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Whose film is it anyway? A battle over the auteur status between Alejandro González Iñárritu and Guillermo Arriaga

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Whose film is it anyway? A battle over the auteur status between Alejandro González Iñárritu and Guillermo Arriaga. / Shaw, Deborah.

In: Studies in Spanish & Latin American Cinemas , Vol. 18, No. 1, 3, 01.03.2021, p. 19-36.

Research output: Contribution to journalArticlepeer-review

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Shaw, Deborah. / Whose film is it anyway? A battle over the auteur status between Alejandro González Iñárritu and Guillermo Arriaga. In: Studies in Spanish & Latin American Cinemas . 2021 ; Vol. 18, No. 1. pp. 19-36.

Bibtex

@article{22f0ebe359974ea495e5f32d7699b673,
title = "Whose film is it anyway? A battle over the auteur status between Alejandro Gonz{\'a}lez I{\~n}{\'a}rritu and Guillermo Arriaga",
abstract = "Director Alejandro Gonz{\'a}lez I{\~n}{\'a}rritu and screenwriter and novelist Guillermo Arriaga worked together on three, highly successful films - Amores perros (2000), 21 Grams (2003) and Babel (2006). Yet, theirs was a troubled partnership and ended in a public feud. Arriaga stressed his creative primacy in the projects they worked on and downplayed the input of the director, while I{\~n}{\'a}rritu underplayed Arriaga{\textquoteright}s contribution after Amores perros. Finally, during the making of Babel, theses tensions came to a head and their collaboration came to an acrimonious end over irreconcilably different notions of what we might term {\textquoteleft}creative credit{\textquoteright}. This well-known collaboration, feud and separation tell a story of creative partnerships, film industry working practices, power plays and media manipulations. This article examines the public statements of the two men and explores their story. It also asks a series of questions that relate to their specific relationship, but also to broader power dynamics between directors and the screenwriters with whom they work when both have auteurist ambitions: what does the I{\~n}{\'a}rritu/Arriaga dispute reveal about discourses of auteurism and its construction?; What is the role of the screenwriter and his/her access to an auteurist status in the film industry? ",
keywords = "Auteurism, screenwriting, film industry, Mexican film",
author = "Deborah Shaw",
year = "2021",
month = mar,
day = "1",
doi = "10.1386/slac_00034_1",
language = "English",
volume = "18",
pages = "19--36",
journal = "Studies in Spanish & Latin American Cinemas ",
issn = "2050-4837",
publisher = "Intellect Ltd",
number = "1",

}

RIS

TY - JOUR

T1 - Whose film is it anyway? A battle over the auteur status between Alejandro González Iñárritu and Guillermo Arriaga

AU - Shaw, Deborah

PY - 2021/3/1

Y1 - 2021/3/1

N2 - Director Alejandro González Iñárritu and screenwriter and novelist Guillermo Arriaga worked together on three, highly successful films - Amores perros (2000), 21 Grams (2003) and Babel (2006). Yet, theirs was a troubled partnership and ended in a public feud. Arriaga stressed his creative primacy in the projects they worked on and downplayed the input of the director, while Iñárritu underplayed Arriaga’s contribution after Amores perros. Finally, during the making of Babel, theses tensions came to a head and their collaboration came to an acrimonious end over irreconcilably different notions of what we might term ‘creative credit’. This well-known collaboration, feud and separation tell a story of creative partnerships, film industry working practices, power plays and media manipulations. This article examines the public statements of the two men and explores their story. It also asks a series of questions that relate to their specific relationship, but also to broader power dynamics between directors and the screenwriters with whom they work when both have auteurist ambitions: what does the Iñárritu/Arriaga dispute reveal about discourses of auteurism and its construction?; What is the role of the screenwriter and his/her access to an auteurist status in the film industry?

AB - Director Alejandro González Iñárritu and screenwriter and novelist Guillermo Arriaga worked together on three, highly successful films - Amores perros (2000), 21 Grams (2003) and Babel (2006). Yet, theirs was a troubled partnership and ended in a public feud. Arriaga stressed his creative primacy in the projects they worked on and downplayed the input of the director, while Iñárritu underplayed Arriaga’s contribution after Amores perros. Finally, during the making of Babel, theses tensions came to a head and their collaboration came to an acrimonious end over irreconcilably different notions of what we might term ‘creative credit’. This well-known collaboration, feud and separation tell a story of creative partnerships, film industry working practices, power plays and media manipulations. This article examines the public statements of the two men and explores their story. It also asks a series of questions that relate to their specific relationship, but also to broader power dynamics between directors and the screenwriters with whom they work when both have auteurist ambitions: what does the Iñárritu/Arriaga dispute reveal about discourses of auteurism and its construction?; What is the role of the screenwriter and his/her access to an auteurist status in the film industry?

KW - Auteurism

KW - screenwriting

KW - film industry

KW - Mexican film

UR - https://www.ingentaconnect.com/content/intellect/sslac/2021/00000018/00000001

U2 - 10.1386/slac_00034_1

DO - 10.1386/slac_00034_1

M3 - Article

VL - 18

SP - 19

EP - 36

JO - Studies in Spanish & Latin American Cinemas

JF - Studies in Spanish & Latin American Cinemas

SN - 2050-4837

IS - 1

M1 - 3

ER -

ID: 21922440