AUTEURISM IN THE LADY FROM SHANGHAI
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“Is it possible for a director to personally carry out every aspect of production? Surely, if the director is the true Auteur this is what is required. If the director does not fulfill all the production functions, how is the 'author' of a film identified and established?” Extract from “The Singer or the Song?” (Cheshire, 2002)
“The new film would resemble the person who made it, not so much in the autobiographical content but rather through the style, which impregnates the film with the personality of its director. Intrinsically strong directors will over the years exhibit a recognizable style and personality” (Stam, 2000)
“Auteur study stressed the how over the what, a history of films over films in history. Although the danger of excesses was already apparent to Andre Bazin, who warned against a "cult of personality "and other sins, we should also note that auteur criticism had seminal importance in stressing formal questions of visual analysis.”(Truffaut, 1954) “O’Hara is mixed up in a murderous plot cooked up by Bannister's partner Grisby(Glenn Anders) Welles cooks up a dreamlike (though never surrealist) fluency and strangeness along with a salty tang of black comedy and desire between O'Hara and Elsa” (Bradshaw, 2002)
“In sum, the viewer is offered the pleasure of seeing cinema extended as neither the studio tradition nor film noir had yet done up to 1947. Welles works within an aesthetic matrix that had already stamped him as a foremost auteur in the movie industry, but his visual and narrative obsessions also inflect cinema in ways unknown up to that time.” (Staples, 1966)

“When I start out to make a fool of myself, there's very little can stop me. If I'd known where it would end, I'd never let anything start, if I'd been in my right mind, that is. But once I'd seen her, once I'd seen her, I was not in my right mind for quite some time...me, with plenty of time and nothing to do but get myself in trouble. Some people can smell danger, not me.”(Narration of Michael O'Hara's thoughts, flashback)(Script)(Hayworth, & King. (2000).

References
Hayworth, R., Welles, O., Sloane, E., Anders, G., De, C. T., Roemheld, H., King, S. Columbia TriStar Home Video (Firm). (2000). The lady from Shanghai. Culver City, Calif: Columbia TriStar Home Video.
Stam, Robert. “The Cult of the Auteur.” In Film Theory: An Introduction. By Robert Stam, 83–88. New York: Blackwell, 2000.
Cheshire, Ellen. Audrey Hepburn (pocket essentials) New York: pocket essentials, 2002 print.
Bradshaw peter “the lady from shanghai review- outrageous and dreamlike” The Guardian
Staples, Donald E. "The Auteur Theory Reexamined," Cinema Journal, Vol. 6 (1966-1967). Dudley Andrew; Anne Gillain “A companion to Francois Truffaut” Malden, MA : Wiley Blackwell, 2013.