Ask for the name of a film about Eskimo life

abstract

The pioneering work of Flahadi, the father of documentary. Flahadi spent 65,438+06 months in the Arctic, living with Nannuk, an Eskimo from Harrison Harbor. He perfectly reproduces the original life scenes such as hunting polar bears and eating raw seals with badminton. Although there has been a debate about whether this film is a documentary, there is no doubt that this film is still a milestone in the history of documentary. It not only creates an anthropological documentary that records the society with images, but also is the glorious starting point of the world documentary.

[Edit this paragraph] Movie appreciation

Father of Documentary Flahadi

In the 1920s, it was very popular to make adventure movies about indigenous people in the North or South Pole or even Africa. However, for the first time, Flahadi changed the wandering scene from custom curiosity to a long-term tracing of an Eskimo family, showing their dignity and wisdom, paying attention to the feelings and destiny of the characters and respecting their cultural traditions. This shooting mode pioneered by Flahadi is still highly praised by documentary producers.

Shoot the nanook family.

1884 February 16, Robert Flaherty was born at the foot of Iron Mountain in Michigan, USA, and his father was an explorer. Flahadi recalled: "When I was a teenager, I was always looking forward to exploring with my father. We often go away for months, boating in summer and wearing snowshoes in winter. " 1896, Flahadi followed his father to collect gold in Yuhu, Canada. He likes the original natural state here. Later, his parents sent him to the Mining Institute in Michigan, but he failed to graduate. It is said that the school thinks that Flahadi is not qualified to be a professional miner. College time is not without gains. He learned to play the violin, which is the love of his life, and met his future wife, Francis Habinda. Later, Flahadi went to the North Pole for prospecting three times. At the end of the trip, Flahadi did find some iron ore, but the mining value was negligible. The only prize he won was that the Canadian government named an island after him. He wants to edit the film shot in Prospecting into an adventure film. Just before the end, the cigarette butts falling from the table ignited the film and Flahadi was burned. Fortunately, he saved his life. The film was a hit, so he decided to wait until spring before going to the north. At this time, World War I broke out, and the shooting plan was not implemented until 1920 under the sponsorship of French fur dealer Revillon Brothers. This year, he is 36 years old. A cabin in Hudson Harbor is Flahardy's residence, and his main theme is the excellent hunter Nanook family. The first shoot was to hunt walruses. Before shooting, Flahadi said to Nanuk: If anything interferes with my shooting plan when hunting walrus, I must give up killing; Remember: I want the lens of your elephant, not their meat. In fact, Eskimos used rifles instead of harpoons to catch walruses. In order to capture more primitive scenes, Nanuk hunted walruses in his father's way. Flahadi repeated this shooting method again and again in later films, allowing people to interpret their lives in the way of their parents or grandparents. The invasion of business and the contradiction between people are all blocked by him. Film historians call Flahadi a romantic.

Introduce drama into documentary.

When making the first films, the biggest problem Flahadi faced was development, and his enemy was cold weather. How to filter dog hair mixed in water and deer hair on Eskimo clothes is also a difficult problem. Eskimo houses are made of ice and called Iglu. An igloo is usually about 12 feet wide, but Flahadi needs 25 feet. Nanook has never built such a big igloo. The experiment lasted for several days, but it collapsed again and again. Every time it collapsed, his companions burst into laughter. Because the igloo is black, Nanook uses ice as a window and borrows the reflective lighting from the sun, which is the creation of Eskimos in their lives. The details of Nanuke's teaching his son archery are simple and touching, the tradition of his ancestors is transmitted intermittently in his work, and the simple movements convey the affection between father and son. The igloo was forced to be cut in half during filming. Because there is no light, shooting can only be done in the open air. The nanook family got up in the biting cold wind of ice and snow. The result should be true, and it is Flahardy's creed to move for the sake of truth. He introduced suspense and drama into the documentary. Flahadi has lived in the Arctic for 16 months, and the film has been used up. He is going to leave for home. Nanuk was unhappy and reluctant. Flahadi pointed to the rocks in the riverbed beside him and said, "There will be countless people watching your movies like stones." A few years later, Flahadi wrote a series of articles about adventure travel for some magazines, and with the help of his wife, published a book "Nanuk in the North" in 1924. In his book, Flahadi recorded the daily life habits of Eskimos in the Arctic, as well as all kinds of interesting things in the filming process. After the film was finished, the first audience was the local Eskimos. Flahadi describes in the book: "They (Eskimos) keep looking back at the light source of the projector, just like looking at the screen. I didn't think this screening would succeed. Suddenly a man shouted, "catch it, catch it." They think walruses will really run away. At that time, the family was in chaos. Eskimos saw themselves and their companions in the film, and they began to whisper to each other with mysterious smiles on their faces. Suddenly, they seemed to understand what I had done. Flaherty first gave the film to Paramount. After watching the demo, the manager came over and patted him on the shoulder and said, I'm very sorry, it's hard for the audience to see this film. "It's a pity that you have worked so hard to go to the north." After many twists and turns, EMI finally agreed to issue it. On June 1922, 1 1 Sunday, "Nannock in the North" was shown in new york Capital Theatre, which became an instant hit and attracted a flood of audiences. A critic described southern Nockeby in the north as an ancient Greek tragedy. Nanuk in the north is the crystallization of Flahadi's three Arctic expeditions. It not only pioneered the anthropological documentary type of recording society with images, but also provided a shooting mode for recording movies that is still in use today. Nanuk in the north is the starting point of the world record film Shi Guanghui.

Listen to inspiration and recreate the past.

Paramount lost Nanuk in the north and now wants to make up for it. It sent someone to Flahadi, saying, you can go wherever you want, make your own budget, and please bring us another nanook. Flahadi believes that after living in the north for many years, it is time to do the opposite. 1923, Flahadi came to a Polynesian village with only 100 households on the Pacific Island with his wife and daughter and an Irish maid with red hair. Thanks to the efforts of missionaries and businessmen, islanders have begun to wear suits. Flahadi found the village chief and asked them to wear national costumes. In order to create an orgasm, a boy was specially tattooed-locally called a tattoo. This bar mitzvah was lost decades ago. The dance celebration and makeup activities before the ceremony were also carried out by Flahadi in accordance with the ancient customs and habits of the local people. In the process of filming the film "Frozen in the Sea", Flahadi began to try to trace a theme with a shaking lens, and no one had used this shooting technique at that time. Not only that, telephoto lenses and close-ups are also used in his films. In the tattoo scene, when the needle stuck into the boy's body, Flahadi recorded the painful expression on his face with a close-up, and shook the camera to his mother, showing the affection between mother and child with a picture. One of the characteristics of Flahadi's filming is to record everything he feels, without omission. When shooting the romance of the sea, his material has reached1.4000 feet. But he doesn't care, as long as his inspiration exists, then his machine will not stop. Flahadi will show the villagers the finished materials from time to time. They tied a screen on the coconut tree to show samples of their works. After reading it, the residents on the island immediately told him their feelings. Especially those elders who remember the ancient rituals and living habits on the island, not only help Flahadi recreate the past, but also check whether his films are wrong. "Romance of the Sea" didn't make any money for Paramount, although it used such an exaggerated advertising slogan as "Love Life of the South China Sea Monster". Gleason commented in The Sun, "I shouldn't say which shots are good, because all of them are so good." Here, he used the word documentary for the first time, and since then, documentary has stood on its own feet until today. Grierson invited Flaherty to make a film reflecting the process of British industrialization. Before shooting, an upper-class member of the British government wanted to see the manuscript, but Flahadi never wrote the script, so he had to go back to the hotel and stay like a hermit for a few days. Finally, he gave Gleason a dozen pieces of paper. The first page reads: A film about artisans, directed by Robert Flaherty. The second page reads: screenplay-the scene of industrialized Britain. Other than that, there is nothing. Flaherty likes London very much. When he was filming in England, he often went to a small bar for drinks in the evening and told stories about his early experiences in the Arctic. Although stories are sometimes absurd, Flaherty's talent for telling stories is unparalleled. Because of Nanuk in the north, Flahadi gained a reputation for being good at shooting marginal people. 1932, Baker, the producer of Gaomeng Company, decided to spend 1% of the company's budget to shoot Aramaic in Flahadi. Flaherty came to the largest of the three islands on the west coast of Ireland, only 15 hour's drive from London. Because of the abundant water resources, they decided to take this place as the shooting location. There are no motorcycles, cinemas and luxuries on the island. But for local people, soil is more precious than gold. In order to capture the primitive life of Aramaic people, Flahadi invited an expert from London to teach residents to catch sharks with harpoons. Aramaic ancestors used to fish like this, but Flahadi has switched to steam boats when shooting. Flaherty tried to turn the Aramaic islanders into another Nanuk in the north, but he didn't get it. Perhaps he didn't expect that Nanuk in the north was the result of his ten years of exploration and communication with Eskimos, while Aramaic islanders met these strange people for filming. In this sense, Nanuk in the north is the peak that he can't surpass. This film has brought an endless stream of tourists to Alan Island, and islanders have participated in the filming of Flahadi as a capital to show off to tourists. Paulo Rocha, a film theorist, admired the islanders' superb photography skills, but Rosa called the characters in the film "wax figures performing the lives of their ancestors".