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cliffs. What appears to be a traditional activity carried out by Aran women is a fabrication.The seaweed is collected for fertilization and is gathered from the low-lying shores twice per month, and only when the tides are absolutely calm. And
Kimball points out that religion, which is rooted in the islanders lives, even among the locally recruited actors, is entirely absent. Flaherty also exposed the islanders to great risk, asking them to perform the most astonishing feats in stormy seas despite the fact none of the islanders could swim. As Flaherty says, "looking back I should have been shot for what I asked these superb people to do for the film...for the enormous risks...and all for the sake of a keg of porter and five pound a piece".
627:, says that Flaherty taught him to concentrate on finding images: "You look, you search. You think of the image not merely as a way of showing something but also as a way of withholding information, of creating tension in the viewer. Of not revealing too much. Of seeing things with different perspectives by using different focal-length lenses". Flaherty says he owes almost everything to these long lenses and with them captured some of the most memorable sea footage ever recorded. Corliss says
546:, and the resulting exchange was "tumultuous". As James Roy MacBean says: "While appreciative of Flaherty’s poetic imagery had popped the lid off all the distortions and omissions in Flaherty’s highly romanticized depiction of life on the Aran Islands". At the time, Stoney’s revelatory documentary had left many at the conference incensed at what they now saw as Flaherty’s blatant falsification of the life he had been purported to be documenting.
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harpoons and had to be taught the skills of the hunt. Messenger, who visited
Islands between 1958 and 1968, goes further, claiming that the islanders never had engaged in shark hunting then, or at any time in the past. Flaherty brought fishermen from Scotland to teach the locals how it is done. "Flaherty...created new customs, such as shark fishing, and seriously distorted numerous indigenous ones in order to make the
367:, the largest of the three Aran Islands. Flaherty had promised Balcon he could shoot the entire film for £10,000. Over the next two years, he shot over 200,000 feet of film for a 74-minute documentary, oftentimes filming the same event time after time. As Flaherty says, "our films are made with film and time, I need lots of both." Balcon eventually called a halt to filming as the costs approached £40,000.
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it...and yet, there is no way to make a film without manipulating the information. As
Flaherty acknowledges, "one often has to distort a thing to catch its true spirit". How much a documentarian can manipulate and still credibly claim their film to be a truthful portrayal of real life "is a never-ending discussion with many answers".
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over a period of time and deliver only the essence of it? Seen as the story of mankind over a thousand years, the story of Aran is this story of man against the sea...It is a simple story, but it is an essential story, for nothing emerges from time except bravery. Calder-Marshall suggests the controversies over
267:. They lose that one after a fight and later spend two days wearing another one down before they can bring it back to shore. The whole village comes down to the beach to either watch or to help drag the carcass out of the water. The Wife renders the shark's liver to get oil for the lamps on the island.
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Other claims and controversies include the artificial creating of the Aran family out of unrelated cast members. They were handpicked by
Flaherty to play the roles of mother, father, and son. In another sequence, Flaherty shows the mother buffeted by a storm as she carries seaweed along the Inishmore
517:
However, the claim is not correct as whale and shark fishing were both known to occur and commercially viable operations up until a few years prior to the filming. Arranmore
Whaling Co., 1908–1913; Blacksod Whaling Co., 1910–1914; and Akties Nordhavet Co.(Northern Seas)/Blacksod Whaling Co 1920–1922,
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s release, socialist critic Ralph Bond commented “…we are more concerned with what
Flaherty has left out than with what he has put in…Flaherty would have us believe that there is no class struggle on Aran despite ample evidence to the contrary". It is claimed that Flaherty ignored the effects of such
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in the midst of high winds and huge waves with help from "His Wife" and "Their Son". The Man and his Wife work to make a field on the barren rocks using seaweed and soil scraped out of rock crevices. The Man fixes a hole in his boat with a mixture of cloth and tar. His Son sits on the edge of a cliff
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explains, "Flaherty wasn’t interested in actuality, he was interested in his own idea of life". If the film was intended to be a poetic statement instead of a factual documentary, one has no right to treat it as an ethnographic film now. Barsam asks, is it unreasonable for the artist to distill life
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According to anthropologist John
Messenger, there are over 100 factual errors in the film. Among the more notable is the shark-hunting sequence, which dominates the latter half of the story. Kimball says this practice had disappeared so long ago that the islanders did not know how to make or use the
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More sharks are still passing by on their migration, so the local fishermen head back out to sea, even though the weather looks like it might turn. No one will take the Son with them. There is a storm, and the Wife and Son can only watch from shore while the Man and his two shipmates struggle to get
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off the western coast of
Ireland. It portrays characters living in premodern conditions, documenting their daily routines such as fishing off high cliffs, farming potatoes where there is little soil, and hunting for huge basking sharks to get liver oil for lamps. Some situations are fabricated, such
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never was intended to be an ethnographic documentary film. As he explains, "in a cosmic anthropological sense it could be counted as an artistic rendition of the struggle of man against nature". Flaherty had immersed himself in the culture to tell the essence of the truth about the
Islanders, " for
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is shared by
Aufderheide: "Flaherty had a powerful romantic belief in the purity of native cultures and he believed that his own culture was spiritually impoverished by comparison". Taken to the extreme, this approach makes no attempt to capture reality but create a romanticized picture of it: "The
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Aufderheide says, "documentary movies are about real life: they are not real life they are not even windows onto real life. They are portraits of real life, using real life as their raw material...You might then say: is a movie that does its best to represent real life and that doesn’t manipulate
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Brian Winston cautions against unconditionally praising Flaherty's poetic talent. He argues we have to acknowledge his manipulations and distortions because that is at the heart of understanding both his genius and his contribution to the documentary form. What Flaherty grasped was not only our
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premiered at the New Gallery in London. The screening had been preceded by a major publicity drive. A stuffed basking shark was put on display in the window of Gaumont British in Wardour Street, and Irish Guards played Irish folk music in the theater foyer on the first night. The islanders were
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The film's depiction of man's courage and repudiation of the intellect also appealed to the Nazis, who raved over it during the Berlin Festival in 1935. As Luke Gibbons has written, this portrayal of the harsh life on the west coast of Ireland was often taken to heart by those who viewed it.
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is Flaherty's recreation of culture on the edges of modern society, even though much of the primitive life depicted had been left behind by the 1930s. It is impressive, however, for its drama, for its spectacular cinematography of landscape and seascape, and for its concise editing.
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According to Barsam, "Flaherty’s subjective view of reality – his making it all up – has a romantic basis, idealizing the simple, natural even non-existent life". He argues that even though Flaherty habitually transforms reality, his essential achievement is that of the
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which, in contrast to the classic tradition, promised a new level of realistic interpretation. This new form swept away staging and reconstruction to present a more accurate picture of the world. The debate was touched off by a screening of Flaherty’s
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desire for drama, but that it should arise from the life being observed and not imposed from without. By using drama and reconstruction, Flaherty created a unique form of documentary, which thrives between "a life as lived and life as narrativised".
405:. He used a variety of lens sizes, even a seventeen-inch long lens, which was twice the size of the camera. He used a spring driven camera that "was simpler in operation than any I have seen and not much heavier to carry than a portable typewriter".
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as one scene in which the shark fishermen are almost lost at sea in a sudden gale. Additionally, the family members shown are not actually related, having been chosen from among the islanders for their photogenic qualities.
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socially irrelevant. Instead of returning with a film about Island poverty and an indictment of the absentee landlord, they claim Flaherty brought back a film about dewy-eyed urchins. Grierson argues that Flaherty's
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is more valuable as a documentary of Robert Flaherty's vision of life than it is of life itself. Others see it as a betrayal of documentary's mission, "to tell it like it is". And yet, according to
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583:, is emphatic, "it was not a documentary, it was not intended to be a documentary...it was a piece of poetry". McNab calls it "not so much a conventional documentary as a poetic meditation".
430:. During the first six months of its release the film grossed about £50,000; many films had grossed more, but according to Michael Balcon it brought Gaumont British the prestige he wanted.
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their boat to land safely against the elements. Everyone is reunited, but the Man's boat is crushed by the waves and rocks. The family turns and makes their way back to their cottage.
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477:', the glorification of a simpler and more primitive way of life, meant he could not develop a form adequate to the more immediate material in the modern world. Paul Rotha faulted
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connection saying "it is a measure of the apolitical nature of Flaherty’s vision that he was unaware of this problem inherent in his nineteenth-century primitive sensibility".
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may be adduced as evidence that it was a few years and not the hundreds claimed by some critiques. Only 11 years prior to filming, whaling was occurring on a commercial scale.
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Despite these controversies, Flaherty remains a pioneer of the documentary whose films are situated in a class of their own within the documentary genre. Kimball argues that
242:, which is included in the special features of the DVD, relates that the Aran Islanders had not hunted sharks in this way for over fifty years at the time the film was made.
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Blake, Martin: A Critical Study of the Implications of the Problem of Reality in the Documentary Film: University of Southern California, Dissertations Publishing, 1972.
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363:(1948)) to prove the British film industry's cultural excellence as well as commercial success. In 1931, Robert Flaherty set up a studio and laboratory facilities on
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for the film's 2009 DVD release, performing the score at a series of live events in the UK including one accompanying the film itself at the British Film Institute.
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worldwide events as the depression of the 1930s, suggesting to the audience that the Aran Islands were isolated economically as they were geographically.
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this reason ethnographic accuracy is an unimportant consideration when the larger goal is some fundamental aspect of mankind". In Stoney’s film
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of manipulation owed much to his pioneering work. McLoon goes further, suggesting "the cult of beauty, and fetishism of courage" in
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fit his preconceptions and titillate the camera". Flaherty himself admits the shark fishing sequence was needed for the box-office.
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461:, as it encouraged an image of Ireland that was fiercely traditional, definitively rural, and resilient in the face of hardship.
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453:. The Irish government saw it as confirmation of their social and economic policies and so enthusiastically received the film.
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compositions, charcoal rock, black-clad figures against a gray sky, are light-years removed from the natural grandeur of
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that place him firmly in a tradition of the romantic visionary American. Winston sees the influence of Flaherty in
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Man has to fight for his existence in the Aran Islands. Three men, among them "A Man of Aran", land a flimsy
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MacBean, James Roy: Two Laws from Australia, One White One Black, Film Quarterly Spring 1983, Vol 36, No.3
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MacBean, James Roy: Two Laws from Australia, One White One Black, Film Quarterly Spring 1983, Vol 36, No.3
725:, Flaherty said he'd been accused of "trying to drown a boatload of wild Irishmen"), written by Professor
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rests as much on controversies over truth and accuracy as on its aesthetic achievement. Some contend that
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is that, being a poet, with a poet's eye, Flaherty’s lie is greater, for he can make romance seem real".
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brought over from Aran and paraded before the press and public in their simple homespun island garb.
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The Man, working with four other fishermen in a slightly larger boat than before, harpoons a giant
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followed by George Stoney’s just completed documentary exploration of Robert Flaherty’s
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Film Conference in Canberra, Australia. The conference had gathered, in part, to praise
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could have been avoided if had had a publicity adviser, someone as verbally agile as
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and uses a crab he caught earlier as bait to catch a fish in the water below.
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This article is about the documentary. For the British Sea Power album, see
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Leacock, Richard; On Working With Robert and Frances Flaherty 26 April 1990
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Leacock, Richard; On Working With Robert and Frances Flaherty 26 April 1990
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for its alleged avoidance of economic and social reality. At the time of
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is a play set on the Aran Islands at the time of the filming of
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How the Myth Was Made: A Study of Robert Flaherty's Man of Aran
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Malcolm, Derek; Nanook of the North, The Guardian, April 2000.
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Barsam, Richard, Nonfiction Film: A Critical History, IUP 1992
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British Sea Power Soundtrack. 'Man of Aran' nears release
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Gibbons, Luke. "Romanticism, Realism and Irish Cinema".
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was a major political and cultural event to the nascent
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Hockings Paul, American Anthropologist, Vol 109, No.1
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especially the long focal lens that he first used in
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1010:Kimball, S.T: American Anthropologist, Vol 79, No3
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824:Russell Patrick, Sight and Sound 21.5 (May 2011)
631:was very different from his earlier work, “…the
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422:won top prize for the best foreign film at the
394:avoided all important issues raised by sound".
304:'Big Patcheen' Conneely of the West as Canoeman
729:of University of Lincoln, UK, and directed by
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1051:Winston B, "How the Myth Was Deconstructed",
711:British Universities Film & Video Council
709:Flaherty's legacy is the subject of the 2010
1055:, Volume 21, Number 2, March 1999, pp. 71-86
675:. He goes on to exonerate Flaherty of any
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2129:Women on the Verge of a Nervous Breakdown
2053:A Few Days from the Life of I. I. Oblomov
295:Patch 'Red Beard' Ruadh as Shark Hunter
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596:, who had made it publicly plain that
424:2nd Venice International Film Festival
397:Flaherty continued to experiment with
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529:s artifices was revealed at the 1978
223:) film shot, written and directed by
2569:Films scored by John D. H. Greenwood
331:hired the acclaimed writer/director
280:Colman 'Tiger' King as A Man of Aran
1181:Montagu, Ivor, cited in Aufderheide
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554:filmmaker. The idea of Flaherty as
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544:Man of Aran, How the Myth Was Made
447:President of the Executive Council
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2524:Films directed by Robert Flaherty
2330:The Diving Bell and the Butterfly
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490:Subsequent analysis and criticism
321:those being produced in Hollywood
298:Patcheen Faherty as Shark Hunter
2559:Documentary films about fishing
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2013:That Obscure Object of Desire
1523:The Twenty-four Dollar Island
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600:was not a 'document' but an ‘
409:Release and initial reception
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2564:1930s English-language films
1446:AFI Catalog of Feature Films
1039:"100 years of Irish Whaling"
717:award-nominated documentary
286:Michael Dirrane as Their Son
136:Gaumont British Distributors
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2549:Gainsborough Pictures films
2539:Films shot in County Galway
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719:A Boatload of Wild Irishmen
307:Stephen Dirrane as Canoeman
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494:The current reputation of
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445:and was attended by the
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2083:A Sunday in the Country
1952:The Sorrow and the Pity
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150:25 April 1934
759:Pour la suite du monde
585:Arthur Calder-Marshall
468:Some critics believed
335:and his wife Frances (
2179:Farewell My Concubine
1982:The Story of Adele H.
1882:Juliet of the Spirits
731:Mac Dara Ó Curraidhín
702:were asked to record
577:How the Myth Was Made
240:How the Myth was Made
217:fictional documentary
125:Gainsborough Pictures
2554:Films set in Ireland
2534:Irish-language films
1714:No Award (1942–1949)
1656:Carnival in Flanders
238:'s 1978 documentary
110:John D. H. Greenwood
2239:All About My Mother
2189:Eat Drink Man Woman
2073:Fanny and Alexander
1507:Nanook of the North
715:FOCAL International
637:Nanook of the North
525:The full extent of
338:Nanook of the North
79:Colman 'Tiger' King
18:Man of Aran (album)
2544:Ethnofiction films
2149:Cyrano de Bergerac
2033:La Cage aux Folles
1962:Cries and Whispers
1852:Sundays and Cybele
1762:A Queen Is Crowned
1676:La Grande Illusion
1547:Oidhche Sheanchais
1495:Robert J. Flaherty
1493:Films directed by
1434:TCM Movie Database
908:Cinema and Ireland
713:award-winning and
671:are the tropes of
433:When it opened in
413:On 25 April 1934,
227:about life on the
225:Robert J. Flaherty
91:Robert J. Flaherty
61:Robert J. Flaherty
52:Robert J. Flaherty
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2003:The Marquise of O
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221:ethnofiction
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182:Running time
100:John Goldman
42:US DVD cover
22:
2410:Son of Saul
2280:Talk to Her
1641:Man of Aran
1568: [
1539:Man of Aran
1458:Archive.org
1440:Man of Aran
1429:Man of Aran
1418:Man of Aran
1407:Man of Aran
743:Docufiction
723:Man of Aran
693:Man of Aran
669:Man of Aran
633:chiaroscuro
629:Man of Aran
598:Man of Aran
590:Man of Aran
581:Man of Aran
572:Man of Aran
540:Man of Aran
512:Man of Aran
500:Man of Aran
496:Man of Aran
479:Man of Aran
470:Man of Aran
459:Fianna Fáil
455:Man of Aran
439:Man of Aran
420:Man of Aran
415:Man of Aran
392:Man of Aran
376:silent film
372:Man of Aran
244:Man of Aran
212:Man of Aran
66:Produced by
48:Directed by
31:Man of Aran
2514:1934 films
2508:Categories
2460:La Llorona
2400:Wild Tales
1842:Die Brücke
1453:Watch film
1263:, Dec 2006
1257:McNab, G,
1208:Auderheide
1190:Auderheide
1053:Wide Angle
767:References
687:(1996) by
665:aesthetics
384:Paul Rotha
315:Production
290:Pat Mullen
186:76 minutes
169:1934-10-18
154:1934-04-25
117:Production
58:Written by
2350:A Prophet
2169:Indochine
1994:1976–2000
1733:1951–1975
1721:The Titan
1632:1934–1950
1064:Messenger
700:Sea Power
645:John Ford
365:Inishmore
199:Languages
173: (US)
158: (UK)
96:Edited by
2450:Parasite
2440:Cold War
2390:The Past
2209:Ridicule
2063:Mephisto
1972:Amarcord
1742:Rashomon
1563:The Land
1423:AllMovie
1281:Hockings
737:See also
606:pastoral
594:Grierson
556:Romantic
357:(1942),
355:The Land
353:(1937),
347:(1926),
341:(1922),
251:Synopsis
106:Music by
76:Starring
2430:Foxtrot
1565:
1443:at the
1432:at the
1371:Winston
1362:Corliss
1326:Winston
1317:Winston
1308:Winston
1235:Kimball
1226:Kimball
1145:MacBean
1136:MacBean
1127:MacBean
1118:Winston
1109:MacBean
1073:Kimball
920:Corliss
887:O'Brien
860:McLoone
815:O’Brien
673:Fascism
655:, even
653:Borzage
649:Chaplin
602:eclogue
561:tragedy
552:realist
457:suited
390:says, "
257:currach
204:English
191:Country
167: (
152: (
119:company
2493:(2023)
2483:(2022)
2473:(2021)
2470:A Hero
2463:(2020)
2453:(2019)
2443:(2018)
2433:(2017)
2423:(2016)
2413:(2015)
2403:(2014)
2393:(2013)
2383:(2012)
2373:(2011)
2363:(2010)
2353:(2009)
2343:(2008)
2340:Mongol
2333:(2007)
2323:(2006)
2320:Volver
2313:(2005)
2303:(2004)
2293:(2003)
2283:(2002)
2273:(2001)
2252:(2000)
2242:(1999)
2232:(1998)
2222:(1997)
2212:(1996)
2202:(1995)
2192:(1994)
2182:(1993)
2172:(1992)
2162:(1991)
2152:(1990)
2142:(1989)
2132:(1988)
2122:(1987)
2106:(1986)
2103:Otello
2096:(1985)
2086:(1984)
2076:(1983)
2066:(1982)
2056:(1981)
2046:(1980)
2036:(1979)
2026:(1978)
2016:(1977)
2006:(1976)
1985:(1975)
1975:(1974)
1965:(1973)
1955:(1972)
1945:(1971)
1935:(1970)
1925:(1969)
1915:(1968)
1905:(1967)
1895:(1966)
1885:(1965)
1875:(1964)
1865:(1963)
1855:(1962)
1845:(1961)
1835:(1960)
1825:(1959)
1815:(1958)
1805:(1957)
1795:(1956)
1785:(1955)
1775:(1954)
1765:(1953)
1755:(1952)
1745:(1951)
1724:(1950)
1709:(1941)
1699:(1940)
1689:(1939)
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1669:(1937)
1659:(1936)
1644:(1934)
1584:(1948)
1576:(1942)
1558:(1937)
1550:(1935)
1542:(1934)
1534:(1928)
1526:(1927)
1518:(1926)
1510:(1922)
1380:McLoon
1344:Barsam
1290:Barsam
1248:(1978)
1199:Barsam
1163:Barsam
1154:Barsam
1001:Barsam
956:Barsam
938:Barsam
896:McLoon
842:Barsam
833:Barsam
657:Disney
604:’ – a
435:Dublin
426:, the
403:Nanook
2480:Close
2380:Amour
1922:Shame
1802:Ordet
1574:]
1515:Moana
641:Moana
344:Moana
202:Irish
1412:IMDb
677:Nazi
275:Cast
2093:Ran
1456:at
1421:at
1410:at
386:in
327:of
2510::
2116:/
1862:8½
733:.
695:.
651:,
647:,
449:,
323:,
1617:e
1610:t
1603:v
1571:d
1486:e
1479:t
1472:v
1041:.
910:.
473:'
219:(
171:)
156:)
20:.
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