Or to put it another way, can TV really be a home for auteurs? Should it be?
by Chloe Gilke
Last spring, I enrolled in a class called “Hitchcock and Modernity.” I’m a certified Hitchcock fanatic and freely spend my time writing unassigned essays about “Vertigo” and the male gaze, so the opportunity to learn about some of my favorite movies in a class setting was impossible to pass up. Still, as I clicked the “register” button, something about the course’s title made my skin crawl. Hitchcock and Modernity. Like countless other English classes at the University, this course would be focused on a single author and his body of texts, noting repeated themes and language and analyzing their significance — but authorship in film is not as simplistic as this method implies.