Jerry Lewis in the context of "Auteur theory"

The American Academy in Berlin is a private, independent, nonpartisan research and cultural institution in Berlin dedicated to sustaining and enhancing the long-term intellectual, cultural, and political ties between the United States and Germany. Each year, the Academy's independent search committee nominates circa twenty fellows from among hundreds of applicants to pursue semester-long research projects at the Hans Arnhold Center, a historic villa on the shores of Lake Wannsee. Fellows, who come from the humanities, social sciences, public policy, and the arts, share their work with German colleagues and audiences at lectures, readings, discussions, concerts, and film screenings, which form the core of the Academy’s programme of nearly 100 public events per year. The American Academy in Berlin has an office in New York City and its board of trustees is composed of several dozen influential leaders from German and American business, finance, culture, and academia.

In addition to its fellowship programme, the Academy fosters dialogue on current issues by hosting Distinguished Visitors—thought-leaders from the United States in public policy, law, business, finance, journalism, the humanities, and the arts. During their visits of a few days to a few weeks, they engage with the public and their professional counterparts in Berlin and throughout Germany on topics ranging from constitutional law and immigration policy to museum practice and art criticism. Since 1998, the American Academy in Berlin has hosted over 600 residential fellows and hundreds of Distinguished Visitors.

An auteur (/oʊˈtɜːr/; French: [otœʁ], lit. 'author') is an artist with a distinctive approach, usually a film director whose filmmaking control is so unbounded and personal that the director is likened to the "author" of the film, thus manifesting the director's unique style or thematic focus. As an unnamed value, auteurism originated in French film criticism of the late 1940s, and derives from the critical approach of André Bazin and Alexandre Astruc, whereas American critic Andrew Sarris in 1962 called it auteur theory. Yet the concept first appeared in French in 1955 when director François Truffaut termed it policy of the authors, and interpreted the films of some directors, like Alfred Hitchcock, as a body revealing recurring themes and preoccupations.

American actor Jerry Lewis directed his own 1960 film The Bellboy via sweeping control, and was praised for "personal genius". By 1970, the New Hollywood era had emerged with studios granting directors broad leeway. Pauline Kael argued, however, that "auteurs" rely on creativity of others, like cinematographers. Georges Sadoul deemed a film's putative "author" could potentially even be an actor, but a film is indeed collaborative. Aljean Harmetz cited major control even by film executives. David Kipen's view of the screenwriter as indeed the main author is termed Schreiber theory. In the 1980s, large failures prompted studios to reassert control. The auteur concept has also been applied to non-film directors, such as record producers and video game designers, such as Hideo Kojima.