In "The Making of an Auteur: Notes on the Auteur Theory and Lars von Trier", Peter Schepelern presents what he defines as von Trier’s auteurist initiative". He opens his presentation with a general introduction to auteur theory on the one hand and, on the other, a short presentation of Danish auteurs and the Danish film school tradition. He then goes on to examine the specific conditions for the making of von Trier as an auteur, a process he finds both willed, to a degree that it is the primary motivation for Trier’s film practice, and practicable, due to Trier’s ability to control all aspects of his filmmaking. Through the presentation of Trier’s films and the circumstances of their production, Schepelern argues that certain recurring themes and incidents suggest that this set of films was designed to be the oeuvre of an auteur. Also the construction of rules for fi lmmaking, like the dogma rules, the use of "buddies" in scriptwriting, acting, filming, and producing, as well as the perpetual self-commentary make way for this specific auteur ambition.
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