This research examines the effects of contemporaneous critical professional and popular recognition, as well as the effects of the extent of subsequent critical discourse about films and their directors, on the retrospective cultural consecration of American films. Specifically, it examines a sample of 1,277 films released from 1929 to 1991 that received three or more major Academy Award nominations or were selected among the ten best films of the year by either the New York Times or the National Board of Review or were among the top ten films in terms of box-office revenues in a given year. The analysis focuses on the characteristics of those films that were retrospectively consecrated either by inclusion among the 100 greatest films by the American Film Institute or by inclusion in the National Film Registry. Contemporaneous professional and recognition of the director of a film is especially important in determining the likelihood of retrospective consecration. In addition, the extent of critical discourse both about a film and about its director is important in determining the likelihood of retrospective consecration. Overall, the findings confirm that the retrospective consecration of films is affected by the discourse produced by film critics and scholars who function, in effect, as reputational entrepreneurs. However, this discourse is influenced by the availability of certain cultural schemas. Specifically, the ascendancy of “auteur theory” as a discourse of value within film studies serves to privilege the director as the primary creative agent in film production. It also serves to privilege certain directors over others.
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