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Argylle (2024) Marketing Analysis

Written in collaboration with Robinson Trout and Thomas Brough

Argylle (2024) is an upcoming Action/Thriller film directed by Matthew Vaughn and written by Jason Fuchs. The film is inspired by the Argylle book written by Elly Conway. It seems to be in a similar style to Matthew Vaughn’s other spy films in the  Kingsman trilogy. It is set to release on the 2nd of February 2024 and so we have analysed its release including Box Office Predictions, a Marketing Analysis, and a Programming schedule for the Ultimate Picture Palace.  

Box Office Predictions:

The Films we have chosen as a comparison for the Box Office are, Mathew Vaughn’s previous films; Layer Cake (2004), Kick-Ass (2010), Kingsman: The Secret Service (2014) & The Golden Circle (2017), and The King’s Man (2021), the British comedy thriller The Gentlemen (2020, Richie), two Henry Cavill movies Man of Steel (2013, Snyder) and The Man from U.N.C.L.E. (2015, Richie) and a film that has the same idea of a book coming to life as it’s written The Lost City (2021, Nee Brothers). The box office numbers below are taken from Box Office Mojo and converted into Pounds Sterling in the table. These films total an average UK Box Office of $19.37m or £15.54m, however, we believe that the film will make somewhere in the region of £20 million. This is as the film markets itself on the star power of its cast and its director as mentioned below however it is entirely possible it won’t make that much as the film is not based on any pre-existing Intellectual Property. The film's main competition will most likely be Madam Web (2024, Clarkson) the new film for Sony’s Spider-Verse. Given the large differences between the two films and the production companies behind them; Columbia being a part of Sony Entertainment and Argylle being made by Marv, Apple Films, and Cloudy Productions it is easy to see that Madam Web has a clear advantage however Sony’s live-action superhero record is their Venom films (2018, Fleischer and 2021, Serkis) and Morbius (2022, Espinosa) films that have overall performed poorly with ratings and Box Office.

Additionally, Argylle’s apparent parody of traditional James Bond films, something Vaughn has done previously with Kingsman and with the Bond series having underwhelmed some in recent years and the end of Daniel Craig’s era as Bond the series is not likely to return for at least another year. All this therefore puts Argylle in the unique position as the only mainstream British spy thriller to come out in the next few months. The cast is also nothing to be ignored main characters are played by Bryce Dallas Howard, Henry Cavil, and Sam Rockwell; Howard is known for her role in the Jurassic World trilogy (2015-2022), Civil known as Superman in the DCEU (2013-2022) and Geralt in Netflix’s The Witcher (2019-2023) and Rockwell as a prolific character actor appearing in many successful films of a comedic nature. The film will also include roles played by John Cena, Bryan Cranston, and Samuel L. Jackson, all well-known and respected actors as discussed below.

The companies behind Argylle are Marv, Matthew Vaughn's own production company that has been behind all of his films, Apple Studios, who have been getting a lot of good press with their recent collaborations with Martin Scorsese on Killers of the Flower Moon (2023) and with Ridley Scott on Napoleon (2023). With these companies behind it and being distributed by Universal and the bad press that is already surrounding Madam Web, we believe that Argylle will outperform Madam Web at the UK box office based on these factors.

Link to Box Office Numbers Table: https://docs.google.com/document/d/1eP5gwMOQeECDYT1Armpw5TYGdl8q2muGSZRnzUI-8IE/edit?usp=drive_link

Marketing Campaign Analysis: Argylle (2024)

Argylle (2024) is an upcoming Action/Thriller film directed by Matthew Vaughn and written by Jason Fuchs. The film is inspired by the Argylle book written by Elly Conway, the plot of the film does not appear to be based on the plot of the book. Instead, the plot of the film is a more ‘meta’ idea in that the main character is the author of the book itself. This has to be considered when discussing the USPs (Unique selling points) of the film. The fact the plot is not based on the book is used as a USP, which can be seen in the trailer for Argylle. We are set up to believe the sequence at the beginning of the trailer is the world the film is set in and so we are invested in the characters shown to us. Then our perception is broken as it is revealed that this world doesn't exist and that the film is about the author of the book rather than what happens within the book. The twist in the trailer is an effective technique to grab the attention of the viewer and it makes sure that they are actively watching the trailer rather than passively watching. Another USP is the star-studded cast, which consists of: Henry Cavail, Samuel L. Jackson, John Cena, Sam Rockwell, Bryce Dallas Howard, Bryan Cranston, and Dua Lipa. Most of the cast are well-established actors and actresses, however, there are some celebrity stars like John Cena and Dua Lipa which will boost the viewership due to their fans wanting to see them in a film. Other actors like Samuel L Jackson and Henry Cavil, will also draw audiences due to their amazing acting. People will sometimes watch a film simply because there is an actor or actress that they like. Another USP is the fun spy style of the film. From the trailer, it looks like Argylle is a film that doesn't take itself seriously, juxtaposing it with the typical serious spy film. This style is similar to the one used in the Kingsman trilogy which is also directed by Matthew Vaughn. The Kingsman trilogy is very popular, making millions in the UK, so audiences of those films will already identify with the style of this film and will be more likely to watch it. Even if viewers have not watched the Kingsman films, I feel they would still like the style. From the trailer, Argylle looks like a very bright and colourful film that promotes its carefree fun action style. 

Materials for the film have a distinct look as everything has some element of diamond shapes in them, this relates to the cover of the book the film is based on as it contains diamonds as well. Throughout the trailer, diamond shapes are everywhere. They are used in the title cards, as transition cuts, they are even used on the cat carrier (which is also the same colour as the book cover). Not only does the diamond theme give it a distinctive look, but it also clearly advertises the film to people who have read the book as the diamonds are very recognizable. Similar to the diamond theme, the cat from the film is also used in many of the materials. On posters for Argylle, a cat is presented as the main focus for the poster while other items e.g.: a gun, lipstick, and pen are smaller and used more to fill the space as well as to project that this is an action spy film. The cat is featured heavily in the trailer, having multiple close-up shots and rarely not positioned in the frame. This adds to the fun nature and style of the film which could persuade audiences to go and see it.  Due to the fun and action-packed style of Argylle, it seems the target audience will be teenagers and young adults around 14-23 years old. As Matthew Vaughn has directed Kingsman: The Secret Service (2014) we can effectively predict the audience demographic due to the similar nature of the films. According to the BFI statistical yearbook from 2015 Kingsman: The Secret Service (2014) had 41% of audience members in the age group of 15-24. As the films are so similar this suggests that the target audience is between the ages of 14-23. This is further supported by the fact the release date, the 2nd of February, is close to the school holidays which will provide the perfect opportunity for people in that age range to see the film. The film is more likely going to be watched by men, as Argylle is an action spy film. This is backed up by the BFI Audiences research and statistics from 2015 which say “Films with a strong action element were particularly popular among male audiences.” The trailer reflects this with the use of many action-fighting scenes as well as the male gaze being used on Dua Lipa’s character in order to sexualize her. These factors may put off many female audience members as they could view it as a stereotypical action spy film for boys. However, the main character of this film is a woman, not a man, which is traditional for a spy film. In the modern age of filmmaking, gender norms are beginning to disappear in film and they are becoming more inclusive. For example, The Marvels (Nia DeCosta, 2023) is an action film with three female main characters. Stereotypical gender films are fading so even if the target audience of the film are men, we expect many viewers of this film will be women.

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Critical Definition: Film Authorship

An auteur comes from the French word for Author and in the context of film, is the theory that each director has a distinct style of filmmaking. It is somewhat like how different book writers have different styles of writing, linking it to the word author. “The concept of authorship emerged parallel to that of subjectivity and marked the recognition of individual agency and intentionality in the production of artworks.” (Maule, 2008 Page 13) The text goes on to explain how the concept of film authorship arose in 1950s French filmmakers who had certain temperaments that influenced how they made films. The idea then spread to the rest of Europe and then to North America. Maule then explains how the concept took off among the contemporary filmmakers of the 1960s and beyond. Throughout the text, Maude describes many attributes of filmmaking that an auteur will choose to use, certain types of shots, music choices, production methodologies, or even socio-cultural rituals related to the film. Whatever the choice is for an auteur, it should be recognizable. This will often then feed into the marketing latching onto the director's name to make it a big deal in trailers and posters, sometimes to the point that it overshadows the actors of the film. The latest work from several authors; ‘Oppenheimer’ (2023, Nolan), ‘Killers of the Flower Moon’ (2023, Scorsese), and ‘Last Night in Soho’ (2021, Wright), had their names prominently featured in their marketing often listing their previous films.

Edgar Wright is particularly notable for his use of eccentric camera movement, use of sound and continuity, and call-backs and foreshadowing. (McQueen, A. 2013) The elements of sound are taken to an almost extreme level in his 2017 feature Baby Driver. Call-backs and foreshadowing are used to great effect in Hot Fuzz (2007) and The World’s End (2013).

Christopher Nolan's 'signatures’ that mark him out as an auteur can be his preference to shoot on film as well as a particular interest in science and mathematics. His science fiction films often center around a key piece of technology and delve into the practical applications of said technology. He also has a particular interest in time and how it works, often manipulating time through the edit (Dunkirk, 2017; Oppenheimer, 2023) or having the characters use the manipulation of time to their advantage (Inception, 2010; Tenet, 2020) (Robbie, 2021).

In Summary, film asterism is about a director having a certain style that they use in any of their films, it can be anything from genre-specific films, a particular method for lighting a film, or even having the same car make and model appear in every one of their films (Sam Rami). As long as there is something that sets their work apart from the work of other auteurs, their work can be considered unique and thus specific to them.

Sources:

Maule, R. (2008) Beyond auteurism : new directions in authorial film practices in france, italy and spain since the 1980s. Bristol: Intellect. (Accessed: November 6, 2023).

McQueen, A. (2013) “'bring the Noise!': Sonic Intensified Continuity in the Films of Edgar Wright,” Music, Sound, and the Moving Image, 7(2), pp. 141–165.

Dubois, D. (2021) “Cruising the Hyper-Real Highway: Edgar Wright’s Baby Driver,” Journal of Film and Video, 73(1), pp. 48–58. doi: 10.5406/jfilmvideo.73.1.0048.

Goh, R. B. H. (2022) Christopher nolan : filmmaker and philosopher. London, UK: Bloomsbury Academic (Philosophical filmmakers). Available at: https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=3070228 (Accessed: November 15, 2023).

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Critical Definition: Heritage Film

A Heritage film, or Period Drama or Costume Drama is a popular genre of British film and TV, which is distinctly set in the past, usually around the 19th century into the 20th century. The main characters tend to be landowning, wealthy, and upper-class, the plots usually are around who will marry who with younger characters, and ‘trouble in paradise’ stories for older characters. While these are only examples of the plots that tend to be present the writer does not have to limit themself to these. A sizable portion of Heritage films tend to be based on books of the time, for example, Jane Austen (Pride and Prejudice,1813), Emily Brontë (Wuthering Heights,1847), Agatha Christie (various Poirot books) and Charles Dickens (A Christmas Carol 1843). With the first two examples above their adaptations are very much in line with the upper-class characters and themes. Christie’s books fit into a different category but they are still set in the early 20th century with the character often being in the upper class but also incorporating classist themes at points. Dickins, however, is at the other end of the spectrum, his character still tends to be upper class but he is highly critical of them in his writings.

The genre was born in the early days of cinema and has been made by various people of non-British descent. “This venerable transnational history can be traced through the Hungarian Korda brothers’ 1930s – 1940s productions at Denham” (Monk, 2011 Page 2). The genre would keep at a somewhat steady level until the 1980s when films of this nature began to be critiqued due to the changing political climate with Margret Thatcher's more conservative government. Heritage films tend to focus on the upper classes of British polite society and their dramatic lives, the house servants being very minor characters in the narratives. The critiques were generally from the political left about how the films promote an idea of tradition and ‘heritage’ to a small group of the population.

This led to heritage films of the 1990s into the 2000s being more critical of the upper classes and their beliefs giving the servant characters more of their agency within the stories. Around the 2010’s there was almost a relapse in heritage film, “also in the light of the recent global interest in British costume productions, such as the award-winning costume series Downton Abbey” (Caoduro, Screen Vol. 54 Issue 2 2013). Downton Abbey (2010-2015) and its film (2018) and the sequel A New Age (2022) have in a way become the heritage series of the modern day, even influencing British law with the Equality Titles Bill, nicknamed the ‘downtown law’. 

Sources:

Caoduro, E. (2013) “Heritage Film: Nation, Genre and Representation Figuring the Past: Period Film and the Mannerist Aesthetic,” SCREEN -LONDON-, 54(2), pp. 290–293.

Monk, C. (2011) Heritage film audiences : period films and contemporary audiences in the uk. Edinburgh: Edinburgh University Press. (Accessed: November 6, 2023).

Higson, A. (2003) English heritage, english cinema : costume drama since 1980. Oxford: Oxford University Press.

Vidal Belén (2012) Heritage film : nation, genre and representation. London: Wallflower (Short cuts, 49).

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Critical Definition: Science Fiction Film

Keith M. Johnston writes in the opening sentences of his book ‘Science Fiction Film: A Critical Introduction’ that there are three definitions of the Science Fiction genre, the academic definition relating to themes of futurism, science, and technology. A popular definition of the more familiar iconography of spaceships, distant planets, and aliens while the industrial definition focuses on special effects to aid in spectacle. Johnston goes on to write that academic viewers and popular viewers will create “a set of rules or conventions within which films are, or are not, contained” (Johnston 2011, Page 7). While defining genres in this way makes understanding the genre itself simpler for many, I believe that the popular definition stated above leads to the Space Opera. The industrial definition can lead to many film genres including Sci-Fi and Space Opera.

The Academic definition of Science Fiction is, I believe, the true definition of Sci-Fi. The genre that focuses on scientific advancements with some element of the fantastical. The genre can be traced back to Mary Shelley’s ‘Frankenstein’ published in 1818. The description above fits the book perfectly. The first Sci-Fi film by this definition would be ‘A Trip To The Moon’ (Méliès, 1902) its focus on how the characters actually get to the moon allows it to fit into this definition nicely.

It is also important to understand what The Space Opera is as it and Sci-Fi are often put under the same category. A Space Opera is a large-scale epic story that takes place on the backdrop of space with no real focus on the science behind it. A good example is ‘Star Wars’ (Lucas, 1977) as it is often put under the genre of Science Fiction but is in reality a Space Opera because of its focus on character, story, and setting rather than the science of the universe. The use of Opera in its name leads it to focus more on the story. As the idea of Space Opera is very old, the third part of ‘The Divine Comedy: Paradiso’ (Dante Alighieri, c.1321) could be considered a Space Opera as Dante and Beatrice travel through the Spheres of Heaven represented by the planets of the solar system.

The industrial definition of the use of special effects to provide spectacle applies to both Sci-Fi and Space Opera, as both need visual effects to achieve the look of the fantastical in some way, but also applies to just about any film that uses special effects of CGI in some way.

Concerning SciFi and the Space Opera it is important to understand that they are different but share many of the same elements. They are two parts of the same genre. But within that, a Space Opera film can be a Sci-Fi film but they can also be separate, the first academically defined Sci-Fi, ‘Frankenstein’ is not a space opera whereas ‘Star Wars’ is a Space Opera but not a Sci-Fi film.

Sources:

Johnston, K. M. (2011) Science fiction film : a critical introduction. Oxford: Berg (Berg film genres series).

High, J. L. (2020) “From Hypotext to Hypertext and (hyper-)space Opera: Schiller’s Don Karlos, Verdi’s Don Carlo, and George Lucas’ Star Wars,” The Germanic Review: Literature, Culture, Theory, 95(1), pp. 5–20. doi: 10.1080/00168890.2019.1696500.

Telotte, J. P. (2001) Science fiction film. Cambridge: Cambridge University Press (Genres in American cinema). (Accessed: November 15, 2023).

Schauer, B. (2017) Escape velocity : american science fiction film, 1950-1982.

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Remember to go ahead and go to my YouTube to see my new short film 'The Coin'.

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Check out The Terror of Whippendell Woods Series on YouTube @ TommyB Productions - YouTube

As well as my other work including The Blair Witch Project Project, Blue Monday '88 Music Video and Robyn Hood

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Essay: Is Edgar Wright An Auteur?

Edgar Wright is an English writer, director and producer, he began making short films when he was a teenager, they were mostly spoof genre films. This theme of spoof and genre films would carry onto his career. His first feature film was the spoof western ‘A Fistfull of Fingers’ in 1995. While the film received mixed reviews and was considered a Box Office Bomb, it got him noticed by comedians. During the late 90s, Wright moved on to direct several BBC shows with comedians. In 1998, Wright was contacted by Simon Pegg and Jessica Hynes to be the director of their series ‘Spaced’, a sitcom about flatmates. Wright gave Spaced a different visual style from other sitcoms, doing dramatic angles akin to sci-fi and horror films. The success of Spaced gave Wright the move to feature films.

His second feature was ‘Shaun of the Dead’, a zombie comedy mixed with ‘Brit Flick’ romantic comedy with nods to classic Romero zombie horror. The film was a success and was an international hit. Wright and Pegg planned out three more films in the same vein that they called the “Three Flavours Cornetto Trilogy”, named after Krzysztof Piesiewicz’s Three Colours Trilogy. The other films were Hot Fuzz, a police buddy comedy where Police Sergeant Nicholas Angel transfers from London to Sanford only to discover something grisly, and The World's End, a sci-fi comedy where a group of old school friends return to their home town for a pub crawl. These films would become perhaps his best-known work.

In 2010 he adapted the comic book ‘Scott Pilgrim’ into a feature film, however, the film flopped despite critical reception and praise from fellow directors such as Kevin Smith, Quentin Tarantino and Jason Reitman. Wright was set to direct the Marvel Comics film ‘Ant-Man’ having written the story and screenplay with Joe Cornish. However, he left the project due to creative differences but was still given a writer's credit and his mark was definitely left on the finished film. For example, the film's heist plot is very different to other Superhero films that came before it. His next film ‘Baby Driver’ (2017) was described by Hollywood Deadline as “a collision of crime, action, music and sound’. Wright’s most recent film was ‘Last Night In Soho’ (2021) a psychological horror different to his norm but the main parts of Wright’s comedy find their way into the film.

What we can see from the filmography of Wright is that he can do genre films and put his own spin on the genre and with Baby Driver, it’s not just an action film, it’s an action, romance, musical, crime film.

What is Auteur Theory?

No one can agree on what the exact definition of Auteur Theory is, an Auteur is defined by Britannica as “[the] theory of filmmaking in which the director is viewed as the major creative force in a motion picture”. This theory suggests that the film should be judged on who the director is, for example, some have suggested that the plot of ‘Once Upon A Time is Hollywood’ is quite weak but because it is a Quentin Tarantino film people are going to rate it highly. A film takes the work of hundreds of thousands of people to make it and no one person can be credited for the success or the failure of the film.

Others have defined Auteur Theory as “a film is a reflection of the director’s artistic vision; so, a movie directed by a given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the director is (think a Hitchcock or Tarantino film) and shows a consistent artistic identity throughout that director’s filmography.” (Indie Film Hustle) This means that a film made by an Auteur will have a recognizable ‘flair’ that the Auteur shows in all of their work. For example, in most of Tarantino’s films, there are storylines that do not follow a conventional timeline. He also uses a purposefully excessive amount of bloodshed in a satirical way often with repetition. This definition I agree with as it means that the film can be a success or a flop, but it is still recognisable as the work of the director.

How does Edgar Wright's comedy style make him an Auteur?

Edgar Wright is known for his musical timing best seen in Baby Driver where just about all of the action sequences are timed to the track or tracks that are playing. The best example of this is in the opening scene set to Bellbottoms by The Jon Spencer Blues Explosion. To Wright, the screen is his playground and instead of writing jokes into the dialogue and keeping a bland two-shot between the characters he will write the jokes into the edit and into the language of the film. For example, in The World’s End, the scene when the group go into the first pub and order 5 beers but then Andy cuts in and asks for water instead. The way Garry reacts to this is how Edgar Wright makes his comedy. He makes the edit do the heavy lifting. It also shows another trait of Wright, his match cuts between the glasses, the taps and then to the table.

The YouTube channel Every Frame a Painting makes the point that comedy films, especially American comedies, have lost the way of filmmaking and that they are just lightly edited improv between actors, only using a small portion of the range film provides to make jokes. He claims that only animation and adverts have retained their visual comedy. Edgar Wright is one of the few directors using the full range of films to make a comedy, using dialogue, sound and cinematography. Wright has said that his comedy was inspired by the satirical nature of Evil Dead II (1987) directed by Sam Rami and has said many times that his favourite film is An American Werewolf in London (1981). While these are both horror films first, they also have elements of dark humour in them.

In conclusion, I believe that Edgar Wright is an auteur as defined by Indie Film Hustle, and that he has a certain creative flair that shows in his work. However, this isn’t just because of him. For example, The Cornetto Trilogy was written by Wright with Simon Pegg. Cinematographer Bill Pope has worked with Wright on Scott Pilgrim, Worlds End and Baby Driver. Producer Nina Park has worked with Wright on most of his films. All of these people add to the creative process. In conclusion, Edgar Wright has a flair in his filmmaking but this isn’t pulled off solely because of him, there is a team of hundreds of thousands who work with him to make each of his films.

Edgar Wright Filmography:

Fistfull of Fingers (1995)

Asylum (1996)

Alexei Sayle’s Merry-Go-Round (1998)

Spaced (1999-2001)

Shaun of the Dead (2004)

Hot Fuzz (2007)

Scott Pilgrim vs. The World (2010)

The Adventures of Tintin (2011) (Writer Only)

The World’s End (2013)

Ant-Man (2015) (Writer and Story Only)

Baby Driver (2017)

The Sparks Brothers (2021)

Last Night in Soho (2021)

All images are owned by their respective copyright holders.

Written by TommyB in 2022

Sources:

Edgar Wright:

Wikipedia Contributors (2019). Edgar Wright. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Edgar_Wright.

www.earwolf.com. (n.d.). Beethoven’s 5th: F*ck the Fourth, episode #729 of Comedy Bang Bang: The Podcast on Earwolf. [online] Available at: https://www.earwolf.com/episode/beethovens-5th-fck-the-fourth/ [Accessed 4 May 2022].

Every Frame a Painting (2014). Edgar Wright - How to Do Visual Comedy. YouTube. Available at: https://www.youtube.com/watch?v=3FOzD4Sfgag.

web.archive.org. (2007). Interview: Edgar Wright for ‘Hot Fuzz’. [online] Available at: https://web.archive.org/web/20070523130218/http://www.darkhorizons.com/news07/fuzz2.php [Accessed 4 May 2022].

‌Tapley, K. and Tapley, K. (2017). Playback: Edgar Wright on ‘Baby Driver,’ Music and Walking Away From ‘Ant-Man’. [online] Variety. Available at: https://variety.com/2017/film/news/playback-podcast-edgar-wright-baby-driver-1202467275/.

HuffPost UK. (2015). Watch The First Trailer For Marvel’s ‘Ant-Man’. [online] Available at: https://www.huffingtonpost.co.uk/entry/ant-man-trailer_n_6425174

[Accessed 4 May 2022].

Jr, M.F. and Jr, M.F. (2014). Comic-Con: Off ‘Ant-Man’ Hill, Edgar Wright Sets Sights On ‘Baby Driver’. [online] Deadline. Available at: https://deadline.com/2014/07/comic-con-off-ant-man-hill-edgar-wright-sets-sights-on-baby-driver-807971/ [Accessed 4 May 2022].

‌Empire. (n.d.). Edgar Wright’s Next Film Is A Psychological Horror, Plus Baby Driver 2 Update – EXCLUSIVE. [online] Available at: https://www.empireonline.com/movies/news/edgar-wright-next-film-psychological-horror-plus-baby-driver-2-update-exclusive/ [Accessed 4 May 2022].

‌www.youtube.com. (n.d.). The World’s End - A tap water - The First Post. [online] Available at: https://youtu.be/UhsqHk8J58M [Accessed 4 May 2022].

‌Auteur Theory:

The Editors of Encyclopedia Britannica (2017). auteur theory | Definition & Directors. In: Encyclopædia Britannica. [online] Available at: https://www.britannica.com/art/auteur-theory.

Wikipedia Contributors (2019). Auteur. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Auteur.

Indie Film Hustle (2018). What is Auteur Theory and Why Is It Important? - Indie Film Hustle. [online] Indie Film Hustle. Available at: https://indiefilmhustle.com/auteur-theroy/.

www.youtube.com. (n.d.). What is an Auteur? Auteur theory explained! Film & Media Studies revision. [online] Available at: https://youtu.be/_MXv41Ja3h4 [Accessed 4 May 2022].

‌The Origins of Auteur Theory. (2015). YouTube. Available at: https://www.youtube.com/watch?v=nfHnuZqtV68.ukdiss.com. (n.d.). Quentin Tarantino Auteur Theory. [online] Available at: https://ukdiss.com/examples/auteur-theory-quentin-tarantino.php