Relevant bibliographies by topics / Robert Flaherty

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Robert Flaherty'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Robert Flaherty"

1

Skare, Roswitha. "“First I was an explorer; then I was an artist.” Robert J. Flaherty som fotograf." Nordlit, no. 35 (April 22, 2015): 161. http://dx.doi.org/10.7557/13.3432.

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<p align="left">Robert J. Flaherty is today best known for his films, and especially for his first film Nanook of the North <em><span style="font-family: TimesNewRomanPS-ItalicMT;"><span style="font-family: TimesNewRomanPSMT;">(1922). In discussions about the early years of Flaherty’s career </span></span></em>there has been much emphasis on Flaherty as a man with little formal education, a self- made man and an explorer. Flaherty’s statement “First I was an explorer; then I was an artist” is quoted over and over again. In this article I take a closer look at the early years of Flaherty’s career, the years before the premiere of <span style="font-family: TimesNewRomanPSMT;"><em><span style="font-family: TimesNewRomanPS-ItalicMT;">Nanook </span></em><span style="font-family: TimesNewRomanPSMT;">and his </span></span>reputation as a filmmaker. I discuss the photographs taken by Flaherty on his first expeditions in the years before 1915 focusing on the use and reuse of these photographs in different contexts like newspapers, journals and books. Finally, I also discuss whether these photographs, and especially two of the portraits that are used repeatedly, are only ethnographic or artistic as well.</p>
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Balikci, Asen. ": Robert J. Flaherty: A Biography . Paul Rotha." American Anthropologist 87, no. 3 (1985): 734–35. http://dx.doi.org/10.1525/aa.1985.87.3.02a00730.

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Gulati, Shilpi. "Robert Flaherty Film Seminar, 2019: Action (Review)." Media Practice and Education 20, no. 4 (2019): 390–92. http://dx.doi.org/10.1080/25741136.2019.1681656.

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Coogan, Jack. "The Robert and Frances Flaherty Study Center at Claremont." Historical Journal of Film, Radio and Television 16, no. 1 (1996): 33–37. http://dx.doi.org/10.1080/01439689600260061.

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MacBean, James Roy. ": Robert J. Flaherty: A Biography . Paul Rotha, Jay Ruby." Film Quarterly 38, no. 4 (1985): 25–28. http://dx.doi.org/10.1525/fq.1985.38.4.04a00100.

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Armatage, Kay. "Robert and Frances Flaherty: A Documentary Life, 1883-1922 (review)." University of Toronto Quarterly 76, no. 1 (2007): 509–10. http://dx.doi.org/10.1353/utq.2007.0004.

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Gustafson, Irene. "Robert Flaherty Film Seminar, 2011: Sonic Truth (review)." Moving Image 12, no. 1 (2012): 162–65. http://dx.doi.org/10.1353/mov.2012.0021.

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Orenstein, David. "The Vision of Robert Flaherty, The Artist as Myth and Filmmaker." Visual Anthropology Review 5, no. 2 (2010): 33–34. http://dx.doi.org/10.1525/var.1989.5.2.33.

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MacBean, James Roy. "Review: Robert J. Flaherty: A Biography by Paul Rotha, Jay Ruby." Film Quarterly 38, no. 4 (1985): 25–28. http://dx.doi.org/10.2307/1212394.

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Gonçalves, Marco Antonio. "O SORRISO DE NANOOK E O CINEMA DOCUMENTAL E ETNOGRÁFICO DE ROBERT FLAHERTY." Sociologia & Antropologia 9, no. 2 (2019): 543–75. http://dx.doi.org/10.1590/2238-38752019v929.

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Resumo A partir de uma leitura renovada do filme Nanook of the North (1922), de Robert Flaherty, tomamos o sorriso de Nanook como guia para rediscutir questões cruciais, que estão na base das discussões epistemológicas tanto do cinema quanto da antropologia: o problema da verdade/falsidade e ficção/realidade, o modo de produzir o conhecimento, a encenação da vida social, o ilusionismo e o anti-ilusionismo das representações sociais, os modos de representação do outro, o problema da indexicalidade das imagens como marcas de suas vinculações com o mundo.
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Dissertations / Theses on the topic "Robert Flaherty"

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Ortiz, Joana Montero. "Um olhar sobre o outro: a perspectiva sobre outras culturas na obra de Robert Flaherty." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-22072009-181101/.

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Este trabalho procura compreender como as obras de Flaherty elaboram um olhar sobre as populações nativas representadas em seus filmes. Através de uma análise da composição das imagens e dos recursos narrativos utilizados pelas obras, procuramos desvendar a perspectiva específica do autor sobre a alteridade, e o modo como ela é por ele representada. Com efeito, os filmes de Flaherty organizam uma noção geral de cultura, subjacente e não revelada, que orienta sua descrição. Para desenvolver este trabalho, foram escolhidas as duas primeiras obras de sua filmografia: Nanook of the North (1922); e Moana: A Romance of the Golden Age (1926). Ao trazer alguns conceitos e referências do campo da Antropologia para a análise fílmica, espero contribuir para enriquecer significativamente o debate que há muito já vem sendo realizado sobre as obras deste conhecido diretor.<br>This work intent to understand how Flahertys films elaborate a sight about the native populations represented in his works. Analyzing his composition style and the narrative resources used in his works, we search to reveal his specific perspective about alterity and the ways by which it is represented. Flahertys films organize a general notion of culture, that remains underlying and undisclosed, but which guides his description. To develop this work, two of his films had been chosen: Nanook of the North (1922); e Moana: A Romance of the Golden Age (1926). Borrowing some concepts and references from the anthropological field to the filmic analysis, will allow me to contribute, as I expect, to enrich the debate that is still being carried on about the works of this well known director.
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Ghaderi, Malek-Mohsen. "La contribution de Robert Flaherty et Dziga Vertov à l'évolution et au développement du cinéma documentaire des années 1920 : regards passéiste et futuriste sur la question de la réalité filmique." Paris 1, 2012. http://www.theses.fr/2012PA010735.

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Au cours des années 1920, deux figures fondatrices opposées donnent naissance au cinéma documentaire comme une forme nouvelle : Robert Flaherty, en faisant évoluer la tendance d'apporter des simples récits de voyages et des actualités filmées; Dziga Vertov, en partant de la même forme d'actualités, jusqu'alors dépourvue de toute vision du réel. L'un qualifié de passéiste et de réaliste, l'autre de futuriste et de formaliste, ils adoptent des différents points de départ dans la production filmique: Flaherty, en appuyant sur la participation de personnages et en contemplant ses démarches filmiques comme un anthropologue faisant des recherches sur le terrain, Vertov, en renonçant l'importance de l'individu en faveur du rôle du collectif. En recourant à la grammaire établie du film de fiction (Flaherty) et en faisant des expérimentations personnelles sur la forme cinématographique (Vertov), ils contribuent à l'évolution du documentaire.
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Sommer, Julie A. "P2X₇ purinergic receptor modulation of lipopolysaccharide-stimulated macrophage activation." 2001. http://www.library.wisc.edu/databases/connect/dissertations.html.

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Martins, João Pedro Barriga. "A verdade e a poética no cinema etnográfico: uma re-produção da realidade." Master's thesis, 2019. http://hdl.handle.net/10451/40694.

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Between Cinema and the Truth there has always been a similarity, a doubt and many reflections. In this project work, which attempts to be a hybrid between dissertation and cinematographic work, we think of the relationship between cinema and truth with particular incidence on ethnographic studies through the moving image and the poetics inherent to cinema as a form of truth. We begin the investigation with an introduction to the theories of documentary cinema and a reflection on the implications of the cinematographic mechanism. In a second section we will approach the collective look on a form of cinema that may be a reflection of humanity, addressing issues such as the archive, the memory and the conception of the world. Finally, we will think about the problematics attached to the concepts of truth and poetics. In this phase we will try to establish a profitable relationship between the poetics inherent to ethnographic cinema and reality. Thinking about art and science, poetics and truth, cinema and reality, authors like Friedrich Nietzsche, Novalis, Martin Heidegger, Sophia de Mello Breyner Andresen; directors like Robert Flaherty, Jean Rouch, João Moreira Salles, Pier Paolo Pasolini will be approached, among others. Trying to dissociate preconceptions tied to the notion of truth, we will try to come to an explanation on how the poetics linked to cinema can be a contribution to the truth in the sense that, in them, one can find or reveal fragments of reality that would not otherwise be possible. In this way, the recording of moving images could be a medium of observation of reality, as well as the other and the self, capable of looking at the world in a more profound, complete way, with a different spatio-temporal dimension than usual, which will allow us to observe reality with an exquisite look. This approach will lead us to consider the possibility of the camera bringing to the human a way to enhance his recording of the world, given that it sees more than the individual, as well as whomever witnesses the reproduction of these images will be able to see more than who filmed them.
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Books on the topic "Robert Flaherty"

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Ulutak, Nazmi. Robert J. Flaherty ve Kuzeyli Nanook. Anadolu Üniversitesi Basımevi, 2003.

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L'homme d'Aran: De Robert Flaherty : mythe, île et cinéma. Yellow Now, 2012.

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Barsam, Richard Meran. The vision of Robert Flaherty: The artist as myth and filmmaker. Indiana University Press, 1988.

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Barsam, Richard Meran. Thev ision of Robert Flaherty: The artist as myth and filmmaker. Indiana University Press, 1988.

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Carpenter, Edmund. Commentary to accompany a facsimile edition of Drawings of Eenooesweetok first printed in 1915 by Robert Flaherty. Rock Foundation, 2001.

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Eva, Orbanz, and Museum of Modern Art (New York, N.Y.), eds. Filming Robert Flaherty's Louisiana story: The Helen van Dongen diary. Museum of Modern Art in collaboration with the Stiftung Deutsche Kinemathek, 1998.

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Robert And Frances Flaherty: A Documentary Life, 1883-1922 (Mcgill-Queen's Native and Northern Series). McGill-Queen's University Press, 2005.

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Barsam, Richard Meran. Filming Robert Flaherty's Louisiana Story: The Helen Van Dongen Diary. HNA Books, 1998.

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Book chapters on the topic "Robert Flaherty"

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Geva, Dan. "1924: Robert Flaherty." In A Philosophical History of Documentary, 1895–1959. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79466-8_9.

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"Flaherty Island." In Robert and Frances Flaherty. MQUP, 2005. http://dx.doi.org/10.2307/j.ctt7zw7v.13.

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Bohn, Thomas W. "I NEVER MET ROBERT FLAHERTY." In Flash Flaherty. Indiana University Press, 2021. http://dx.doi.org/10.2307/j.ctv1c3pdsn.49.

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"Front Matter." In Robert and Frances Flaherty. MQUP, 2005. http://dx.doi.org/10.2307/j.ctt7zw7v.1.

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"Through Canada’s Northland." In Robert and Frances Flaherty. MQUP, 2005. http://dx.doi.org/10.2307/j.ctt7zw7v.10.

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"Fellow of the Royal Geographical Society." In Robert and Frances Flaherty. MQUP, 2005. http://dx.doi.org/10.2307/j.ctt7zw7v.11.

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"Frances and the Book of the Heart." In Robert and Frances Flaherty. MQUP, 2005. http://dx.doi.org/10.2307/j.ctt7zw7v.12.

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"Nanook of the Barren Lands." In Robert and Frances Flaherty. MQUP, 2005. http://dx.doi.org/10.2307/j.ctt7zw7v.14.

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"Epilogue." In Robert and Frances Flaherty. MQUP, 2005. http://dx.doi.org/10.2307/j.ctt7zw7v.15.

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"Notes." In Robert and Frances Flaherty. MQUP, 2005. http://dx.doi.org/10.2307/j.ctt7zw7v.16.

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Conference papers on the topic "Robert Flaherty"

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Hidalgo, João, and Rosa Simões. "O DOCUMENTÁRIO ETNOGRÁFICO E SUAS VARIANTES: REVISITANDO ROBERT FLAHERTY, LENI RIEFENSTAHL E JEAN ROUCH." In VIII World Congress on Communication and Arts. Science and Education Research Council (COPEC), 2015. http://dx.doi.org/10.14684/wcca.8.2015.389.

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