Summary: The purpose of this study doctoral thesis film is the work of Jean Cocteau (1889-
1963), during the same question to account for its uniqueness within an industrial environment like the movies, presented as the work of a poet and not a filmmaker motion. By doing so, it goes to poet etymological sense of the term, ie creator, which we can talk about a film poetry. This assertion is confirmed by the election in their filmic texts of some characteristics of authors, who appeal to the romantic tradition of creation. Therefore, we will be forced to rethink the figure of the author, strongly contested by literary theory in the second half of the twentieth century. Assuming these critical inputs, it is necessary to recognize, as Foucault would move, how the author, not as a person of flesh and blood but as a strategy producing sense, it is required by some texts for consumption. Thus, the examination of the work of Cocteau film will live wire the way in which, throughout the eight films that make up the corpus analyzed, it looks from the text itself, without going to outside experts, the enactment of a author who is proposed as ultimate destination of all reading and as a guarantee of the construction of meaning. However, the figure of the author is not only an item that you try to drive to a set of texts that share a number of common features but the center of an act reflections on the creative process that takes body in a film script is not want transparent and tends to varying fortune, to make clear his character built, and repeated examination of the figure of a poet, conceived as a man capable of crossing the boundaries that constrain the other mortal, capable of providing a different knowledge the sound, that of everyday life, often approaching the mythical poetic discourse.
