Write an illustrative report justifying and explaining why your selected directors can be considered an auteur or another theory that is covered in the lessons by studying their background and creative signature and giving a wide range of specific examples from their work. This should involve close analysis of two of their films (One from each director).  You should also use images, such as screenshots from the films, to support the points you make.

You should focus on the following information about your chosen director:

• Why are they considered an Auteur, Feminism or Queer filmmakers? (You may use other theories that you have researched previously
  Throughout his career, Tarantino has had complete control over films and his heavily involved in every aspect of filmmaking. Tarantino has a unique stylistic tone that cannot easily be matched. Known for long, intense dialogue, humorously dramatic violence, and frequently nonlinear scripts, Tarantino undoubtedly has a signature mark. A well known common theme throughout his films is the revenge plot, exemplified in films such as Kill Bill, Inglorious Bastards, and Django Unchained, among others. Other recurring elements include: similar camera angles and shots (car trunk POV shots, mirror shots, close ups on lips and feet, etc.), the usage of black and white, violent awakenings, and dance scenes, Mexican standoffs, opening definitions, recurring props (samurai swords, record players, televisions) and more. Furthermore, Tarantino frequently uses the same cast members and technical crew. Some of the actors that have appeared in Tarantino films include Uma Therman, Samuel L. Jackson, Christopher Waltz, and Michael Madsen.  Tarantino himself has also had multiple cameos in his films,including Pulp Fiction, similar to Alfred Hitchcock in the past, but traditionally to a greater capacity.
  
  Tarantino is able to produce significantly different and unique films each time he produces one while still maintaining common threads throughout, which not only elevates his status as both an outstanding director, screenwriter, and producer, but as an auteur as well. 
  
  
  
  
  
  
• Filmography and any relevant background or biographical information
  In January of 1992, first-time writer-director Tarantino's Resoiver Dogs (1992) appeared at the Sundance Film Festival. The film garnereid critical acclaim and the director became a legend immediately. Two years later, he followed up Dogs success with Pulp Fiction(1994) which premiered at the Cannes film festival, winning the coveted Palme D'Or Award. At the 1995 Academy Awards, it was nominated for the best picture, best director and best original screenplay. Tarantino and writing partner Roger Avery came away with the award only for best original screenplay. In 1995, Tarantino directed one fourth of the anthology Four Rooms (1995) with friends and fellow auteurs Alexandre Rockwell, Robert Rodriguez  and Allison Anders. The film opened December 25 in the United States to very weak reviews. Tarantino's next film was From Dusk Til Dawn(1996), a vampire/crime story which he wrote and co-starred with George Clooney. The film did fairly well theatrically.
  
  
  Bibliography:
  https://www.imdb.com/name/nm0000233/bio
  
  
  
  
  
  
• Casting (use of same actors/types of role) Tarantino works alongside a lot of familiar faces in his productions such as:
  Brad Pitt, Zoe Bell, Samuel L. Jackson, Tom Roth, Eli Roth, Steve Buscemi, Michael Madsen, James Parks and more
  
  
• Film techniques : use of colour and lighting, special effects,  use of camera, editing techniques, camera, music and sound

  
  

  Pulp Fiction contains a variety of lighting throughout the film. Low lighting is used in scenes like Marcellus’ club and the taxi cab. These scenes use low lighting to symbolize mystery and danger when Butch is given directions and dirty money to lose his big fight, and again when he jumps into the cab after beating his opponent to death (against the wishes of Marcellus, his boss). In the club, director Quentin Tarantino uses a red filter to color the room a dark and sultry color that shows you that the bar is perhaps not open, and that it is lit to do a shady deal with the boss. Low lighting is also used to show that Butch is hiding and running from the repercussions he is sure to face for defying his employer, while the light is splayed across the face of the cab driver who is curious about Butch’s fight and asks him questions. She is in the light because her questions are innocent, she is not a criminal, and she actually helps Bruce keep anonymous. Traditional three-point lighting is used in the apartment building where Jules and Vince are going to collect a debt from some residents there. The building is natural light on the downstairs to show its vacancy and the three-point lighting is on the actors as they walk through the hallways to show that it is in the middle of the day. On the way up the elevator, the director chooses to use specific angles of lighting to make it appear the actors are in a real elevator instead of just standing still. High-key lighting is used in the scenes that include Jules and Vince in close-up scenes as well as the scenes including Butch’s girlfriend. She is sweet and innocent, and the soft bright light that is on and around her symbolizes the good things about Butch. The high-key lighting on Jules’ face in the apartment scene shows all of his emotions highlighted, and again his whole body highlighted as he recites a passage from the bible to the soon-to-be victim. This was used to show Jules’ “righteousness” in killing the man who refused to pay his debts. Quentin Tarantino, the director, uses specific lighting cues to create atmosphere and meaning in Pulp Fiction
  
  Bibliography:
  https://scrouse1989.wordpress.com/2014/05/22/lighting-evaluation-pulp-fiction/
  
  
  
  
  
  

Details about their creative influences (other directors, artists etc.)

Written on the 2nd page of the screenplay for Reservoir Dogs is a list of names -- Timothy Carey, Jean-Luc Godard, and John Woo to name a few. These are individuals that Quentin Tarantino wished to highlight and laud in his first feature film. The entire film was dedicated to these, to use his word, "inspirations", and in an interview from 2002, Tarantino sat down to talk about who these people were to him creatively and how they impacted his life and filmmaking career. Hit the jump to watch the interview. I'm sure for many of us Quentin Tarantino was or still is a beacon of hope for independent film. Like him or not, he, as well as a bunch of other independent filmmakers, paved the way for future filmmakers to be able to make films outside a studio system that was nearly impossible to get into. The films he made in the 90s (Reservoir Dogs, Pulp Fiction, Jackie Brown) have inspired me greatly, so it's interesting to hear the inspiration's inspiration for their work. 

Second film: Pride-queer theory 

plot:

U.K. gay activists work to help miners during their lengthy strike of the National Union of Mineworkers in the summer of 1984.

Why is it considered a queer film
Pride is a 2014 British LGBT-related historical comedy-drama film written by Stephen Beresford and directed by Matthew Warchus. Based on a true story, the film depicts a group of lesbian and gay activists who raised money to help families affected by the British miners' strike in 1984, at the outset of what would become the Lesbians and Gays Support the Miners campaign. The alliance was unlike any seen before and was ultimately successful. this is a good example of queer theory at work as the film deviates from what the societal standards and norm would have been for films, showcasing the gay activists working with miners, a combination of people from different walks of life that you would not expect to come together.

Filmography and any relevant background or biographical information

Productions include: Sejanus his Fall (Edinburgh), "Master Harold"...and the Boys (Bristol Old Vic), The Suicide, Coriolanus (National Youth Theatre), Life is a Dream, Plough and the Stars,True West (Donmar Warehouse), Henry V, The Devil is an Ass, Hamlet (RSC), Volpone (RNT), Troilus and Cressida (Opera North), Rake's Progress (Welsh National Opera), Falstaff(Opera North & ENO), and Art (West End & Broadway).

His 1997 productions of Hamlet at the Barbican Theatre and Falstaff at the English National Opera have been nominated for several Olivier awards including "Best Director". Hamlet was also seen at the Brooklyn Academy in New York and the Kennedy Center in Washington, D.C. Warchus directed Yasmina Reza's plays, The Unexpected Man (RSC) and Life x 3 (National Theatre) in London and New York (at, respectively, the Promenade Theatre and Circle in the Square Theatre). In 1999, he completed his debut feature film – an adaptation of Sam Shepard's play Simpatico – which he co-wrote and directed, starring Nick Nolte, Jeff Bridges, Albert Finney and Sharon Stone. In 2000 he directed Sam Shepard's True West starring Philip Seymour Hoffman and John C. Reilly. In 2002 he directed Our House, at the Cambridge Theatre, a new musical written by Tim Firth featuring the music of Madness which won the Olivier Award for Best New Musical. In 2007 he directed Lord of the Rings, the stage adaptation of Lord of the Rings, which played at the Theatre Royal, Drury Lane from May 2007 to July 2008. It was the most expensive stage production ever at the time of its debut. In 2008 he directed David Mamet's Speed-the-Plow, starring Kevin Spacey and Jeff Goldblum and Alan Ayckbourn's trilogy of plays The Norman Conquests at London's Old Vic Theatre, and Boeing Boeing at New York's Broadhurst Theatre for which he received a Tony nomination for Best Director of a Play. During the 2009 Broadway season, Warchus directed two productions. One was the critically lauded, 2009 Tony Award winner for Best Revival of a Play transfer of his Old Vic production ofThe Norman Conquests, for which he won the Drama Desk Award for Best Director. The other was the 2009 Tony Award winner for Best Play, Yasmina Reza's smash hit God of Carnage,for which Warchus won the Tony Award for Best Direction of a Play. In 2010, Warchus directed the acclaimed RSC musical production, Matilda The Musical, which transferred to the West End in October 2011 at the Cambridge Theatre, before opening at the Shubert Theatre on Broadway in March 2013. The musical has since gone on to tour the US, Australia and New Zealand, winning multiple awards with a record-breaking seven Olivier Awards including Best New Musical and Best Director for Warchus. Warchus's production of Ghost: The Musical, a stage adaptation of the Academy Award winning 1990 film, Ghost premiered at the Manchester Opera House in March 2011, and opened at the West End's Piccadilly Theatre in July 2011 and closed on 6 October 2012. The show transferred to Broadway beginning at the Lunt Fontanne Theater on 15 March 2012 and closed on 18 August 2012. Ghost The Musical was on tour in UK and USA in 2013 while also playing in Budapest. It opened in Korea in November 2013. His film Pride was selected to be screened as part of the Directors' Fortnight section of the 2014 Cannes Film Festival,where it won the Queer Palm award on 23 May 2014

Film techniques : use of colour and lighting, special effects,  use of camera, editing techniques, camera, music and sound

the film is groaning with pints of mild and choral singing, acid-wash denim and disco. When there’s an impromptu sing-song of Bread and Roses halfway through, you’re amazed it took so long, but every broad stroke is set down with an artist’s eye. Warchus is a theatre director by trade, and Pride vibrates with the same energy and uplift as a great stage show. It chases applause, and earns it.