As I recall, the French critics advanced the milder notion that films from certain forcible American directors, such as John Ford, had stylistic elements in common and could thus be considered as works bearing the stamp of an auteur, a single author, namely the director of the movie. At the time this would have been seen as a fairly radical idea to Hollywood, which used to regard directors as journeymen assigned to do jobs by film producers who regarded themselves as the ultimate authors of their movies.
But thanks in part to how American film critics took up this notion of the auteur, so-called "auteur theory" hardened into a fixed belief that movies—at least good movies, artistically important works of #cinema as opposed to routine trash—were the sole creations of their directors, the way that paintings and novels are largely the sole creations of artists and writers. This sort of "auteur theory" completely erases the collaborative, collective nature of filmmaking.
(cont'd)