@article {1170,
	title = {Ideology, Genre, Auteur},
	journal = {Film Comment},
	volume = {13},
	year = {1977},
	month = {Jan/1977},
	pages = {46-51},
	chapter = {46},
	abstract = {<p>Montage theory enthrones editing as the essential creative act at the expense of other aspects of film; Bazin\&$\#$39;s Realist theory, seeking to right the balance, merely substitutes its own imbalance, downgrading montage and artifice; the revolutionary theory centered in Britain on Screen (but today very widespread) rejects-or at any rate seeks to \&quot;deconstruct\&quot;-Realist art in favor of the so-called \&quot;open text.\&quot;\&nbsp;Auteur\&nbsp;theory, in its heyday, concentrated attention exclusively on the fingerprints, thematic or stylistic, of the individual artist; recent attempts to discuss the complete \&quot;filmic text\&quot; have tended to throw out ideas of personal authorship altogether.</p>
},
	author = {Wood, Robin}
}
