Poetic authenticity

Before watching the film, read the person first-I bought the book "Vlahadi Documentary Film Research", and pursued it earlier. That was when I read the article "Film and Adventure" in Bazin's "What is the Movie" "Knowing about Nanuk, he believes that "Nanuk of the North" possesses "an old and poetic authenticity that is still unconsciously old", and then Grierson... This film has stylistic characteristics that surpass the documentary, and what is interesting is that its artificial traces did not bring damage to this documentary, on the contrary, it achieved its poetic authenticity. We have to admit that once the director picks up the camera, a narrative (not a record) will occur. The recorded thing also starts from Vlahadi’s camera. At the same time, this film also seems to imply how our personal subjective enthusiasm can be. Blended with the authenticity of the record (he described this ordinary hunter as a great hunting hero among the Eskimos-there will always be such a hero). Of course, Vlahadi has to capture and edit the pictures and images that he considers valuable. So when you see Nanuk smiling at the camera, this smile is not just a record of facial expressions, but a smile facing the curiosity of Westerners and advanced Western technology-just like Nanuk chewing on a record Fragments of-from the same side of Flahadi, we also see "how the Western spirit describes and interprets distant and exotic civilizations". Shang Fangyijian touched on one element when talking about this film. The more shocking part of this film is the strange and natural blending relationship between him and the camera that Vlahadi revealed to us through the film. Although Vlahadi did not accumulate any valuable filming experience before this, his love for the artistic vision of film is the same as his love for Eskimos. Vlahadi's spirit of adventure must be expressed in a way. Fortunately, he found it and combined the love of the two perfectly-"It is still very attractive to this day" as evidence. The narrative of this film is creative, and it also illustrates this feature of the film: the scene of the Eskimo hunting the walrus recorded through the eyes of the camera is by no means a simple narrative. The completely natural icy beauty of the water movement, and then the shooting and hunting process, this is a contrastive poetic narrative-the Eskimos caught a walrus, a sharp weapon pierced into the walrus's body, the rope was held firmly by several Eskimos Grasping, what Fu shows us is the walrus, the tide, the back and forth, and pulling movements of the Eskimos-the silent picture opens a huge space for narrative and interpretation. The use of telephoto lenses, such as shooting scenes where the Nanuk family is out, is not only for the performance of non-professional actors. Sense, perhaps we can assume that in such a vast white world, perhaps the force of nature prompted him to use this lens language to express the hard but happy life of the Eskimos. In the book "Fu", it is mentioned that the Eskimos are full of simple mutual love and friendship. Under such a difficult environment, if such a relationship is not constructed, there is no way to survive. The story told by Vlahadi to the BBC Just mentioned: An Eskimo camped on a glacier. The ice broke at night. The igloo happened to split into two. The family was divided into two groups and drifted in two different directions. It was not until a few months later that the igloo was split in two. Get together. Similarly, you will also notice that in the close-up shot, the object under the Vlahadi camera seems to be tightly framed by a picture frame. Therefore, if Fu Yue is driven by a strong objective record of truth, then it is inevitable that he needs more subjective perspective to interpret. What Flahadi accomplishes is not the exploration of alien life and civilization, but also a series of derivative art products between him and the camera.

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