Authorship: Reservoir Dogs (1992)

The epitome of cool - Quentin Tarantino shrouds authorship. Auteurism is the theory of director as ‘author’, and which their work holds a distinctive quality or style, focusing on “central significance of individual creativity” (Crofts, 1998, pg. 310). Alexandre Astruc, 1948 created ‘la camera stylo’ (camera-pen) in association with the theory. Although Authorship considers a whole body of the director’s work and not single films, I will be discussing and analysing the ear amputation scene from Tarantino’s Reservoir Dogs, 1992.

There are three premises of auterusim. The first criterion of value: technical competence – “a good director has to at least be a good director”. When applying this to Tarantino it is evident from his cult following that people like his work, along with Academy Award wins and nominations it is evident he is of good quality. The second criterion of value: a director’s distinguishable personality – must demonstrate “recurrent characteristics of style”, essentially a signature on their work. Tarantino’s style can be broken down into stylistic violence, a dialogue which holds comedy and discussions around popular culture as well as his film's including cool, classic 60’s and 70’s tracks. Finally there should be a presence of interior meaning – “the tension between a director’s personality and his material” (Sarris, 1999 pg. 516-7). It is well known that Tarantino’s films have caused controversy with its explicit language and violence across his body of work, one of the most recent was issues with race in his film Django Unchained (2012).

Reservoir Dogs is a heist film without the heist. Essentially you see the plan and the aftermath –another characteristic of Tarantino's, non-linear storytelling. A group of men assemble to pull off the perfect diamond heist. However, it turns into a bloody ambush when one of the men turns out to be an insider police officer. With heightening tensions it inevitably causes disaster.

In the ear amputation scene his style and themes can be clearly illustrated. Violence is displayed through the mass blood used as well as an intimidating Mr. Blonde slicing off an ear in this vulgar torture. All whilst the legendary sound of Tarantino’s tracks play, in this scene we hear Stealers Wheel’s “Stuck in the middle with you”. He also experiments with diegetic sound when Mr. Blonde leaves the warehouse; the music fades out, and when he returns it carries on playing at the point in which the song would realistically continue. His aesthetics in general are something that cannot be matched, consequently leading to his signature mark. He also enjoys toying with Mexican stand-offs, his classic trunk shots and a classic revenge plot - evident in films Kill Bill (2003) and Inglourious Basterds (2009).

Sellors also advocates for consideration of an authorial collective (2010, pg. 74). Does authorism go beyond the director perhaps? Maybe the producer is the author; performer as an author or scriptwriter as an author. It is interesting to note that screenwriter’s being the author is the most contentious claim, and Tarantino is the screenwriter for all of his films. With Death Proof (2008) he even experimented with taking on the role as the cinematographer. Consequently showing his artistic participation involving his own projects.

Overall, Tarantino is considered one of modern cinema’s finest creators; with his own universe and loyal critical and cult followings, you aren't going to see any Big Kahuna Burgers or Red Apple cigarettes in a Spielberg picture. I personally believe his body of work to be one of the finest examples of a Post-Modern auteur.