Abstract
Since its release in 1922 Nanook of the North has remained at the heart of debates in documentary and ethnographic cinema. Long considered a foundational work, Flaherty's film has been hailed and disparaged in equal measure. After an absence of several years, I returned to a viewing of Nanook and found myself surprised by what I saw. Drawing on the work of early cinema historians, I seek here to challenge contemporary critiques and articulate a case for a new reading of the film.
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