The Iranian Abbas Kiarostami burst onto the international film scene in the early 1990s and - as demonstrated by the many major prizes he has won - is now 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 today's Tehran. In this study, Geoff Andrew looks at 10 within the context of Kiarostami's career, of Iranian cinema's recent 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 is not only one of contemporary cinema's most accomplished practitioners but also one of its most radical experimentalists. Book jacket. 0002_scan0001......Page 1 0003_scan0001......Page 2 0004_scan0001......Page 3 0005_scan0001......Page 4 0006_scan0001......Page 5 0007_scan0001......Page 6 0008_scan0001......Page 7 0009_scan0001......Page 8 0010_scan0001......Page 9 0011_scan0001......Page 10 0012_scan0001......Page 11 0013_scan0001......Page 12 0014_scan0001......Page 13 0015_scan0001......Page 14 0016_scan0001......Page 15 0017_scan0001......Page 16 0018_scan0001......Page 17 0019_scan0001......Page 18 0020_scan0001......Page 19 0021_scan0001......Page 20 0022_scan0001......Page 21 0023_scan0001......Page 22 0024_scan0001......Page 23 0025_scan0001......Page 24 0026_scan0001......Page 25 0027_scan0001......Page 26 0028_scan0001......Page 27 0029_scan0001......Page 28 0030_scan0001......Page 29 0031_scan0001......Page 30 0032_scan0001......Page 31 0033_scan0001......Page 32 0034_scan0001......Page 33 0035_scan0001......Page 34 0036_scan0001......Page 35 0037_scan0001......Page 36 0038_scan0001......Page 37 0039_scan0001......Page 38 0040_scan0001......Page 39 0041_scan0001......Page 40 0042_scan0001......Page 41 0043_scan0001......Page 42 0044_scan0001......Page 43 0045_scan0001......Page 44 0046_scan0001......Page 45 0047_scan0001......Page 46 0048_scan0001......Page 47 0049_scan0001......Page 48 0050_scan0001......Page 49 0051_scan0001......Page 50 0052_scan0001......Page 51 0053_scan0001......Page 52 0054_scan0001......Page 53 0055_scan0001......Page 54 0056_scan0001......Page 55 0057_scan0001......Page 56 0058_scan0001......Page 57 0059_scan0001......Page 58 0060_scan0001......Page 59 0061_scan0001......Page 60 0062_scan0001......Page 61 0063_scan0001......Page 62 0064_scan0001......Page 63 0065_scan0001......Page 64 0066_scan0001......Page 65 0067_scan0001......Page 66 0068_scan0001......Page 67 0069_scan0001......Page 68 0070_scan0001......Page 69 0071_scan0001......Page 70 0072_scan0001......Page 71 0073_scan0001......Page 72 0074_scan0001......Page 73 0075_scan0001......Page 74 0076_scan0001......Page 75 0077_scan0001......Page 76 0078_scan0001......Page 77 0079_scan0001......Page 78 0080_scan0001......Page 79 0081_scan0002......Page 80 0082_scan0002......Page 81 0083_scan0002......Page 82 0084_scan0002......Page 83 0085_scan0002......Page 84 0086_scan0002......Page 85 "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."--
Iranian Abbas Kiarostami burst onto the international film scene in the early 1990s and—as demonstrated by the many major prizes he has won—is now widely regarded as one of the most distinctive and talented modern-day directors. 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 today's Tehran.
In this study, Geoff Andrew looks at 10 within the context of Kiarostami's career, of Iranian cinema's recent 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.
