24 products were found matching your search for Nanook in 4 shops:

Playful and moving photographs of wild polar bears teach children about the web of life and the importance of respect for our environment and all living things through the story of a young boy's acquaintance wit the wise and powerful king of the polar bears, the great Nanook.

The Nanook X-Large is the number one selling shelter on the market. The shelter is a lightweight 2-person shelter with plenty of room for 2-anglers. It is perfect to take a child or fishing buddy. The Nanook X-Large is a larger shelter than original Nanook shelter. The Nanook X-Large has a tough 600 denier fabric. The unit comes complete with a cutting edge Side Symmetry Door System. The Nanook X-Large Includes overhead mesh storage for stowing gear out of the way. It is compatible with Nanook X-Large removable Floor (sold as an accessory).

The Travel Cover keeps the gear in and snow/slush out while pulling across the ice or driving from lake to lake. Comes in 6 sizes to fit Clam's Fish trap flip over style shelters. The Travel Cover protects the tent fabric when it's most vulnerable to wear, while moving from spot to spot. Works great to protect your shelter while transporting on a trailer or in the bed of a truck to and from the lake. Size: med.

The Nanook shelter has been a best-selling shelter on the market for years because of its features and lightweight design. This shelter is perfect for 2 anglers going out on the ice for the day or a single angler that is just looking for more space but doesn't want a heavy shelter. The Nanook XT Thermal will continue to be a favorite for many anglers, and with its updated design, anglers will have more headroom and will have no problem getting in and out of their house through the side doors. The Ice Team edition of this popular one-person shelter includes a light bar, battery bracket, and travel cover so anglers will be all set to hit the ice.

The Nanook shelter has been a best-selling shelter on the market for years because of its features and lightweight design. This shelter is perfect for 2 anglers going out on the ice for the day or a single angler that is just looking for more space but doesn't want a heavy shelter. The Nanook XT Thermal will continue to be a favorite for many anglers, and with its updated design, anglers will have more headroom and will have no problem getting in and out of their house through the side doors.

Increase the life of your shelter's base by adding a runner kit. These runners are designed to protect the bottom of the base from the rigors of pulling it across the ice with an ATV or snowmobile. They also reduce friction and drag, providing a smooth pull for anglers that drag shelters out on foot. Size: xl.

Robert Flaherty made this wonderful film of Eskimo (Inuit) life following six years as an Arctic explorer for the Canadian Northern Railway. Flaherty seized upon the idea of structuring his movie around characters who reenacted episodes of their lives and participated in the shaping of the film. Nanook of the North remains as completely engaging as it was in 1922, a huge influence on many ethnographic films that followed.

Life is full of surprises. One day you go out ice fishing for breakfast, and the next thing you know, you are adrift on the high seas, escaping sharks and giant squid, wriggling out of fishnets, dodging hungry pelicans, and having more adventures than you can shake a fishing pole at. Accidental tourists Nanook, Pryce, and their fearless dog Yukon's hilarious cruise around the world will have you laughing out loud.

The brand new Clam Ranger XT Thermal FishTrap is built off the footprint of the popular Nanook XT Thermal but now has our durable 1¼ in. pole system as well as all the bells and whistles that ice anglers are looking for. Maintaining many of the things angler loved about the Nanook - small pack down size, lightweight design, thermal insulation, accessories, and room for multiple anglers. This shelter builds of that with our most durable pole system. A portion of the proceeds of this shelter also benefit Folds of Honor.

In the thirties and forties, the Indian actor known as Sabu (born Selar Shaik) captured the hearts of moviegoers in Britain and the United States as a completely new kind of big-screen icon. Sabu was a maharajas elephant driver when he was discovered by documentary trailblazer Robert Flaherty (NANOOK OF THE NORTH), who cast him as the lead in ELEPHANT BOY, a Kipling adaptation Flaherty directed with Zoltan Korda (THE FOUR FEATHERS) that would prove to be enormously popular. Sabu went on to headl

I am an eye. A mechanical eye. I am the machine that reveals the world to you as only the machine can see it. - Dziga Vertov (Kino-Eye")These words, written in 1923 (only a year after Robert Flaherty's Nanook of the North was released) reflect the Soviet pioneer's developing approach to cinema as an art form that shuns traditional or Western narrative in favor of images from real life. They lay the foundation for what would become the crux of Vertov's revolutionary, anti-bourgeois aesthetic wh

Documentary Film Classics offers close readings on a number of major films, such as Nanook of the North, Land Without Bread, Night and Fog, Chronicle of a Summer and Don't Look Back. Spanning the history of the documentary film tradition, William Rothman analyzes the philosophical and historical issues and themes implicit in these works. Designed to guide film students through the "texts" of a wide range of documentaries, his readings also focus on the achievements of these works as films per se.

This book covers: Freud to Floating Currencies..Job to Jasper Johns...Opera Etiquette to Party Politics...Plato's Cave to Planck's Constant...Einstein to Gertrude STEIN...Twelfth Night to Twelve_Tone Theory...Nicaragua to Nanook of the North...Half-Life to the Afterlife...Plus How to tell Keats from Shelley.

After the triumphant success of his true-life Arctic adventure Nanook of the North (1922), director Robert J. Flaherty journeyed with his wife Frances and their children to the South Seas island of Savai'i to capture on film the exotic lifestyles of the Samoan people. It was in a 1926 review of Moana that the word documentary was first used in a cinematic context (John Grierson commented that the film had documentary value). While Moana may not have been a documentary in the purest sense of the

An adventurous series sure to win the hearts of animal lovers everywhere!While staying on Baffin Island, Mandy and her parents enjoy the thrill of a dogsled ride. But the trip is plunged into disaster when wolves attack one of the Husky teams.The lead dog, Nanook, is badly injured. Mandy helps move her to a secluded hut, but can she get the rescue party to Nanook in time?

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.

Even before Robert Flaherty released Nanook of the North in 1922, anthropologists were producing films about the lifeways of native peoples for a public audience, as well as for research and teaching. Ethnographic Film (1976) was one of the first books to provide a comprehensive introduction to this field of visual anthropology, and it quickly became the standard reference.In this new edition, Karl G. Heider thoroughly updates Ethnographic Film to reflect developments in the field over the three decades since its publication, focusing on the work of four seminal filmmakers—Jean Rouch, John Marshall, Robert Gardner, and Timothy Asch. He begins with an introduction to ethnographic film and a history of the medium. He then considers many attributes of ethnographic film, including the crucial need to present "whole acts," "whole bodies," "whole interactions," and "whole people" to preserve the integrity of the cultural context. Heider also discusses numerous aspects of making ethnographic films, from ethics and finances to technical considerations such as film versus video and preserving the filmed record. He concludes with a look at using ethnographic film in teaching.

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.