This chapter begins with a discussion of features common to the studio film. It suggests that locating the impetus for new punk cinema, particularly in terms of narrative experimentation, requires a return to Welles and Hitchcock, and to dabble in the notion of ‘auteur’. Auteur theory, championed by French film director, François Truffaut, located the creative force of a film in the director, or more correctly, the director/writer. The chapter then discusses the new punk aesthetic and the input of the Hollywood independent. It describes the new punk films of Quentin Tarantino, David Fincher and Christopher Nolan. It concludes with a discussion of new punk as a cinema aesthetic.
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