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Cinema’s original canons were based on a small number of works most highly esteemed by archivists and historians. But access to the history of film has been dramatically expanded by digital media, as have debates between those arguing from different premises.
Canons of taste and value in other media, such as literature, art and music, have been challenged in recent decades by proponents of sexual and ethnic equality.
Mata Hari was an erotic dancer who, in 1917, was executed by the French army for treason. She has been portrayed as the ultimate femme fatale, extracting information from hapless men through exploiting her sensual charms.
The English Reformation – unlike many of the other Reformations convulsing sixteenth-century Europe – was at heart more about politics and law than about religion.
For nearly seventy years, what might be called ‘the canon’ of greatest films has been arbitrated by an international poll of critics delivering a ‘ten best’ list every decade, published in the BFI’s Sight & Sound.
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