Foucault argues that the difference between discourse and science is that in discourse a “proposition’s theoretical validity” is defined in relation to the work of the founders whereas with scientific theories its validity is defined in relation to what physics or cosmology actually is (116). So, the founders of discursive theories (Freud, Lacan) originate and the founders of scientific theories (Galileo, Newton) discover. It may be interesting to think about this scientific aspect: for Foucault it is distinct from discourse and scientific theorists are not authors (since authors have to put forth ideas that can be studied, discussed, contradicted, expanded, etc. forever). But what about those filmmakers that invented new techniques and technology? Could they be considered authors or did they simply discover a scientific fact that already existed? I think in general technological innovations can contribute to a director’s position as auteur–for example, Orson Welles’ development (although not discovery of) deep focus in Citizen Kane. To what extent can the invention or discovery of technological innovations in cinema contribute to auteurism?