129:, Diane Garrett said Kipen shows a degree of disingenuousness when he states that Schreiberism is "an attempt to rescue reviewing and scholarship from those who would have us forget just how collaborative filmmaking truly is". She said, "If that's really the goal, why spend 150 pages arguing for the supremacy of the writer? Instead say what you really mean: Don't forget the writer, please".
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In an interview with Kipen, film writer
Michael Fox said Schreiberism seemed less an attempt to discredit auteur theory outright than a ploy to "simply shift the auteur appellation from directors to screenwriters". Kipen's reply was that there was an element of "parody" in his writer-centred theory,
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has wrongly skewed analysis towards a director-centred view of film. In contrast, Kipen believes that the screenwriter has a greater influence on the quality of a finished work and that knowing who wrote a film is "the surest predictor" of how good it will be:
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word for "writer" – "schreiber" – in honor of the many Jewish
American screenwriters, many of whom had Yiddish as (at least part of) their mother tongue.
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in that he hoped to "overcorrect" the director-centred model in such a way that "the final average of the two is a more realistic representation".
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stated that he wished to use
Schreiber theory as "a lever to change the way people think about screenwriting, and movies in general".
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Kipen acknowledges that his writer-centred approach is not new, and he pays tribute to earlier critics of auteur theory such as
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won't always see a masterpiece, but he'll see fewer clunkers than he would following even a brilliant director like
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which holds that the principal author of a film is generally the
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The
Schreiber Theory: A Radical Rewrite of American Film History
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The
Schreiber Theory: A Radical Rewrite of American Film History
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The
Schreiber Theory: A Radical Rewrite of American Film History
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Author! Author! David Kipen Posits a New Auteur Theory
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111:In seeking a name for his theory, Kipen chose the
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