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The sophisticated voyage in Nanook of the North is organized according to the periods of a year, from summer through winter. Instead of using linear chronology, it uses an episodic framework, and it has four action sequences that show my, Nanooks, skill in obtaining food by fishing and hunting walruses, foxes, and seals. The films central theme is related to constructing an igloo out of snow and condenses the significance of the concepts of family, food, shelter, and existence.
For the Inuit people, who were emphasized in the movie, the filmmaking process was considered to be an unusual event. As Fatimah Rony says, recent research has shown that the Inuit found Flaherty and the filmmaking a source of great amusement (Raheja, 2007). Despite the fact that a non-Inuit public would perceive my, Nanooks, smile as a symbol of alienation and infantile nature, Fatimah Rony taught that interpretations among different people can be diametrically opposite (Raheja, 2007). In fact, regardless of the variations in points of view, it is impossible to neglect that the Inuit were heavily influenced by you film, Mr. Flaherty.
Concerning the filmographic details of the movie, I would like to highlight the location and the people that were depicted. This unique movie shows the life of the native Inuit people who reside in northern Quebec, Canada. Even though there are specific fictitious components in the performance, it convincingly portrays how its tenacious people endure in a hostile environment. The documentary particularly eloquently depicts the icy, harsh scenery of the Great White North, which is remote from modern civilisation. In my opinion, regarding the Inuit, the creation of the film has been viewed by the Inuit as a means of maintaining the characteristics of their former civilization.
Work Cited
Raheja, Michelle. Reading Nanooks smile: Visual sovereignty, indigenous revisions of ethnography, and Atanarjuat (The Fast Runner). American Quarterly, vol. 59, no. 4, 2007, pp. 1159-1185.
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