directorial credits include:

Believe It or Not (2009)
Sweeney Todd (expected in late 2007)
Corpse Bride (2005)
Charlie and the Chocolate Factory (2005)
Big Fish (2003)
Planet of the Apes (2001)
Sleepy Hollow (1999)
Mars Attacks! (1996)
Ed Wood (1994)
Batman Returns (1992)
Edward Scissorhands (1990)
Batman (1989)
Beetlejuice (1988)
"Alfred Hitchcock Presents" - The Jar (1986) (TV work)
"Faerie Tale Theatre" - Aladdin and His Wonderful Lamp (1986) (TV work)
Pee-wee's Big Adventure (1985)
Frankenweenie (1984)
Vincent (1982)
Hansel and Gretel (1982) (TV work)
Stalk of the Celery Monster (1979) (Student Film)

Auteur Theory

auteur theory in which the director of a film is considered to be its primary creative force. Derived from the French word for "author", auteurism got its start in the French cinema journal "Cahiers du Cinema", which promoted various directors as true authors of film--much as we'd talk about "Charles Dickens' 'David Copperfield'" or "Beethoven's Fifth Symphony", Cahiers favored talking about "Alfred Hitchcock's 'Rear Window'" or "Orson Welles' 'Citizen Kane'".Film critic Andrew Sarris refined the theory by ranking a number of directors and setting down some principles he believed would define all auteurs. First, he said that an auteur must be technically competent. Second, he said that an auteur's personality will manifest itself in his films through recurring stylistic traits. Finally, Sarris said that aspects of an auteur's personality may seep into his films--these are often not noticed until a number of the director's films are studied. For example, Hitchcock's fondness for suspense and mistaken identities is obvious with even a cursory examination of his movies; his fascination and repressed hostility toward blondes isn't that obvious until you've seen them repeatedly threatened, attacked, and killed in his movies...Some directors are more clearly auteurs than others: it's very easy to see the trademarks inherent in movies by Quentin Tarantino, John Ford, Woody Allen, John Waters, Martin Scorsese, Tim Burton, or James Cameron, for instance. Others who one might be tempted to think of as auteurs don't seem to fit the criteria: Ron Howard has enjoyed great commercial and critical success as a director, but there is no trademark "look" of a Ron Howard film, and while there is a definite "look" to a movie by Ed Wood, Jr., the bit about technical competence rules him out. And critical acclaim is not a requirement for being considered an auteur--Roger Corman and Russ Meyer will probably never receive Oscars, but they definitely fit all the requirements to be considered auteurs.Of course, the auteur theory is not universally accepted--even some of its proponents don't fully agree with it. One of the biggest problems with the theory is that it credits more importance to the director's contribution than any others, including the writer, the producer, the stars, or even the studio--face it, a movie produced by Steven Spielberg looks a lot like a movie directed by Steven Spielberg; there's no way a Troma movie is ever gonna look like anything other than a Troma movie; and what's important about "Duck Soup"--director Leo McCarey or the Marx Brothers? The auteur theory also doesn't stand up well with collaborative efforts: did "Who Framed Roger Rabbit" owe its success to director Robert Zemeckis or to animation director Richard Williams?

By Mark Sweney / Conference 11:45am

3.30pm update: Music execs say that mobiles have the ability to take a serious bite out of Apple iPod's status as the favourite consumer device for music downloads.



12pm: Do viewers want to watch TV on their mobiles and what does it mean for broadcasters and production companies?

ABC has proven that good content can drive online downloading of TV shows - pointing to the success of Lost and Desperate Housewives online and via iTunes (8m sold so far).

However, Bruce Gersh, senior VP of ABC Entertainment, says that mobile is a different ball game and ABC has not yet provided full programmes to mobiles anywhere except Korea. The issue is quality and not ruining the customer experience.

His colleague Bernard Gershon, senior VP of ABC News Digital Media, adds: "People are not going to watch a football game live on mobile yet but they will watch news updates or what is going on in Hollywood."

Of course, in the UK a number of players such as Sky, Channel 4, ITV have been experimenting with full-length shows: Hollyoaks, football, cricket, the launch of ITV1 simulcast on 3 and most recently Virgin Mobile's simulcast TV service.

Mr Gersh argues that "simulcast is intriguing" but from his side of the business in entertainment "timeshifting", watching when you want, has worked best. Except for 'live' events like perhaps the World Cup or breaking news.

Made for mobile content that reflects big brand properties resonates with ABC, he cites the example of the "Lost Diaries" spun-off as extra content from the main TV show. Such content could also be a great unique selling point for mobile companies to drive subscribers.

The follow-on panel session picks this theme up with Linda Summers, head of strategic development at Red Bee Media, arguing that a "mixed economy" of made-for-mobile content and traditional "linear" programming will win through.

She cites trials in the UK that have had people viewing mobile TV for up to 30 minutes as evidence that full-length shows will be popular with some.