This article positions him in relation to the 'quality' and popular cinema of the period through an exploration of the critical discourses that coalesce around his films.Becker embraced an auteurist conception of cinema but operated in an industry that was dominated by a commercial, quality cinema of international co-productions, stars and films destined for export.Drawing on articles from both the specialist and general press, this article explores the construction of Becker as an auteur at the very moment when the politique des auteurs was setting out its stall in opposition
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Sarah Leahy (2024) studied this question.
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