Beginning with Robert Flaherty's Nanook of the North (1922), the
majority of films that have been made in, about, and by filmmakers
from the Arctic region have been documentary cinema. Focused on a
hostile environment that few people visit, these documentaries have
heavily shaped ideas about the contemporary global Far North. In
Arctic Cinemas and the Documentary Ethos, contributors from a
variety of scholarly and artistic backgrounds come together to
provide a comprehensive study of Arctic documentary cinemas from a
transnational perspective. This book offers a thorough analysis of
the concept of the Arctic as it is represented in documentary
filmmaking, while challenging the notion of "The Arctic" as a
homogenous entity that obscures the environmental, historical,
geographic, political, and cultural differences that characterize
the region. By examining how the Arctic is imagined, understood,
and appropriated in documentary work, the contributors argue that
such films are key in contextualizing environmental, indigenous,
political, cultural, sociological, and ethnographic understandings
of the Arctic, from early cinema to the present. Understanding the
role of these films becomes all the more urgent in the present day,
as conversations around resource extraction, climate change, and
sovereignty take center stage in the Arctic's representation.
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