By Sabine Haenni, Sarah Barrow, John White
The Routledge Encyclopedia of Films includes two hundred essays by way of prime movie students analysing crucial, influential, leading edge and fascinating movies of all time. prepared alphabetically, each one access explores why every one movie is important if you happen to examine movie and explores the social, historic and political contexts within which the movie used to be produced. starting from Hollywood classics to foreign bestsellers to lesser-known representations of nationwide cinema, this assortment is intentionally huge in scope crossing a long time, barriers and genres. The encyclopedia hence offers an creation to the historic diversity and scope of cinema produced through the world.
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The whole history of European ‘civilisation’ might be seen to be embodied in this journey. As we move out and away from ‘civilisation’, it is not only the nature of the ‘primitive’ that comes into view but also the essence of ‘civilisation’. There is man’s determination to conquer (not only others but also the natural world), man’s belief in his own godlike strength, the greed of man, the ambition of man, the brutality of man, the treachery of man and, ultimately, the utter madness of man. There is death, disease, murder, execution and the destruction of families.
Contained within the film is the realisation that challenging the various elements of mainstream cinema will also inevitably result in a questioning of received notions of what life is actually like. Ultimately, what this amounts to is that it is never the case outside of Hollywood-style cinema that the problems, confusions and uncertainties of life are resolved, or resolvable, in any clear-cut way. The component parts, of what maybe we can describe as the French New Wave approach as initially conceived, come together to continually undercut the reader’s expectations and thereby demand thoughtful reader participation in the filmic process.
But the invisible nature of the filmmaking in 10 also gives rise to marvellous intrusions of chance, which at once add to the film’s dramatic themes and bring the film closer to the feel of a documentary, be this the unplanned meeting with an old woman on her way to the temple (a meeting which partly determines the content of ensuing sequences), or the occasional leering, chauvinist comments elicited from passing male drivers. 10 in this way achieves the apparent spontaneity that a formative generation of great film theorists – chiefly amongst them André Bazin and Siegfried Kracauer – saw as the medium’s strength and purpose.
