Bibliographic Details
Authors and Corporations: Andrew, Geoff (Author), British Film Institute (Publisher)
published: London [England] British Film Institute 2021
[London, England] Bloomsbury Publishing
Part of: BFI Film Classics
Media Type: Book, E-Book

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further information
Item Description: Includes bibliographical references
Physical Description: 1 Online-Ressource (120 pages); illustrations
Media Type: Mode of access: World Wide Web.
DOI: 10.5040/9781839022630
Access: Abstract freely available; full-text restricted to individual document purchasers
ISBN: 9781839022630
9781839022623
9781839022616
1839022639
1839022612
Edition: Second edition
Language: English
Part of: BFI Film Classics
Subjects:
Collection: Verbunddaten SWB
Table of Contents

Acknowledgments -- 1. Introduction: Something Small -- 2. World Cinema at the Turn of the Millennium -- 3. Iranian Cinema: A Special Case -- 4. Abbas Kiarostami: A Very Special Case -- 5. Kiarostami and Digital: ABC Africa -- 6. 10 -- 7. A Lesson for Others -- 8. A Lesson for Kiarostami -- 9. Poetry and Motion -- 10. Conclusion: The Start of Something Big? -- Notes -- Credits

"The Iranian director Abbas Kiarostami burst onto the international film scene in the early 1990s and was widely regarded as one of the most distinctive and talented modern-day directors. His major features - including Through the Olive Trees (1994), Taste of Cherry (1997) and The Wind Will Carry Us (1999) - are relatively modest in scale, contemplative and humanist in tone. In 2002, with 10, Kiarostami broke new ground, fixing one or two digital cameras on a car's dashboard to film ten conversations between the driver (Mania Akbari) and her various passengers. The results are astonishing: though formally rigorous, even austere, and documentary-like in its style, 10 succeeds both as emotionally affecting human drama and as a critical analysis of everyday life in modern Tehran. In his study of the film, Geoff Andrew considers 10 within the context of Kiarostami's career, of Iranian cinema's renaissance, and of international film culture. Drawing on a number of detailed interviews he conducted with both Kiarostami and his lead actress, Andrew sheds light on the unusual methods used in making the film, on its political relevance, and on its remarkably subtle aesthetic. He also argues that 10 was an important turning-point in the career of a film-maker who was not only one of contemporary cinema's most accomplished practitioners but also one of its most radical experimentalists."--