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Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: [TEN] 10 CONDITIONS OF LOVE, THE (AT, Jeff Daniels, 2009)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings; Press kit
Subject: [TEN] 10 [DIX] (FR/IR, Abbas Kiarostami, 2002)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: [TEN] 10 ITEMS OR LESS (US, Brad Silberling, 2006)

Call No: 81KIA
CorpAuthor: Iran Heritage Foundation
Source: UK
Place: London, UK
PubDate: 2005
PhysDes: 33 p ; 21 cm
Subject: KIAROSTAMI, ABBAS; TA' M E GUILASS (IR, Abbas Kiarostami, 1997); [TEN] 10 [DIX] (FR/IR, Abbas Kiarostami, 2002); VENT NOUS EMPORTERA, LE (FR/IR, Abbas Kiarostami, 1999); ZIRE DARAKHTAN ZEYTON (IR, Abbas Kiarostami, 1994); NAMA-YE NAZDIK (IR, Abbas Kiarostami, 1990); KHANCH-YE DOUST KOJAST (IR, Abbas Kiarostami, 1989)
Summary: Abbas Kiarostami is the most internationally celebrated Iranian cultural figure of the past and current century. He is a prolific and critically-acclaimed filmmaker, artist, photographer and poet; his work is visually simple and conceptually complex. [Taken from programme notes].
Notes: Programme booklet

Call No: 620 HOI
Author: Law, Hoi Lun
Edition: 2021
Place: Cham, Switzerland
Publisher: Palgrave Macmillan
PubDate: 26/02/2021
PhysDes: ix, 191 pages : illustrated
Series: Palgrave close readings in film and television
Subject: CRITICISM; LATE SPRING [BANSHUN] (JA, Yasujiro Ozu, 1949); [TEN] 10 [DIX] (FR/IR, Abbas Kiarostami, 2002); IN A LONELY PLACE (US, Nicholas Ray, 1950); FORCE MAJEURE [TURIST] (SW/FR/NO, Ruben Ostlund, 2014); BEYOND A REASONABLE DOUBT (US, Fritz Lang, 1956)
Summary: This book defends an account of ambiguity which illuminates the aesthetic possibilities of film and the nature of film criticism. Ambiguity typically describes the condition of multiple meanings. But we can find multiple meanings in what appears unambiguous to us. So, what makes ambiguity ambiguous? This study argues that a sense of uncertainty is vital to the concept. Ambiguity is what presses us to inquire into our puzzlement over a movie, to persistently ask "why is it as it is?" Notably, this account of the concept is also an account of its criticism. It recognises that a satisfying assessment of what is ambiguous involves both our reason and doubt; that is, reason and doubt can work together in our practice of reading. This book, then, considers ambiguity as a form of reasonable doubt, one that invites us to reflect on our critical efforts, rethinking the operation of film criticism. -- cover blurb
ISBN: 9783030629472
Contents: Introduction: Rethinking Ambiguity -- Part One: Considering Context and Convention -- 1. Difficulty of Explanation: The Enigmatic Vase Shots in Late Spring -- 2. Perplexing Style: The Programmatic Editing Strategy of Ten -- 3. Appropriateness of Clarification: Analytical Découpage and the Reductive Viewpoint -- Part Two: Reading in Detail -- 4. Depth of Suggestion: The Demonstrative Gestures in In a Lonely Place -- 5. Uncertainty of Understanding: The Unsettling Direct Look in Beyond a Reasonable Doubt -- Part Three: Coming to a Close -- 6. Questioning Closure: The Inconclusive Final Moments of Force Majeur -- Concluding Remarks: Reason and Responsibility.

Call No: TITLE CLIPPINGS FILE; [TEN] 10 CLOVERFIELD LANE (US, Dan Trachtenberg, 2016)
Author: Wilson, Jake
PhysDes: Clippings File Article
Subject: [TEN] 10 CLOVERFIELD LANE (US, Dan Trachtenberg, 2016)
Summary: Film Review
Rating: 3.5 out of 5 stars

Call No: TITLE CLIPPINGS FILE; [TEN] 10 CLOVERFIELD LANE (US, Dan Trachtenberg, 2016)
Author: McDonald, John
PhysDes: Clippings File Article
Subject: [TEN] 10 CLOVERFIELD LANE (US, Dan Trachtenberg, 2016)
Summary: McDonald reviews the thriller 10 CLOVERFIELD LANE

Call No: 734.4 BER
Author: Bergman, Paul, 1943; Asimow, Michael
Place: Kansas City
Publisher: Andrews and McMeel
PubDate: c1996
PhysDes: xix, 338 p. : ill. ; 23 cm
Subject: TRIALS IN FILMS; ACCUSED, THE (US, Jonathan Kaplan, 1988); EVIL ANGELS (AT, Fred Schepisi, 1988); INHERIT THE WIND (US, Stanley Kramer, 1960); MAN FOR ALL SEASONS, A (US, Fred Zinnemann, 1966); ONION FIELD, THE (US, Harold Becker, 1979); REVERSAL OF FORTUNE (US, Barbet Schroeder, 1990); THIN BLUE LINE, THE (US, Errol Morris, 1988); BILLY BUDD (UK, Peter Ustinov, 1962); BREAKER MORANT (AT, Bruce Beresford, 1980); CAINE MUTINY, THE (US, Edward Dmytryk, 1954); FEW GOOD MEN, A (US, Rob Reiner, 1992); PATHS OF GLORY (US, Stanley Kubrick, 1957); ADAM'S RIB (US, George Cukor, 1949); [MISTER] MR DEEDS GOES TO TOWN (US, Frank Capra, 1936); MY COUSIN VINNY (US, Jonathan Lynn, 1992); AND JUSTICE FOR ALL (US, Norman Jewison, 1979); COMPULSION (US, Richard Fleischer, 1959); IN THE NAME OF THE FATHER (IE/UK/US, Jim Sheridan, 1993); LIFE OF EMILE ZOLA, THE (US, William Dieterle, 1937); PHILADELPHIA (US, Jonathan Demme, 1993); SOMMERSBY (US, Jon Amiel, 1993); TO KILL A MOCKINGBIRD (US, Robert Mulligan, 1962); YOUNG MR. LINCOLN (US, John Ford, 1939); MUSIC BOX (US, Constantin Costa-Gavras, 1989); PARADINE CASE, THE (US, Alfred Hitchcock, 1947); BEYOND A REASONABLE DOUBT (US, Fritz Lang, 1956); BOOMERANG (US, Elia Kazan, 1947); PRESUMED INNOCENT (US, Alan J. Pakula, 1990); THEY WON'T FORGET (US, Mervyn LeRoy, 1937); WRONG MAN, THE (US, Jim McBride, 1993); ANATOMY OF A MURDER (US, Otto Preminger, 1959); M (G, Fritz Lang, 1931); STAR CHAMBER, THE (US, Peter Hyams, 1983); SUSPECT (US, Peter Yates, 1987); TRIAL BY JURY (US, Heywood Gould, 1994); [TWELVE] 12 ANGRY MEN (US, Sidney Lumet, 1956); CLASS ACTION (US, Michael Apted, 1991); LOSING ISAIAH (US, Stephen Gyllenhaal, 1995); MIRACLE ON 34TH STREET (US, Les Mayfield, 1994); NUTS (US, Martin Ritt, 1987); VERDICT, THE (US, Sidney Lumet, 1982); WHOSE LIFE IS IT, ANYWAY? (US, John Badham, 1981); ALL THAT MONEY CAN BUY (US, William Dieterle, 1941); BLOOD OATH (AT, Stephen Wallace, 1990); HOUR OF THE PIG, THE (FR/UK, Leslie Megahey, 1993); YOUNG PHILADELPHIANS, THE (US, Vincent Sherman, 1959); LIBEL (UK, Anthony Asquith, 1959); KRAMER VS. KRAMER (US, Robert Benton, 1979); OX-BOW INCIDENT, THE (US, William Wellman, 1943); ON TRIAL (US, Terry Morse, 1939); I WANT TO LIVE! (US, Robert Wise, 1958); JUDGMENT AT NUREMBERG (US, Stanley Kramer, 1961); LET HIM HAVE IT (UK, Peter Medak, 1991); [TEN] 10 RILLINGTON PLACE (UK, Richard Fleischer, 1971); COURT-MARTIAL OF BILLY MITCHELL, THE (US, Otto Preminger, 1955); BANANAS (US, Woody Allen, 1971); MURDER IN THE FIRST (US, Marco Rocco, 1995); TRIAL (US, Mark Robson, 1955); GUILTY AS SIN (US, Sidney Lumet, 1993); JAGGED EDGE (US, Richard Marquand, 1985); LETTER, THE (US, William Wyler, 1940); KNOCK ON ANY DOOR (US, Nicholas Ray, 1949); WITNESS FOR THE PROSECUTION (US, Billy Wilder, 1957); ACT OF MURDER, AN (US, Michael Gordon, 1948); FURY (US, Fritz Lang, 1936); I CONFESS (US, Alfred Hitchcock, 1953); PLACE IN THE SUN, A (US, George Stevens, 1951); THEY WON'T BELIEVE ME (US, Irving Pichel, 1947)
Notes: Includes bibliographical references (p. [321]-326) and index
ISBN: 0836210352 (pbk.)
LON: 11957271

Call No: 79TEN AND
Author: Andrew, Geoff
Source: UK
Place: London
Publisher: British Film Institute
PubDate: 2005
PhysDes: 87 p. : col. ill. ; 19 cm; Press kit
Series: BFI Modern Classics
Subject: [TEN] 10 [DIX] (FR/IR, Abbas Kiarostami, 2002); IRAN
Summary: 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 lad 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 the contemporary cinema’s most accomplished practitioners but also one of its most radical experimentalists.
ISBN: 184457069

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: [TEN] 10 (US, Blake Edwards, 1979)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: [TEN] 10 CLOVERFIELD LANE (US, Dan Trachtenberg, 2016)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: [TEN] 10 RILLINGTON PLACE (UK, Richard Fleischer, 1971)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: [TEN] 10 TERRORISTS! (AT, Dee McLachlan, 2012)

Call No: TITLE CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: [TEN] 10 THINGS I HATE ABOUT YOU (US, Gil Junger, 1999)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: [TEN] 10 THINGS I HATE ABOUT YOU [TV] (US, 2009)

Call No: TITLE CLIPPINGS FILE
PhysDes: Clippings
Subject: [TEN] 10 TO MIDNIGHT (US, J. Lee Thompson, 1983)