July 16, 2017

Download 10 (BFI Modern Classics) by Geoff Andrews PDF

By Geoff Andrews

Iranian Abbas Kiarostami burst onto the overseas movie scene within the early Nineties and--as established by means of the various significant prizes he has won--is now greatly considered as probably the most distinct and proficient modern day administrators. In 2002, with 10, Kiarostami broke new floor, solving one or electronic cameras on a car's dashboard to movie ten conversations among the motive force (Mania Akbari) and her numerous passengers. the consequences are fabulous: although officially rigorous, even austere, and documentary-like in its kind, 10 succeeds either as emotionally affecting human drama and as a serious research of daily life in today's Tehran.
In this examine, Geoff Andrew seems to be at 10 in the context of Kiarostami's profession, of Iranian cinema's fresh renaissance, and of foreign movie tradition. Drawing on a few designated interviews he performed with either Kiarostami and his lead actress, Andrew sheds gentle at the strange equipment utilized in making the movie, on its political relevance, and on its remarkably sophisticated aesthetic.

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Extra info for 10 (BFI Modern Classics)

Example text

She's probably right: Amin's most notable characteristic is that he's an archetypal chauvinist male in miniature. In (3), when mother and son joke about what makes an ideal wife, it becomes clear that for him intelligence, independence and a loving nature are unimportant; what matters is that the woman should be obedient, stay at home, cook, clean and cater to the needs of the men in her family. Amin, in fact, is not only a child but the embodiment of masculine arrogance and power in a film devoid of speaking parts for adult men.

46 (ii) The Narrative With the exception of a single shot, 10 is set entirely within the confines of a car being driven around the streets of Tehran, and shot using just two angles, with the camera or cameras situated roughly in the middle of the dashboard and directed either at the driver's or the passenger's seat, regardless of who's speaking at any given moment. There is no discernible camera movementY The narrative is divided into ten chapters or segments, each comprising a different dialogue.

Eventually, a cut announces the arrival of Mania; the passenger is apparently her sister, and as Mania drives her home, they discuss birthdays, Amin's moodiness whenever he visits their mother, and whether he should be allowed yet to go and live full-time with Mania's ex-husband. Mania gives a lift to an old woman who visits a local shrine three times a day. The woman talks about having rid herself of most of her possessions since her husband's death, and tries, without success, to persuade Mania to go and pray while she looks after the car.

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