{"id":{"repo_id":"minho-thes","oai_identifier":"oai:repositorium.uminho.pt:1822/69749"},"canonical_url":"https://search.dev.ndltd.org/etd/minho-thes/oai:repositorium.uminho.pt:1822/69749","repository":{"repo_id":"minho-thes","name":"Universidade do Minho","base_url":"http://repositorium.sdum.uminho.pt/oai/request"},"display":{"title":"The Dream Machine: Moving beyond the dichotomy between genre and auteur cinema","abstract":"At a time when the moving image is more omnipresent than ever in modern society, the cinema is suffering an identity crisis, with some commentators questioning whether the medium is already dead. Hollywood cinema has shifted predominantly towards superhero and fantasy franchises complemented by kids animation movies, while Europe is divided between comedies with limited export potential and auteur films that are increasingly restricted to the film festival and museum circuit. The inclusive vision of film as a universal art form has been superseded by a strongly perceived dichotomy between a more erudite “auteur cinema” on the one hand and a visually spectacular “genre cinema” on the other. A key moment of change in the critical consensus in relation to film occurred in the late 1960s and early 1970s when the first wave of the auteur theory was superseded by a second wave, which radically shifted the theoretical framework for thinking about cinema and for making films. This new critical consensus coincided with a sea change in the industry itself, in the wake of the rollout of television. The industry is now undergoing a new transformation as a result of the digital revolution, with power shifting away from cinema and towards streaming platforms. The new theoretical framework associated to the second wave of auteur theory has had a decisive impact on curatorial strategies at the level of film funding by national film institutes, commissioning strategies of television broadcasters with cultural remits, film education, and the programming strategies of film festivals. This thesis provides evidence for the growing dichotomy between auteur and genre cinema, including extensive statistical analysis in the annexes. It analyses the various set of theories that led to the creation of this dichotomy at a theoretical/curatorial level, and the associated historical forces that led to this divide. It offers a theoretical framework for understanding poetic cinema and why it was so inspiring to early filmmakers and how it can form the basis for moving beyond the auteur/genre dichotomy. It also analyses the contribution provided to these issues by recent cognitive film theory. In conclusion it traces a theoretical framework that can overcome this dichotomy and identifies future areas of research.","abstract_html":"At a time when the moving image is more omnipresent than ever in modern society, the cinema is suffering an identity crisis, with some commentators questioning whether the medium is already dead. Hollywood cinema has shifted predominantly towards superhero and fantasy franchises complemented by kids animation movies, while Europe is divided between comedies with limited export potential and auteur films that are increasingly restricted to the film festival and museum circuit. The inclusive vision of film as a universal art form has been superseded by a strongly perceived dichotomy between a more erudite “auteur cinema” on the one hand and a visually spectacular “genre cinema” on the other. A key moment of change in the critical consensus in relation to film occurred in the late 1960s and early 1970s when the first wave of the auteur theory was superseded by a second wave, which radically shifted the theoretical framework for thinking about cinema and for making films. This new critical consensus coincided with a sea change in the industry itself, in the wake of the rollout of television. The industry is now undergoing a new transformation as a result of the digital revolution, with power shifting away from cinema and towards streaming platforms. The new theoretical framework associated to the second wave of auteur theory has had a decisive impact on curatorial strategies at the level of film funding by national film institutes, commissioning strategies of television broadcasters with cultural remits, film education, and the programming strategies of film festivals. This thesis provides evidence for the growing dichotomy between auteur and genre cinema, including extensive statistical analysis in the annexes. It analyses the various set of theories that led to the creation of this dichotomy at a theoretical/curatorial level, and the associated historical forces that led to this divide. It offers a theoretical framework for understanding poetic cinema and why it was so inspiring to early filmmakers and how it can form the basis for moving beyond the auteur/genre dichotomy. It also analyses the contribution provided to these issues by recent cognitive film theory. In conclusion it traces a theoretical framework that can overcome this dichotomy and identifies future areas of research.","abstract_has_math":false,"creators":["Dale, Martin John"],"institution":"Universidade do Minho","degree_name":"Tese de doutoramento em Ciências da Comunicação","degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Martins, Moisés de Lemos","Zagalo, Nelson"],"committee_chairs":[],"committee_members":[],"year":2020,"date_issued":"2020-06-25","date_published":"2020-06-25","updated_at":"2026-08-21T16:46:36Z","subjects":["auteur","cognitive","genre","poetic","autor","cognitivo","género","poético"],"languages":["por"],"rights":["openAccess"],"rights_urls":["http://creativecommons.org/licenses/by-nc-nd/4.0/"],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/1822/69749","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"source_record":{"url":"http://repositorium.sdum.uminho.pt/oai/request?verb=GetRecord&metadataPrefix=dim&identifier=oai%3Arepositorium.uminho.pt%3A1822%2F69749","prefix":"dim"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Martins, Moisés de Lemos","Zagalo, Nelson"]},{"key":"dc:creator","label":"Author","values":["Dale, Martin John"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2021-01-26T19:38:26Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2021-01-26T19:38:26Z"]},{"key":"dc:date.issued","label":"Date","values":["2020-06-25"]},{"key":"dc:type","label":"Dc Type","values":["doctoralThesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Tese de doutoramento em Ciências da Comunicação"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Universidade do Minho"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["auteur","cognitive","genre","poetic","autor","cognitivo","género","poético"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["por"]},{"key":"dc:rights","label":"Dc Rights","values":["openAccess"]},{"key":"dc:rights.uri","label":"Rights URI","values":["http://creativecommons.org/licenses/by-nc-nd/4.0/"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/1822/69749"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["At a time when the moving image is more omnipresent than ever in modern society, the cinema is suffering an identity crisis, with some commentators questioning whether the medium is already dead. Hollywood cinema has shifted predominantly towards superhero and fantasy franchises complemented by kids animation movies, while Europe is divided between comedies with limited export potential and auteur films that are increasingly restricted to the film festival and museum circuit. The inclusive vision of film as a universal art form has been superseded by a strongly perceived dichotomy between a more erudite “auteur cinema” on the one hand and a visually spectacular “genre cinema” on the other. A key moment of change in the critical consensus in relation to film occurred in the late 1960s and early 1970s when the first wave of the auteur theory was superseded by a second wave, which radically shifted the theoretical framework for thinking about cinema and for making films. This new critical consensus coincided with a sea change in the industry itself, in the wake of the rollout of television. The industry is now undergoing a new transformation as a result of the digital revolution, with power shifting away from cinema and towards streaming platforms. The new theoretical framework associated to the second wave of auteur theory has had a decisive impact on curatorial strategies at the level of film funding by national film institutes, commissioning strategies of television broadcasters with cultural remits, film education, and the programming strategies of film festivals. This thesis provides evidence for the growing dichotomy between auteur and genre cinema, including extensive statistical analysis in the annexes. It analyses the various set of theories that led to the creation of this dichotomy at a theoretical/curatorial level, and the associated historical forces that led to this divide. It offers a theoretical framework for understanding poetic cinema and why it was so inspiring to early filmmakers and how it can form the basis for moving beyond the auteur/genre dichotomy. It also analyses the contribution provided to these issues by recent cognitive film theory. In conclusion it traces a theoretical framework that can overcome this dichotomy and identifies future areas of research.","Numa altura em que a imagem em movimento é mais omnipresente do que nunca na sociedade moderna, o cinema está a sofrer uma crise de identidade, com alguns a questionar se o meio está já morto. O cinema de Hollywood transmutou-se predominantemente em direção aos super-heróis e ao género de cinema fantástico, complementados por filmes de animação infantil, enquanto a Europa está dividida entre comédias com potencial de exportação limitado e “filmes de autor” que estão cada vez mais restringidos aos circuitos dos festivais de cinema e dos museus. A visão inclusiva do cinema como uma arte universal foi substituída por uma visão fortemente dicotómica entre um “cinema de autor”, de caráter mais erudito, por um lado, e um cinema de “género”, visualmente espetacular, por outro. No final dos anos 60 e início da década de 1970, ocorreu um momento chave de mudança no consenso crítico em relação ao cinema - quando a primeira vaga da teoria do auteur foi substituída por uma segunda vaga, que mudou radicalmente o quadro teórico. Este novo consenso crítico coincidiu com uma mudança radical na própria indústria, na sequência do avanço da televisão. A indústria está agora a ser perpassada por uma nova transformação, como resultado da revolução digital, com o poder a deslocar-se do cinema para as plataformas de streaming. O novo quadro teórico associado à segunda vaga da teoria do cinema de autor teve um impacto decisivo nas estratégias curatoriais ao nível do financiamento de filmes pelos institutos cinematográficos nacionais, estratégias associadas a comissões dos organismos de radiodifusão televisiva com competências culturais, educação cinematográfica e programação estratégica de festivais de cinema. Esta tese fornece evidências para a crescente dicotomia entre cinema de autor e cinema de género, incluindo análises estatísticas exaustivas apresentadas nos anexos. Analisa o conjunto das várias teorias que conduziram à criação desta dicotomia a nível teórico/curatorial, além das forças históricas associadas a tal divisão e que a esta conduziram. Oferece um quadro teórico para a compreensão do cinema poético e para o motivo pelo qual este foi sobremaneira inspirador para os primeiros cineastas, além do modo como este pode servir de base para ultrapassar a dicotomia autor/género. Analisa também a contribuição dada a estas questões pela recente teoria do filme cognitivo. Em conclusão, traça um quadro teórico que pode superar a dicotomia apresentada e identifica futuras áreas de investigação."]},{"key":"dc:title","label":"Title","values":["The Dream Machine: Moving beyond the dichotomy between genre and auteur cinema"]}]}],"canonical_facts":{"dc:contributor.advisor":["Martins, Moisés de Lemos","Zagalo, Nelson"],"dc:creator":["Dale, Martin John"],"dc:date.accessioned":["2021-01-26T19:38:26Z"],"dc:date.available":["2021-01-26T19:38:26Z"],"dc:date.issued":["2020-06-25"],"dc:description.abstract":["At a time when the moving image is more omnipresent than ever in modern society, the cinema is suffering an identity crisis, with some commentators questioning whether the medium is already dead. Hollywood cinema has shifted predominantly towards superhero and fantasy franchises complemented by kids animation movies, while Europe is divided between comedies with limited export potential and auteur films that are increasingly restricted to the film festival and museum circuit. The inclusive vision of film as a universal art form has been superseded by a strongly perceived dichotomy between a more erudite “auteur cinema” on the one hand and a visually spectacular “genre cinema” on the other. A key moment of change in the critical consensus in relation to film occurred in the late 1960s and early 1970s when the first wave of the auteur theory was superseded by a second wave, which radically shifted the theoretical framework for thinking about cinema and for making films. This new critical consensus coincided with a sea change in the industry itself, in the wake of the rollout of television. The industry is now undergoing a new transformation as a result of the digital revolution, with power shifting away from cinema and towards streaming platforms. The new theoretical framework associated to the second wave of auteur theory has had a decisive impact on curatorial strategies at the level of film funding by national film institutes, commissioning strategies of television broadcasters with cultural remits, film education, and the programming strategies of film festivals. This thesis provides evidence for the growing dichotomy between auteur and genre cinema, including extensive statistical analysis in the annexes. It analyses the various set of theories that led to the creation of this dichotomy at a theoretical/curatorial level, and the associated historical forces that led to this divide. It offers a theoretical framework for understanding poetic cinema and why it was so inspiring to early filmmakers and how it can form the basis for moving beyond the auteur/genre dichotomy. It also analyses the contribution provided to these issues by recent cognitive film theory. In conclusion it traces a theoretical framework that can overcome this dichotomy and identifies future areas of research.","Numa altura em que a imagem em movimento é mais omnipresente do que nunca na sociedade moderna, o cinema está a sofrer uma crise de identidade, com alguns a questionar se o meio está já morto. O cinema de Hollywood transmutou-se predominantemente em direção aos super-heróis e ao género de cinema fantástico, complementados por filmes de animação infantil, enquanto a Europa está dividida entre comédias com potencial de exportação limitado e “filmes de autor” que estão cada vez mais restringidos aos circuitos dos festivais de cinema e dos museus. A visão inclusiva do cinema como uma arte universal foi substituída por uma visão fortemente dicotómica entre um “cinema de autor”, de caráter mais erudito, por um lado, e um cinema de “género”, visualmente espetacular, por outro. No final dos anos 60 e início da década de 1970, ocorreu um momento chave de mudança no consenso crítico em relação ao cinema - quando a primeira vaga da teoria do auteur foi substituída por uma segunda vaga, que mudou radicalmente o quadro teórico. Este novo consenso crítico coincidiu com uma mudança radical na própria indústria, na sequência do avanço da televisão. A indústria está agora a ser perpassada por uma nova transformação, como resultado da revolução digital, com o poder a deslocar-se do cinema para as plataformas de streaming. O novo quadro teórico associado à segunda vaga da teoria do cinema de autor teve um impacto decisivo nas estratégias curatoriais ao nível do financiamento de filmes pelos institutos cinematográficos nacionais, estratégias associadas a comissões dos organismos de radiodifusão televisiva com competências culturais, educação cinematográfica e programação estratégica de festivais de cinema. Esta tese fornece evidências para a crescente dicotomia entre cinema de autor e cinema de género, incluindo análises estatísticas exaustivas apresentadas nos anexos. Analisa o conjunto das várias teorias que conduziram à criação desta dicotomia a nível teórico/curatorial, além das forças históricas associadas a tal divisão e que a esta conduziram. Oferece um quadro teórico para a compreensão do cinema poético e para o motivo pelo qual este foi sobremaneira inspirador para os primeiros cineastas, além do modo como este pode servir de base para ultrapassar a dicotomia autor/género. Analisa também a contribuição dada a estas questões pela recente teoria do filme cognitivo. Em conclusão, traça um quadro teórico que pode superar a dicotomia apresentada e identifica futuras áreas de investigação."],"dc:identifier.uri":["https://hdl.handle.net/1822/69749"],"dc:language.iso":["por"],"dc:rights":["openAccess"],"dc:rights.uri":["http://creativecommons.org/licenses/by-nc-nd/4.0/"],"dc:subject":["auteur","cognitive","genre","poetic","autor","cognitivo","género","poético"],"dc:title":["The Dream Machine: Moving beyond the dichotomy between genre and auteur cinema"],"dc:type":["doctoralThesis"],"thesis:degree_name":["Tese de doutoramento em Ciências da Comunicação"],"thesis:institution_name":["Universidade do Minho"]},"updated_at":"2026-08-21T16:46:36Z"}