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Testing a programBuilding a program using control structuresChanging values in a programAdding features to a programUsing the pen tool in a programWhat is the benefit of creating a program with different programming constructsAuteur Theory is a way of looking at films that state that the director is the “author” of a film. A film is a reflection of the director’s artistic vision; so, a movie directed by a given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the director is (think a Hitchcock or Tarantino film) and shows a consistent artistic identity throughout that director’s filmography. The 3 Components of Auteur Theory Andrew Sarris, film critic for The New York Times, expanded on Truffaut’s writing and set out a more comprehensive definition for auteurs according to three main criteria: technical competence, distinguishable personality, and interior meaning. 1. Technical competence: Auteurs must be at the top of their craft in terms of technical filmmaking abilities. Auteurs always have a hand in multiple components of filmmaking and should be operating at a high level across the board. 2. Distinguishable personality: What separates auteurs from other technically gifted directors is their unmistakable personality and style. When looking at an auteur’s collected works, you can generally see shared filming techniques and consistent themes being explored. One of the primary tenets of auteur theory is that auteurs make movies that are unmistakably theirs. This is in sharp contrast with the standard studio directors of the era who were simply translating script to screen with little interrogation of the source material or editorial input. 3. Interior meaning: Auteurs make films that have layers of meaning and have more to say about the human condition. Films made by auteurs go beyond the pure entertainment-oriented spectacles produced by large studios, to instead reveal the filmmakers unique perspectives and ruminations on life. https://www.masterclass.com/articles/film-101-what-is-an-auteur#3ClNjwO6Gkgjd8ix2Cm5qI Who is the author of a TV program? It seems like it ought to be an easy question to answer, but it is not. There are, of course, scriptwriters, who are the literal authors of episodes in the sense of generating words that an actor eventually speaks, but in a soap opera or a sitcom there may be a dozen or more scriptwriters working on dialogue as the months go by. Is any one of them truly responsible for the overall tenor of the show, or are they just following rigid guidelines set down by other scriptwriters ahead of them? And the script is just the blueprint of an episode anyway. Actors, production designers, directors, videographers, editors, and on and on, are all necessary to construct an episode from that blueprint. Should we call one of them the author? And, at a more basic level, should we even bother looking for authors in television? Do viewers need to know who created a program in order to enjoy it? What does it add to our appreciation or understanding of television if we assign authorship of a program to an individual? In the closely related medium of the cinema, questions such as these have been answered by the auteur theory, which stems from the French word for “author,” auteur. Its basic precept is that a single individual is, and should be, the “author” of a work in order for it to be a good, artistically valuable work. A book, poem, film, or television show should express this individual’s personality, his “vision” (the masculine pronoun is significant; auteurist studies almost all focus on men). This notion stems from the nineteenth-century Romantic image of the author as a figure who sits alone in a dingy room, scratching out angst-ridden poems with a quill pen. The tormented, misunderstood author or artist is a cherished character type that can be traced back to the poet Lord Byron (1788–1824) and observed in numerous portrayals of demented painters, musicians, and writers in television programs and other media. Consider this: Have you ever seen or read a story about a creative person who wasn’t somehow strange or crazy? The auteur theory originated in French film criticism of the 1950s, where it was initially theorized that auteurs could be drawn from the ranks of producers, directors, scriptwriters, actors, and other filmmaking personnel.1 However, the vast bulk of auteurist film criticism has been about directors: Alfred Hitchcock, John Ford, and Quentin Tarantino, among many others.Title: The Adventures of Max and the Magical Computer (Shortened Version) Once upon a time, in a small town called Techville, there lived a curious fourth-grader named Max. One day, while exploring his grandma’s attic, he found an old, dusty computer. As he cleaned it, the screen lit up, and a cheerful voice said, “Hello, Max! I’m Compy, your magical computer. Let’s learn about operating systems, files, and folders!” Max was thrilled. “A talking computer? Let’s go!” Chapter 1: The World of Windows Compy explained, “I run on Windows, the brain of the computer. It uses a Graphical User Interface (GUI), so you can interact with me using icons, menus, and buttons. Let’s start by changing my desktop background—the image on the screen.” Max chose a spaceship picture. “Cool! Can I add a screen saver too?” “Of course!” said Compy. “It’s an image that appears when I’m inactive. Try this swirling galaxy!” Max set the screen saver and giggled as it appeared. “This is fun!” Chapter 2: Organizing with Folders and Files Compy’s screen filled with random icons. “Oh no! My files are a mess. Can you help?” “Sure! What are files and folders?” asked Max. “A file is information, like a picture or document. Files have names, like ‘Homework.docx.’ The part after the dot, like .docx, is the file extension. It tells you the file type,” Compy explained. Max pointed to “Game.exe.” “So, this is a program file?” “Yes!” said Compy. “To organize, we use folders—like drawers for files. You can even put folders inside folders!” Max created a “School” folder, added his homework files, and made a “Projects” folder inside it. “Now everything’s neat!” Chapter 3: The File Explorer Adventure Compy’s screen flickered. “Some files are missing. Let’s use Windows Explorer to find them. It’s like a map for files and folders.” Max opened Windows Explorer and saw a tree-like list of folders. “This is like a tree with branches!” “Exactly!” said Compy. “Search for the missing files and move them to the right folders.” Max found the files in “Downloads” and moved them. “I feel like a computer detective!” Chapter 4: The Final Challenge Compy’s screen turned into a game board. “Time for a quiz! What’s the purpose of an operating system? How do you change the desktop background? What’s the difference between a file and a folder?” Max answered all the questions correctly, and fireworks lit up the screen. “Congratulations, Max! You’re a computer whiz!” The End Max smiled. “Thanks, Compy! I can’t wait to teach my friends!” Compy replied, “Remember, Max, learning is an adventure. Keep exploring!” As Max turned off the computer, he knew his journey into technology had just begun.