เปรียบเทียบวิธี

	การวิเคราะห์การเล่าเรื่องในภาพยนตร์	การวิเคราะห์ทฤษฎีผู้กำกับภาพยนตร์ (Auteur Theory Analysis)
สาขาวิชา	สื่อศึกษา	สื่อศึกษา
ตระกูล	Process / pipeline	Process / pipeline
ปีกำเนิด	1980	1954
ผู้ริเริ่ม	Gérard Genette, Mieke Bal	François Truffaut, Andrew Sarris
ประเภท	Analytical pipeline for deconstructing cinematic narrative structure	Critical framework for identifying and analyzing directorial style and authorship across films
แหล่งต้นตำรับ	Bal, M. (1997). Narratology: Introduction to the Theory of Narrative. University of Toronto Press.	Sarris, A. (1962). Notes on the auteur theory in 1962. Film Culture, 27, 1-8.
ชื่อเรียกอื่น	narrative structure analysis, story analysis in cinema	auteur analysis, directorial analysis, author theory in film
ที่เกี่ยวข้อง	5	5
สรุป	Film Narrative Analysis is a qualitative method for examining how stories are told through cinematic techniques and structures. Developed from literary narratology and adapted for film studies by scholars like David Bordwell and Mieke Bal, it deconstructs the relationship between story (fabula), plot (sjuzhet), and narration to understand how meaning is created. This method is fundamental to film criticism and provides a systematic framework for analyzing how viewers construct narrative coherence from visual and audio elements.	Auteur Theory Analysis is a critical framework for studying cinema through the lens of directorial authorship, examining how individual directors express consistent themes, visual style, and ideological perspectives across multiple films. Developed by French critics of Cahiers du Cinéma (notably François Truffaut) and articulated in American film criticism by Andrew Sarris, the theory posits that despite the industrial, collaborative nature of film production, the director functions as the primary creative author whose distinctive sensibility can be traced through characteristic patterns of style, technique, and content. The method enables scholarly analysis of directorial influence on cinema and challenges the assumption that mass-produced films lack individual artistic vision.