Auteur Theory in the Context of Indian Cinema: From Classical Narrative to Digital Spectacle

Abstract

After the introduction of AI, VFX, and virtual production technologies, the classical evolution of auteur theory in Indian cinema is posed in contrast where the very essence of auteurism accentuated the singular creative vision of a filmmaker to the considered digitally mediated redefinition of authorship through technologically aided narratives. This paper engages in a critical exploration into the junction of classical auteurism and digital cinema with S.S. Rajamouli and Shankar as prime representatives of Indian digital auteurism. However, they showcase the very degree to which digital modulation provided the director supernatural control over the representation to conjure almost entirely new worlds while still beholding an individualistic artistic touch. This research is framed into analysis of the question: Does AI and VFX makeup make the directorial authority arise or retreat? In as much as some advocate AI as an extension for a thought of creativity, others hold that algorithmically driven decision-making contests the notion of singular authorship. Engaging with auteur theory (Truffaut, Sarris, Bazin), Barthes’ "Death of the Author”. This paper orientates Indian cinema to the worldwide discourse on digital auteurism. The study concluded that digital auteurism is represented in the case of Indian cinema as a hybrid technology that intensifies rather than replaces directorial authority.