ABSTRACT

Scholarship on Kathryn Bigelow contends that auteurist thinking struggles to accommodate her eclectic career. Though her work displays recurring characteristics, contradictions are also evident that mean she is challenging to situate theoretically. In addition, an ironic component to the discourse about Bigelow is that disproportionate focus on her appearance serves to bolster her position as a significant filmmaker. In some respects, she therefore aligns with the concept of ‘the auteur as star’, with her extratextual profile representing an important facet of her artistic standing. However, this model does not fully account for Bigelow's status, analysis of which provides the basis for a reframing of current auteur theory. After contextualising relevant discourses pertaining to auteurism and stardom, this article discusses Bigelow through a modified star studies framework. By analysing several aspects of her career in this manner, Bigelow emerges as a quintessential example of a new concept, the neo-star auteur.

摘要

凯瑟琳·毕格罗 (Kathryn Bigelow) 的奖学金认为，作者主义思想难以适应她不拘一格的职业生涯。虽然她的作品显示出反复出现的特征，但矛盾也很明显，这意味着她在理论上很难定位。此外，关于毕格罗的言论具有讽刺意味的是，对她外表的过度关注有助于巩固她作为重要电影制片人的地位。因此，在某些方面，她与“作为明星的导演”的概念保持一致，她的超文本形象代表了她艺术地位的一个重要方面。然而，这个模型并没有完全解释毕格罗的地位，对毕格罗的分析为重新构建当前的作者理论提供了基础。在将有关作者主义和明星的相关话语置于语境中之后，本文通过修改后的明星研究框架讨论了毕格罗。通过以这种方式分析她职业生涯的几个方面，毕格罗成为新概念导演的典型例子。