Sometimes treating Smithee as an auteur in much the same way critics and scholars have treated directors as diverse as Douglas Sirk, Abbas Kiarostami, and Quentin Tarantino, the contributors reclaim new possibilities for auteurist filmmaking and film studies, even as they show what an empty display it has recently become. In accounting for this change, the essays in this volume employ innovative theories of authorship to recapture the subversive effect that auteurism once enjoyed. Thus the Smithee name becomes part of a larger discussion of the economics and history of pseudonyms in filmmaking -- notably in the blacklist of the 1950s -- as well as an opportunity to employ Jacques Derrida's theory of the signature to recover obscured economic and historic contexts within Smithee's films.
Unique in its focus, innovative in its approach, Directed by Allen Smithee argues that it is precisely through throwaway films such as Smithee's that recent Hollywood cinema can best be studied.
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