The documentary has inherently always had a relationship with performativity from its birth. Famous Pioneering documentary Film Nanook of the North (Flaherty, 1922) highlights the most fundamental example of what could be described as documentary fiction. As described by Rothman, “many actions on view in the film were performed for the camera”, not merely observational as was implied (1997, pp.1). This is indicated further by the intentionality of Flaherty highlighting “a traditional – and dangerous- method of hunting walrus with harpoons”, which was abandoned by Nanook’s people once having access to guns (Rothman, 1997, pp.2). This re-enactment of a society shown as more ‘primitive’ highlights what Ward describes (in animated contexts) as “atavism” in its portrayal of cultural phenomenon (Ward in Ehrlich and Murray 2018. Pp74). Within this, he describes how through the documentary lens, “violence and degeneracy in society” relates to atavistic documentary portrayal (2018, pp. 74). Within Nanook of the North (1922), there are scenes such as hunting, and in particular, Nanook biting a record vinyl (highlighting a lack of competence for a ‘white man’s creation’), which indicate the negative impacts of documentary re-enactment. Relating back to the animated documentary and inherently understanding the fictional nature of the documentary film, It feels necessary to highlight in the argument that it is an insufficient factual portrayal. If, for instance, non-fiction behind the live-action camera can be adapted and modelled, ever ‘metamorphosed ‘ into a portrayal of reality, it can be implied that animated documentary could be equally as valid in its documentation, despite the absence of live-action video.
Nanook of the North highlights several issues surrounding re-enactment and its relationship with the documentary form. One could arguably be its problematic representation of society through the western lens. As pointed out by Rothman, while the film aims to showcase this timeless and unmoveable society, it “consistently underplays the extent to which western civilization encroaches upon those traditions” which have drastically changed and affected people such as Nanook to “accommodate themselves and become part of the modern world” (1997, pp.2). It is also stated that Flaherty’s film sponsorship was from a fur company, which ironically contradicts the predatory and violent nature of the group’s portrayal (1997).
Another point of discussion is the feminine portrayal displayed within the film. As stated by Rothman, “the titles have a tendency to inflate Nanook’s importance,” and how the others are simply his followers, giving hierarchal portrayals and implications through the lens (1997, pp2). I think this example supports Paul Wells’s expansion of the “patriarchal agenda seemingly at the heart of live-action filmmaking” (1997, pp. 43). Bringing this into animated contexts provides an interesting contrast that seems to comparatively expand the notion that animation creates a further space for the feminine documentary aesthetic. Key films I think drastically benefit from this are ‘le clitoris (Malépart-Traversy, 2016) and ’some protection’ (Rimminen, 1987), and they highlight uniquely feminine experience’s with more drastic and original aesthetics, which make them stand out in a way that the live-action camera could never effectively encapsulate. I think le clitoris especially, as it anthropomorphises the clitoris into an empathetic animated character with charm, appeal, and comedic value.
The way Nanook address the camera vs when Nyla does, links back to potential ideologies that women must appear prettier and more approachable than the ‘hunter’ who has a sterner and more dominant glare. This projection of the patriarchal agenda on non-western subjects (while perhaps reflecting true internal attitudes) seems very intentional and further highlights the forced performative nature of the documentary piece. While regarding Freudian ideologies in his essay ’femaleness’, the female presence is generally presented as desirable when in direct submission and envy of ’maleness’ (2003).
References
- Rothman, W. (1997). Documentary Film Classics. Cambridge University Press; Cambridge.
- Wells, P. (1997). The Beautiful Village and The True Village: A Consideration of Animation and the Documentary Aesthetic. Art & Design, Art & Animation. Academy Group: London. pp. 40-45