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.