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Films on IceCinemas of the Arctic$
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Scott MacKenzie and Anna Westerstahl Stenport

Print publication date: 2015

Print ISBN-13: 9780748694174

Published to Edinburgh Scholarship Online: May 2017

DOI: 10.3366/edinburgh/9780748694174.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 05 July 2022

Cinema of Emancipation and Zacharias Kunuk’s Atanarjuat: The Fast Runner

Cinema of Emancipation and Zacharias Kunuk’s Atanarjuat: The Fast Runner

Chapter:
(p.84) 5. Cinema of Emancipation and Zacharias Kunuk’s Atanarjuat: The Fast Runner
Source:
Films on Ice
Author(s):

Marco Bohr

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748694174.003.0006

This chapter offers stylistic and thematic analyses of the  cinematography and strategies of visual storytelling of Zacharias Kunuk’s Atanarjuat: The Fast Runner (2001). Bohr provides an alternate reading of the Igloolik-based group Isuma’s best-known and Cannes award winning film. Bohr identifies distinctive narrative techniques and cultural themes of the film, which tie it both to traditional Inuit myths and legends and to European art cinema, concluding by highlighting the ways in which Atanarjuat situates local practices in a global popular culture framework. Drawing on the concept of Fourth Cinema first proposed by Barry Barclay, Bohr positions Atanarjuat in the relation to emerging global  international indigenous feature film production as well as to Michelle Raheja’s concept of visual sovereignty.

Keywords:   Zacharias Kunuk, Atanarjuat: The Fast Runner, Barry Barclay, Fourth Cinema, Michelle Raheja, language politics, magical realism, Homi Bhabha, Hybridity, Gender, oral tradition

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