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the film is treated as a work of art and the auteur, as the creator of the film, is the original copyright holder.

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Early German film theorist Walter Julius Bloem credited this to film being an art for the masses, and the masses being accustomed to regard someone who gives the final product (in this case, the director) as an artist, and those who contribute before (i.e. Starting in the 1960s, some film critics began criticising auteur theory's focus on the authorial role of the director.

Pauline Kael and Andrew Sarris feuded in the pages of The New Yorker and various film magazines.

This tradition suggests that the screenwriter hands the script to the director and the director simply adds the performers and pictures.

Even before auteur theory became clearly defined, the director was considered to be the most important among the people working on a film.

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