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As the title of the article indicates, I am working with three categories of analysis: film genre(s), film(ic) narratives and filmmakers on their way to acquiring authorial status. These entities — genre, narration, authorship — obviously influence each other in any medium, not only film, and what I aim to present is a possible story of how this process of mutual interdependence might be unfolding in contemporary Euro-American film. The observation of Edward Buscombe in his seminal text “The idea of genre in the American cinema” provides a set focus with its reference to the intertwining of individual goals and inhabiting generic patterns on the part of the filmmakers (directors): “[t]he artist brings to the genre his or her own concerns, techniques, and capacities — in the widest sense, a style — but receives from the genre a formal pattern that directs and disciplines the work”.1 The present paper is extracted from a longer analysis2 that covers four film directors — Vincenzo Natali, Darren Aronofsky, Tom Tykwer and Christopher

Film genre patterns and complex narrative strategies in the service of authorship