The documentary film
She was the daughter of Robert Schumann's piano teacher. She was much younger and her father did not approve because he wanted her to focus on playing the piano, due to the fact she was a prodigy.
Robert Koch Institute was created in 1891.
Robert E. Lee had a great love for all animals. He fondness was for his white cat 'Polar Bear' that would often land on Robert E. Lee's chess board, but that didn't seem to bother Robert E. Lee in the least.
Robert Walton and Victor Frankenstein are similar because they both want to explore the world and both create some type of monster. The are desperate for a companion so they create their own.
Capital letters
Polar bear
Apparently, two years after the release of Flaherty's film, Nanook died of starvation.
He starved to death while hunting
Robert J. Flaherty has written: 'The party'
Robert J. Flaherty was born on February 16, 1884.
Robert J. Flaherty was born on February 16, 1884.
Robert J. Flaherty died on July 23, 1951 at the age of 67.
Robert Joseph Flaherty has written: 'Robert Flaherty, photographer/filmmaker' -- subject(s): Biography, Cinematographers, Documentary photography, Eskimos, Exhibitions, Photographers, Photography, Documentary
Robert J. Flaherty died on July 23, 1951 at the age of 67.
Robert J. Flaherty was born on February 16, 1884 and died on July 23, 1951. Robert J. Flaherty would have been 67 years old at the time of death or 131 years old today.
Nanook of the North (1922) is a silent documentary film by Robert J. Flaherty. In the tradition of what would later be called salvage ethnography, Flaherty captured the struggles of the Inuit Nanook and his family in the Canadian arctic. The film is considered the first feature-length documentary, though Flaherty has been criticized for staging several sequences and thereby distorting the reality of his subjects' lives.[1] In 1989, this film was one of the first 25 films to be selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".* 1 Film * 2 Criticism * 3 Other works * 4 See also * 5 References * 6 External links The film was shot near Inukjuak, on Hudson Bay in Arctic Quebec, Canada. Having worked as a prospector and explorer in Arctic Canada among the Inuit, Flaherty was familiar with his subjects and set out to document their lifestyle. Flaherty had shot film in the region prior to this period, but that footage was destroyed in a fire started when Flaherty dropped a cigarette onto the original camera negative (which was highly flammable nitrate stock). Flaherty therefore made Nanook of the North in its place. Funded by French fur company Revillon Freres, the film was shot from August 1920 to August 1921. As the first nonfiction work of its scale, Nanook of the North was ground-breaking cinema. It captured an exotic culture in a distant location, rather than a facsimile of reality using actors and props on a studio set. Traditional Inuit methods of hunting, fishing, igloo-building, and other customs were shown with accuracy, and the compelling story of a man and his family struggling against nature met with great success in North America and abroad. Flaherty has been criticized for deceptively portraying staged events as reality. Much of the action was staged and gives an inaccurate view of real Inuit life during the early 20th century. "Nanook" was in fact named Allakariallak, for instance, while the "wife" shown in the film was not really his wife. And although Allakariallak normally used a gun when hunting, Flaherty encouraged him to hunt after the fashion of his ancestors in order to capture what was believed to be the way the Inuit lived before European influence. The ending, in which Nanook and his family are supposedly in peril of dying if they can't find shelter quickly enough, was implausible, given the reality of nearby French-Canadian and Inuit settlements during filming. Flaherty also exaggerated the peril to Inuit hunters with his claim, often repeated, that Allakariallak had died of starvation two years after the film was completed, whereas it is now known that he more likely died of tuberculosis.[2] On the other hand, while Flaherty made his Inuit actors use spears instead of guns during the walrus and seal hunts, the hunting itself did involve actual wild animals. Flaherty defended his work by stating that a filmmaker must often distort a thing to catch its true spirit. Later filmmakers have pointed out that the only cameras available to Flaherty at the time were both large and immobile, making it impossible to effectively capture most interior shots or unstructured exterior scenes without significantly modifying the environment and subject action. For example, the Inuit crew had to build a special three-walled igloo for Flaherty's bulky camera so that there would be enough light for it to capture interior shots. At the time, few documentaries had been filmed and there was little precedent to guide Flaherty's work. Since Flaherty's time both staging action and attempting to steer documentary action have come to be considered unethical amongst cinéma vérité purists, because they believe such reenactments deceive the audience.
Wolfgang Klaue has written: 'Alberto Cavalcanti' 'Robert Flaherty'