(1) L. Delluc, "Notes pour moi," Le Film, n. 99 (1918), now in Ecrits cinématographiques, vol. II, Cinéma et Cie (Paris: Cinémathèque Française, 1986), p. 60. The article is quoted also by F. Jost, "La main et 1'il," in the present issue, p. 160.
(2) See P. Sorlin, "Le cinéaste, l'acteur, 1'auteur," in this issue, p. 174.
(3) See M. Pagnol, "Le film parlant offre à l'écrivain des ressources nouvelles," Le Journal (17 May 1930), "Cinématurgie de Paris," Cahiers du film, n. 1 (1930), and "Cinématurgie de Paris, chapitre II: le théatre en conserve," Cahiers du film, n. 2 (1934); R. Clair, "Les auteurs de film n'ont pas besoin de vous," Pour Vous, n. 85 (1930), and "Le sens du cinéma: a propos des théories de Marcel Pagnol," Candide (22 February 1930).
(4) Several are the essays in this issue which at reason underline the "authorial" contribution of the actor; for instance, the one by Jost (the actor's perfomance as "au- tographic" trace), by Sorlin (the actor who makes decisions about the mise en scène and the plot of the narration) and by Chion (the actor as the author of the soundtrack).
(5) See at this regard - and in general - M. Chion, Le cinéma et ses métiers, (Paris: Bordas, 1990).
(6) See Th. W. Adorno, Einleitung in die Muziksoziolo- gie. Zwölf theoretische Vorksungen (Frankfurt am Main: Suhrkamp Verlag, 1962). Adorno, in fact, states that in order to conduct a symphony a unitary consciousness is also necessary, capable to spiritually reach the integration and then perform it or at least control it. However, he highlights the contradictions and deceptions hidden behind the image and role our culture assigns to the orchestra conductor, depicted as a member of that caste of rulers or as the circus horse-breaker cracking his whip. This definition, be it noted, evokes the Hollywood stereotype of the actor-tamer Führer-director with his most typical attributes: leather boots, riding trousers and whip.
(7) See M. Chion, "L'auteur du son du film, c'est le film," in this issue, p. 166.
(8) See at this regard an interesting paper by Alberto Cavalcanti in 1927, where the cineaste affirms that the European production system forces the director in taking over burdens which he is not responsible for (as the collection of foundings, the writing of the script or the improvement of the setting). He thus urges his colleagues to be more metteurs en scène than réalisateurs. See A. Cavalcanti, "Le metteur en scène," Filmliga, n. 2 (1927), Italian translation in F, Bono, A. Boschi, E. Reirer (eds.), La Filmliga olandese (1927-1933). Avanguardia, critica, organizzazione del cinema (Bologna: Dipartimento di Musica e Spettacolo, 1991), pp. 58-59.
(9) Quoted in R. Clair, Cinéma d'hier, cinéma d'aujourd'hui (Paris: Gallimard, 1970), pp. 161-162.
(10) J. Epstein, "Londre parlant," Cinéa Ciné pour tous (15 December 1929), now published in Ecrits sur le cinéma, vol. I (Paris: Seghers, 1975), p. 203.
(11) See A. Costa, "François, Eric, Claude, Jean-Luc, Jacques and the Authors," in this issue, p. 183.
(12) Cahiers' critics can surely not be blamed for such a prejudice, since one of their main credits is undoubtly that of having appreciated the speech-centred cinema of directors like Mankiewicz, Pagnol or Guitry.
(13) J. Naremore, "Authorship and Cultural Politics," Film Quarterly, n. 44 (1990), p. 20.
(14) J. Mukarovsky, Studie z estetiky (Praha: Odeon, 1966).
(15) R. Barthes, "The Death of the Author," Aspen Magazine, n. 5 (1967), now published in Le bruissement de la langue (Paris: Seuil, 1984). The same idea is represented, among others, also by Ernst Kris in Psychoanalitic Explorations in Art (International Universities Press, 1952).
(16) M. Foucault, "Qu'est-ce qu'un auteur?," Bulletin de la Société française de philosophie, LXIII, n. 3 (1969), now published in Dits et écrits, 1954-1988, vol. I, 1954- 1969 (Paris: Gallimard, 1994), p. 799.
(17) M. Foucault, L'ordre du discours (Paris: Gallimard, 1971).
(18) See Umberto Eco, I limiti dell'interpretazione (Milano: Bompiani, 1990).
(19) R. Barthes, Le plaisir du texte (Paris: Seuil, 1973), pp. 45-46.
(20) See P. Zumthor, Langue, texte, énigme (Paris: Seuil, 1975).
(21) See M. Schapiro, Style (Chicago: University of Chicago Press, 1953).