As part of my research I explored authorship and ownership in the context of cinema. I was not interested in legal ownership or copyright law – but attribution and philosophical ownership in the context of film production. 

An obvious area to explore was the auteur theory, that sees a film director as the sole author of a film – some critics even going so far as to suggest that any influences by the other members of the film crew can be seen as a weakness on the part of the film director. 
I use one of the often mentioned examples of ‘auteur cinema’: Blade Runner* (1982), as an example of how in reality that film was shaped in the hands of many different people involved – and how most directors that are considered to be ‘strong voices in cinema’ are fostering long intense relationships with some of their key collaborators, sometimes spanning multiple decades.