‘Nanook of the North Seems Poised Between Documentary and Fiction…It Marks a Moment Before the Distinction Between Fiction and Documentary Is Set.’ (William Rothman)

Firstly, it is important to understand how the documentary form is best suited to illustrate the film’s theme. In order to do this, one must have an overview of the documentary style of filmmaking. Documentaries concern themselves with the “exploration of

The most famous films created by Lumiere brothers included: L’Arroseur arrose, Sortie des Usines Lumiera a Lyon (workers leaving the Lumiere factory), and the Arrivee d'un train en gare a La Ciotat Arrival of a Train at La Ciotat). Word cinema was derived from Cinematographe, and was born when Lumiere brothers presented their first commercial film to paying audience in the world’s first movie theater, that is how I believe the Lumiere brothers developed commercialized market for cinema.

The Native Canadian culture revolves around the art of storytelling, and this natural gift is heredity. In Story of Starvation, by Marion Tuu’luq, she tells a tale of her childhood where she and her people go on a journey to find food. They are driven to the brink of starvation due to their lack of technology, and their practice of hunting for their own meals. Tuu’luq’s intense story shows the significance of the Native Canadian way of life, and the tough childhoods that many of them had to endure. Tuu’luq says in her story, “I am going to recount a story that I am sure I have told over and over again in the past” (Pg. 86). This repetition of the story shows the cultural impact of storytelling in the Aborigine community. This story truly does control Tuu’luq’s life, because she retells it in order to remember all that she had to face within her childhood in order to survive. The story is both a source of entertainment, and a source of historical prevalence in Tuu’luq’s life. Although, it was a horrid experience, she learns to cope with it and tell it in a way where the listener takes away the importance of remembering Native Canadian

The filmed portrayed aboriginal youth to be doomed in the current education system, while neglected to show the progression that has already been made. For instance, “Enrollment in post-secondary education have escalated as well, according to Indian and Northern Affairs Canada, from about 200 in the 1960’s to 14,242 in 1987, with a doubling since then to 27, 487 in 1999/2000” (Fleras 172). I believe they could have strengthened their argument by incorporating a counter argument and disproving it rather than just preaching that young aboriginal children are all doomed in the current educational system.

However, The Netsilik Eskimo was a unique read in the sense that Balicki did much more than just describe their evolution. He achieved his purpose by focusing primarily on the ways of the Netsilik before the introduction of the firearms, imported clothing, or steel tools. Although it could seem outdated to some readers, it was informative in the area of the lifestyle of the Netsilik that the author was focusing on. If a reader wants to learn more about the recent lifestyle of the Netsilik within the last 50 years, this book does not touch on those subjects. Nevertheless, it was fascinating specifically to me because I was looking to learn about how a group of people could survive in such rigid winter conditions for such a long period. They had very little interaction with white people compared to other tribal groups, so the subject is less touched upon in our education system today. Today, when the early education system in our nation focuses on Native North American tribes, the Netsilik is not included because they were not affected by the famous bills and laws passed by the United States

The Canadian Inuit were a domestic, tribal, egalitarian society in the 19th century. And some cultural changes occurred; making the Inuit adapt and become more aware of other resources they could get hold of, for gathering and hunting for food. In the 19th Century, the Europeans discovered the Inuit culture and this provided new resources for the Inuit to gain an easier way to gather and hunt for food. But because of the European influence, the Inuit’s culture changed to adapt with European Individuals living in their land, and European resources that had been made access to them. By this cultural change in the 19th century there was “an increased diversity in the social structure and material culture of the Labrador Inuit society” (Auger, 1993:27). The Labrador Inuit was a significant Inuit Society to have an ethnographical research made to understand a little bit more to; how the Inuit was affected and how the food process was changed. It will also be discussed the significant ideas and techniques that the Inuit used to gather and hunt for resources.

Native Americans express their voice in films by incorporating their history, culture and traditions for Indigenous purpose. These independent cinema efforts are produced by filmmakers who want to tell a story about their tribes around the world and educate the younger generations. Zacharias Kunuk, filmmaker of Antantarjuat; The Fast Runner and Journals of Knud Rasmussen, “compels non-Inuit spectators to think differently, not only about what constitutes indigenous content in films and more conventional representations of Native Americans in cinematic history, but also about indigenous visual Aesthetics” (Raheji 1168).

In the essay “Cree Poetic Discourse”, the author Neal McLeod addresses an intellectual problem that the western academic writing approach harms the indigenous Cree narratives. According to McLeod, the Cree narrative process, which involves poetic thinking, embraces new possibilities and keeps changing (9). This evolution process not only depends on various occasions of speaking but also depends on different storytellers and audiences who absorb stories, thus allowing Cree poetic discourse to possess dynamic feature (McLeod 9). Such dynamic narrative approach compresses space, like Neal McLeod, said, “Like the colors and shapes in the sky, like the folds and contours of water and lakes. (14) ” In order to fully

To address the questions comprehensively, the researcher conducted a historical research that blended the research elements of documentary research and content analysis. The use of historical research provided opportunity to travel through time and trace the origin and evolution of

“The documentary tradition as a continually developing “record” that is made in so many ways, with different voices and vision, intents and concerns, and with each contributor, finally, needing to meet a personal text” (Coles 218). Coles writes “The Tradition: Fact and Fiction” and describes the process of documenting, and what it is to be a documentarian. He clearly explains through many examples and across disciplines that there is no “fact or fiction” but it is intertwined, all in the eye of the maker. The documentarian shows human actuality; they each design their own work to their own standards based on personal opinion, values, interest and whom they want the art to appeal to.

Western and Indigenous knowledge systems differ in values, habits of mind and practices; however, there has been productive cross-cultural collaboration that integrates global vision with social and cultural dimensions. Productive collaboration addresses past contradictions in the coevolution of society, science and environment. Ten Canoes is a cross-culturally collaborative film that was meant to portray the Yolngu community in its true representation in an attempt to bridge the black and white Australian cultural divide by sharing its traditions and values with a non-Indigenous audience. Important spiritual and cultural information is shared throughout the passage of the film that frames and contextualizes the cosmology of the Yolngu people (Clothier & Dudek, 2009: p. 85). Dutch-born director Rolf De Heer and Yolngu director Peter Djigirr consolidate to show modern audiences the “community’s cultural continuance and to connect between individuals and the community both past and present” (Clothier & Dudek, 2009: p. 86). Additionally, Ten Canoes is only spoken in the Yolngu’s Indigenous language. For Yolngu audiences, “the use of their own languages in Ten Canoes highlights the vibrancy of a continuing linguistic heritage” (Clothier & Dudek, 2009: p. 87). Simultaneously, audiences that cannot understand the language of the Yolngu people read subtitles that create a critical intimacy to engage in “passion and reason while seeking understanding” (Clothier & Dudek, 2009: p.

This documentary has a voice which is the most important part of any movie, furthermore, it has it own way of living and breathing and speaking to

The Lumiere brothers debuted their first motion picture on their brand new invention, the Cinematographe, in 1895. Since then, the movie industry has soared on to become one of the most influential mediums of the 20th and 21st century. 100 years later, Sarah Moon’s documentary Lumiere and Company (1995) reflected on the impact of the Lumiere brothers’ first films using testimonies and cinematic tributes from multiple international directors. Focusing on two Lumiere films; Workers Leaving the Factory (1895), and Demolition of a Wall (1896), as well as two cinematic tributes from two different directors; David Lynch, and Merzak Allouache, the everlasting impact of the Lumiere films can be recognized in both a current context and the context of

Soviet cinema has a significant contribution to the world’s film history. The years after the October Revolution in 1917 bring many economic difficulties and political changes to the newly formed USSR, which also affected film production. The nationalization of the film industry, Kuleshov experiments, and the support from the government mark some of the most important phases that influenced the progress and development of the Soviet film. Even though used as medium of propaganda, the cinema popularity

In this essay, I will explain why a documentary is always more realistic than a fiction film. I will show my thesis by exploring elements that influence how realistic a film is: film editing and format, genre, and transparency. I will use the documentary of Armadillo (2010), by Janus Pedersen, and the fiction film of The Chronicle of Anna Magdalena Bach (1968), by Danièle Huille as examples.