This section is missing information about the artistic recognition of popular music genres, music stars as "auteurs", and comparisons to auteur theory as applied to film (see Shuker in "Further reading") .
Journalist Richard Williams wrote: "Spector created a new concept: the producer as overall director of the creative process, from beginning to end.
Lots of things get passed around the backrooms of the world wide web — memes, 280-character jokes, lots and lots of videos of animals doing various things.
Generally, 7,201-word pieces of literary fiction don't make the list.
One reason for the backlash is the collaborative aspect of shooting a film, and in the theory's privileging of the role of the director (whose name, at times, has become more important than the movie itself).
In Kael's "Raising Kane" (1971), an essay written on Orson Welles' Citizen Kane, she points out how the film made extensive use of the distinctive talents of co-writer Herman J. Some screenwriters have publicly balked at the idea that directors are more authorial than screenwriters, while film historian Aljean Harmetz, referring to the creative input of producers and studio executives in classical Hollywood, argues that the auteur theory "collapses against the reality of the studio system".
And so the discussion about that, and so many other things, is sparked.
Pauline Kael and Andrew Sarris feuded in the pages of The New Yorker and various film magazines.
He took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, told the singers how to phrase, masterminded all phases of the recording process with the most painful attention to detail, and released the result on his own label.".
Music producers after the mid 1960s would draw on his influence, setting a precedent that allowed bands and artists to enter a recording studio and act as producers, either autonomously, or in conjunction with other like minds.s Jason Guriel wrote that Wilson "paved the way for auteurs like Kanye West ... [and] the modern pop-centric era, which privileges producer over artist and blurs the line between entertainment and art.
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.