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href="https://cs.wikipedia.org/wiki/Mu%C5%BE_z_Aranu" title="Muž z Aranu – Czech" lang="cs" hreflang="cs" data-title="Muž z Aranu" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Die_M%C3%A4nner_von_Aran" title="Die Männer von Aran – German" lang="de" hreflang="de" data-title="Die Männer von Aran" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Man_of_Aran" title="Man of Aran – Basque" lang="eu" hreflang="eu" data-title="Man of Aran" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D9%85%D8%B1%D8%AF_%D8%A2%D8%B1%D8%A7%D9%86" title="مرد آران – Persian" lang="fa" hreflang="fa" data-title="مرد آران" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/L%27Homme_d%27Aran" title="L'Homme d'Aran – French" lang="fr" hreflang="fr" data-title="L'Homme d'Aran" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Man_of_Aran" title="Man of Aran – Irish" lang="ga" hreflang="ga" data-title="Man of Aran" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target"><span>Gaeilge</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%95%84%EB%9E%80%EC%9D%98_%EC%82%AC%EB%9E%8C%EB%93%A4" title="아란의 사람들 – Korean" lang="ko" hreflang="ko" data-title="아란의 사람들" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/L%27uomo_di_Aran" title="L'uomo di Aran – Italian" lang="it" hreflang="it" data-title="L'uomo di Aran" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Man_of_Aran" title="Man of Aran – Latin" lang="la" hreflang="la" data-title="Man of Aran" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target"><span>Latina</span></a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Filem_Man_of_Aran" title="Filem Man of Aran – Malay" lang="ms" hreflang="ms" data-title="Filem Man of Aran" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target"><span>Bahasa Melayu</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%A9%E3%83%B3_(1934%E5%B9%B4%E3%81%AE%E6%98%A0%E7%94%BB)" title="アラン (1934年の映画) – Japanese" lang="ja" hreflang="ja" data-title="アラン (1934年の映画)" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Man_of_Aran" title="Man of Aran – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Man of Aran" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" 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class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">This article is about the documentary. For the British Sea Power album, see <a href="/wiki/Man_of_Aran_(album)" title="Man of Aran (album)">Man of Aran (album)</a>.</div> <p class="mw-empty-elt"> </p> <div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">1934 British film</div><style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vevent"><tbody><tr><th colspan="2" class="infobox-above summary" style="font-size: 125%; font-style: italic;">Man of Aran</th></tr><tr><td colspan="2" class="infobox-image"><span class="mw-default-size" typeof="mw:File/Frameless"><a href="/wiki/File:Man_of_Aran_(film).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/7/7a/Man_of_Aran_%28film%29.jpg" decoding="async" width="214" height="300" class="mw-file-element" data-file-width="214" data-file-height="300" /></a></span><div class="infobox-caption">US DVD cover</div></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Directed by</th><td class="infobox-data"><a href="/wiki/Robert_J._Flaherty" title="Robert J. Flaherty">Robert J. Flaherty</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Written by</th><td class="infobox-data">Robert J. Flaherty</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Produced by</th><td class="infobox-data"><a href="/wiki/Michael_Balcon" title="Michael Balcon">Michael Balcon</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Starring</th><td class="infobox-data">Colman 'Tiger' King<br />Maggie Dirrane<br />Michael Dirrane</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Cinematography</th><td class="infobox-data">Robert J. Flaherty</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Edited by</th><td class="infobox-data"><a href="/wiki/John_Goldman_(film_editor)" class="mw-redirect" title="John Goldman (film editor)">John Goldman</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Music by</th><td class="infobox-data"><a href="/wiki/John_D._H._Greenwood" class="mw-redirect" title="John D. H. Greenwood">John D. H. Greenwood</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">Production<br />company</div></th><td class="infobox-data"><div style="vertical-align: middle;"><a href="/wiki/Gainsborough_Pictures" title="Gainsborough Pictures">Gainsborough Pictures</a></div></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Distributed by</th><td class="infobox-data"><a href="/wiki/Gaumont-British" title="Gaumont-British">Gaumont British Distributors</a></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0; white-space: normal;">Release dates</div></th><td class="infobox-data"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style><div class="plainlist film-date"> <ul><li>25 April 1934<span style="display:none"> (<span class="bday dtstart published updated itvstart">1934-04-25</span>)</span> (UK)</li></ul> </div><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"><div class="plainlist film-date"> <ul><li>18 October 1934<span style="display:none"> (<span class="bday dtstart published updated itvstart">1934-10-18</span>)</span> (US)</li></ul> </div></td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0; white-space: normal;">Running time</div></th><td class="infobox-data">76 minutes</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Country</th><td class="infobox-data">United Kingdom</td></tr><tr><th scope="row" class="infobox-label" style="white-space: nowrap; padding-right: 0.65em;">Languages</th><td class="infobox-data">Irish<br />English</td></tr></tbody></table> <p><i><b>Man of Aran</b></i> is a 1934 Irish <a href="/wiki/Docufiction" title="Docufiction">fictional documentary</a> (<a href="/wiki/Ethnofiction" title="Ethnofiction">ethnofiction</a>) film shot, written and directed by <a href="/wiki/Robert_J._Flaherty" title="Robert J. Flaherty">Robert J. Flaherty</a> about life on the <a href="/wiki/Aran_Islands" title="Aran Islands">Aran Islands</a> 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 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. </p><p><a href="/wiki/George_C._Stoney" title="George C. Stoney">George C. Stoney</a>'s 1978 documentary <i>How the Myth was Made</i>, 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. <i>Man of Aran</i> 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. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Synopsis">Synopsis</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Man_of_Aran&action=edit&section=1" title="Edit section: Synopsis"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Man has to fight for his existence in the Aran Islands. Three men, among them "A Man of Aran", land a flimsy <a href="/wiki/Currach" title="Currach">currach</a> 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 and uses a crab he caught earlier as bait to catch a fish in the water below. </p><p>The Man, working with four other fishermen in a slightly larger boat than before, harpoons a giant <a href="/wiki/Basking_shark" title="Basking shark">basking shark</a>. 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. </p><p>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 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. </p> <div class="mw-heading mw-heading2"><h2 id="Cast">Cast</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Man_of_Aran&action=edit&section=2" title="Edit section: Cast"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Colman 'Tiger' King as A Man of Aran</li> <li>Maggie Dirrane as His Wife</li> <li>Michael Dirrane as Their Son</li> <li><a href="/wiki/Pat_Mullen" title="Pat Mullen">Pat Mullen</a> as Shark Hunter</li> <li>Patch 'Red Beard' Ruadh as Shark Hunter</li> <li>Patcheen Faherty as Shark Hunter</li> <li>Tommy O'Rourke as Shark Hunter</li> <li>'Big Patcheen' Conneely of the West as Canoeman</li> <li>Stephen Dirrane as Canoeman</li> <li>Pat McDonough as Canoeman</li></ul> <div class="mw-heading mw-heading2"><h2 id="Production">Production</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Man_of_Aran&action=edit&section=3" title="Edit section: Production"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Stung by criticism that British films were flaccid imitations of <a href="/wiki/Cinema_of_the_United_States" title="Cinema of the United States">those being produced in Hollywood</a>, <a href="/wiki/Michael_Balcon" title="Michael Balcon">Michael Balcon</a> of <a href="/wiki/Gaumont_British" class="mw-redirect" title="Gaumont British">Gaumont British</a> hired the acclaimed writer/director <a href="/wiki/Robert_Flaherty" class="mw-redirect" title="Robert Flaherty">Robert Flaherty</a> and his wife Frances (<i><a href="/wiki/Nanook_of_the_North" title="Nanook of the North">Nanook of the North</a></i> (1922), <i><a href="/wiki/Moana_(1926_film)" title="Moana (1926 film)">Moana</a></i> (1926), <i><a href="/wiki/Elephant_Boy_(film)" title="Elephant Boy (film)">Elephant Boy</a></i> (1937), <i>The Land</i> (1942), <i><a href="/wiki/Louisiana_Story" title="Louisiana Story">Louisiana Story</a></i> (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 <a href="/wiki/Inishmore" title="Inishmore">Inishmore</a>, the largest of the three Aran Islands.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Flaherty had promised Balcon he could shoot the entire film for £10,000.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> As Flaherty says, "our films are made with film and time, I need lots of both."<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Balcon eventually called a halt to filming as the costs approached £40,000.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>Like most 1930s documentaries, <i>Man of Aran</i> was shot as a <a href="/wiki/Silent_film" title="Silent film">silent film</a>.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> The intermittent voices, the <a href="/wiki/Sound_effects" class="mw-redirect" title="Sound effects">sound effects</a>, and music are only accompaniments to the visuals and not considered integral to the production.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Paul_Rotha" title="Paul Rotha">Paul Rotha</a> in <i>Documentary Film</i> says, "<i>Man of Aran</i> avoided all important issues raised by sound". </p><p>Flaherty continued to experiment with <a href="/wiki/Cinematography" title="Cinematography">cinematography</a> especially the long focal lens that he first used in <i>Nanook</i>. He used a variety of lens sizes, even a seventeen-inch long lens, which was twice the size of the camera.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> 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".<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Release_and_initial_reception">Release and initial reception</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Man_of_Aran&action=edit&section=4" title="Edit section: Release and initial reception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>On 25 April 1934, <i>Man of Aran</i> 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 brought over from Aran and paraded before the press and public in their simple homespun island garb. <i>Man of Aran</i> won top prize for the best foreign film at the <a href="/wiki/2nd_Venice_International_Film_Festival" title="2nd Venice International Film Festival">2nd Venice International Film Festival</a>, the <a href="/wiki/Mussolini_Cup" class="mw-redirect" title="Mussolini Cup">Mussolini Cup</a>.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p><p>When it opened in <a href="/wiki/Dublin" title="Dublin">Dublin</a> on 6 May 1934, <i>Man of Aran</i> was a major political and cultural event to the nascent <a href="/wiki/Irish_Free_State" title="Irish Free State">Irish Free State</a> and was attended by the <a href="/wiki/President_of_the_Executive_Council_of_the_Irish_Free_State" title="President of the Executive Council of the Irish Free State">President of the Executive Council</a>, <a href="/wiki/%C3%89amon_de_Valera" title="Éamon de Valera">Éamon de Valera</a>.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> The Irish government saw it as confirmation of their social and economic policies and so enthusiastically received the film. <i>Man of Aran</i> suited <a href="/wiki/Fianna_F%C3%A1il" title="Fianna Fáil">Fianna Fáil</a>, as it encouraged an image of Ireland that was fiercely traditional, definitively rural, and resilient in the face of hardship.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>Some critics believed <i>Man of Aran</i> 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.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Grierson argues that Flaherty's '<a href="/wiki/Rousseau" class="mw-redirect" title="Rousseau">NeoRousseauism</a>', 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.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> Paul Rotha faulted <i>Man of Aran</i> for its alleged avoidance of economic and social reality.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> At the time of <i>Man of Aran'</i>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".<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> It is claimed that Flaherty ignored the effects of such worldwide events as the depression of the 1930s, suggesting to the audience that the Aran Islands were isolated economically as they were geographically.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Subsequent_analysis_and_criticism">Subsequent analysis and criticism</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Man_of_Aran&action=edit&section=5" title="Edit section: Subsequent analysis and criticism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The current reputation of <i>Man of Aran</i> rests as much on controversies over truth and accuracy as on its aesthetic achievement.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Some contend that <i>Man of Aran</i> is more valuable as a documentary of Robert Flaherty's vision of life than it is of life itself.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Others see it as a betrayal of documentary's mission, "to tell it like it is".<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> And yet, according to <a href="/wiki/Richard_Barsam" title="Richard Barsam">Richard Barsam</a>, Flaherty is one of the great innovators of the documentary form...creating a nonfiction genre all of his own.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p><p>According to anthropologist John Messenger, there are over 100 factual errors in the film.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> 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 harpoons and had to be taught the skills of the hunt.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> 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 <i>Man of Aran</i> fit his preconceptions and titillate the camera".<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> Flaherty himself admits the shark fishing sequence was needed for the box-office.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> </p><p>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, 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.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> In another sequence, Flaherty shows the mother buffeted by a storm as she carries seaweed along the Inishmore 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.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> And Kimball points out that religion, which is rooted in the islanders lives, even among the locally recruited actors, is entirely absent.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> 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".<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>The full extent of <i>Man of Aran'</i>s artifices was revealed at the 1978 <a href="/wiki/Ethnographic" class="mw-redirect" title="Ethnographic">Ethnographic</a> Film Conference in Canberra, Australia.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> The conference had gathered, in part, to praise <a href="/wiki/Direct_cinema" title="Direct cinema">direct cinema</a> which, in contrast to the classic tradition, promised a new level of realistic interpretation.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> This new form swept away staging and reconstruction to present a more accurate picture of the world.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> The debate was touched off by a screening of Flaherty’s <i>Man of Aran</i> followed by George Stoney’s just completed documentary exploration of Robert Flaherty’s <i>Man of Aran, How the Myth Was Made</i>, and the resulting exchange was "tumultuous".<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> As James Roy MacBean says: "While appreciative of Flaherty’s poetic imagery [George Stoney] had popped the lid off all the distortions and omissions in Flaherty’s highly romanticized depiction of life on the Aran Islands".<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p><p>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".<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> He argues that even though Flaherty habitually transforms reality, his essential achievement is that of the <a href="/wiki/Realism_(arts)" title="Realism (arts)">realist</a> filmmaker.<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> The idea of Flaherty as <a href="/wiki/Romance_(love)" title="Romance (love)">Romantic</a> 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".<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> Taken to the extreme, this approach makes no attempt to capture reality but create a romanticized picture of it: "The <a href="/wiki/Tragedy" title="Tragedy">tragedy</a> is that, being a poet, with a poet's eye, Flaherty’s lie is greater, for he can make romance seem real".<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p><p>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: [a documentary] is a movie that does its best to represent real life and that doesn’t manipulate it...and yet, there is no way to make a film without manipulating the information.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> As Flaherty acknowledges, "one often has to distort a thing to catch its true spirit".<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> 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".<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p><p>Despite these controversies, Flaherty remains a pioneer of the documentary whose films are situated in a class of their own within the documentary genre.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> Kimball argues that <i>Man of Aran</i> 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".<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> Flaherty had immersed himself in the culture to tell the essence of the truth about the Islanders, "[and] for this reason ethnographic accuracy is an unimportant consideration when the larger goal is some fundamental aspect of mankind".<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> In Stoney’s film <i>How the Myth Was Made</i>, John Goldman, the editor on <i>Man of Aran</i>, is emphatic, "it was not a documentary, it was not intended to be a documentary...it was a piece of poetry".<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> McNab calls it "not so much a conventional documentary as a poetic meditation".<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Arthur_Calder-Marshall" title="Arthur Calder-Marshall">Arthur Calder-Marshall</a> explains, "Flaherty wasn’t interested in actuality, he was interested in his own idea of life".<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> Barsam asks, is it unreasonable for the artist to distill life 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.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> Calder-Marshall suggests the controversies over <i>Man of Aran</i> could have been avoided if [Flaherty] had had a publicity adviser, someone as verbally agile as <a href="/wiki/John_Grierson" title="John Grierson">Grierson</a>, who had made it publicly plain that <i>Man of Aran</i> was not a 'document' but an ‘<a href="/wiki/Eclogue" title="Eclogue">eclogue</a>’ – a <a href="/wiki/Pastoral" title="Pastoral">pastoral</a> and marine poem.<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> What Flaherty grasped was not only our desire for drama, but that it should arise from the life being observed and not imposed from without.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> By using drama and reconstruction, Flaherty created a unique form of documentary, which thrives between "a life as lived and life as narrativised".<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Artistic_legacy">Artistic legacy</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Man_of_Aran&action=edit&section=6" title="Edit section: Artistic legacy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><a href="/wiki/Richard_Leacock" title="Richard Leacock">Richard Leacock</a>, who went to school with Flaherty's daughters and later worked as the cinematographer on <i>Louisiana Story</i>, 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".<sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> Flaherty says he owes almost everything to these long lenses and with them captured some of the most memorable sea footage ever recorded.<sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> Corliss says <i>Man of Aran</i> was very different from his earlier work, “…the <a href="/wiki/Chiaroscuro" title="Chiaroscuro">chiaroscuro</a> compositions, charcoal rock, black-clad figures against a gray sky, are light-years removed from the natural grandeur of <i>Nanook of the North</i> or the easy elegance of <i>Moana</i>.<sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> Corliss suggests there are enough similarities between Flaherty and <a href="/wiki/John_Ford" title="John Ford">John Ford</a>, <a href="/wiki/Charlie_Chaplin" title="Charlie Chaplin">Chaplin</a>, <a href="/wiki/Borzage" class="mw-redirect" title="Borzage">Borzage</a>, even <a href="/wiki/Disney" class="mw-redirect" title="Disney">Disney</a> that place him firmly in a tradition of the romantic visionary American.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> Winston sees the influence of Flaherty in <a href="/wiki/Leni_Riefenstahl" title="Leni Riefenstahl">Leni Riefenstahl</a> films, arguing that her <a href="/wiki/Aesthetics" title="Aesthetics">aesthetics</a> of manipulation owed much to his pioneering work.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> McLoon goes further, suggesting "the cult of beauty, and fetishism of courage" in <i>Man of Aran</i> are the tropes of <a href="/wiki/Fascism" title="Fascism">Fascism</a>. He goes on to exonerate Flaherty of any <a href="/wiki/Nazi" class="mw-redirect" title="Nazi">Nazi</a> 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".<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> </p><p><i><a href="/wiki/The_Cripple_of_Inishmaan" title="The Cripple of Inishmaan">The Cripple of Inishmaan</a></i> (1996) by <a href="/wiki/Martin_McDonagh" title="Martin McDonagh">Martin McDonagh</a> is a play set on the Aran Islands at the time of the filming of <i>Man of Aran</i>. </p><p>The UK rock band <a href="/wiki/British_Sea_Power" class="mw-redirect" title="British Sea Power">Sea Power</a> were asked to record <a href="/wiki/Man_of_Aran_(album)" title="Man of Aran (album)">a new soundtrack</a> 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.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> </p><p>Flaherty's legacy is the subject of the 2010 <a href="/wiki/British_Universities_Film_%26_Video_Council" class="mw-redirect" title="British Universities Film & Video Council">British Universities Film & Video Council</a> award-winning and <a href="/wiki/FOCAL_International" title="FOCAL International">FOCAL International</a> award-nominated documentary <i>A Boatload of Wild Irishmen</i> (so named because, after the staged climactic sequence of <i>Man of Aran</i>, Flaherty said he'd been accused of "trying to drown a boatload of wild Irishmen"), written by Professor <a href="/wiki/Brian_Winston" title="Brian Winston">Brian Winston</a> of University of Lincoln, UK, and directed by <a href="/w/index.php?title=Mac_Dara_%C3%93_Curraidh%C3%ADn&action=edit&redlink=1" class="new" title="Mac Dara Ó Curraidhín (page does not exist)">Mac Dara Ó Curraidhín</a>. </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Man_of_Aran&action=edit&section=7" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Docufiction" title="Docufiction">Docufiction</a></li> <li><a href="/wiki/List_of_docufiction_films" title="List of docufiction films">List of docufiction films</a></li> <li><a href="/wiki/Ethnofiction" title="Ethnofiction">Ethnofiction</a></li> <li><i><a href="/wiki/Pour_la_suite_du_monde" title="Pour la suite du monde">Pour la suite du monde</a></i>, a 1962 film centred around the revival of an island whaling tradition abandoned circa 1920</li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Man_of_Aran&action=edit&section=8" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Calder-Marshall</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Croft, Thomas Andrew, Balcon's Folly, the manufacture and assessment of Man of Aran</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Calder-Marshall</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Leacock, Richard; On Working With Robert and Frances Flaherty 26 April 1990</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">O’Brien</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Russell Patrick, Sight and Sound 21.5 (May 2011)</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Barsam</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Barsam</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Barsam, Richard, Nonfiction Film: A Critical History, IUP 1992</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">McLoone</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Calder-Marshall</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Blake, Martin: A Critical Study of the Implications of the Problem of Reality in the Documentary Film: University of Southern California, Dissertations Publishing, 1972.</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">O'Brien</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">McLoon</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFGibbons" class="citation journal cs1">Gibbons, Luke. 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MUP</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">MacBean, James Roy: Two Laws from Australia, One White One Black, Film Quarterly Spring 1983, Vol 36, No.3</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Barsam, R: The Vision of Robert Flaherty, The Artist as Myth and Filmmaker; Indiana Press 1988</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">Barsam</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Kimball, S.T: American Anthropologist, Vol 79, No3</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Messenger, John C: Visual Anthropology 2001, Vo 14, 343, 368</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Hockings Paul, American Anthropologist, Vol 109, No.1</span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.marinetours.ie/wildlife-log/64-captain-whalesgalore-wonderful-winter-wildlife-log.html">"100 years of Irish Whaling"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=100+years+of+Irish+Whaling&rft_id=https%3A%2F%2Fwww.marinetours.ie%2Fwildlife-log%2F64-captain-whalesgalore-wonderful-winter-wildlife-log.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AMan+of+Aran" class="Z3988"></span></span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">Winston B, "How the Myth Was Deconstructed", <i>Wide Angle</i>, Volume 21, Number 2, March 1999, pp. 71-86</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Messenger</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text">Kimball</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Calder-Marshall, The innocent eye; The life of Robert Flaherty. Pelican 1963</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Calder- Marshall</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">MacBean, James Roy: Two Laws from Australia, One White One Black, Film Quarterly Spring 1983, Vol 36, No.3</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">MacBean</span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Winston</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">MacBean</span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">MacBean</span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">MacBean</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Barsam</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Barsam</span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Aufderheide, P: Documentary Film, A Very Short Introduction, OUP 2007</span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text">Montagu, Ivor, cited in Aufderheide</span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Auderheide</span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">Barsam</span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text">Auderheide</span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">Malcolm, Derek; Nanook of the North, The Guardian, April 2000.</span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Kimball</span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text">Kimball</span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text">Stoney, George, <i>How the Myth Was Made: A Study of Robert Flaherty's Man of Aran</i> (1978)</span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">McNab, G, <i><a href="/wiki/Sight_and_Sound" title="Sight and Sound">Sight and Sound</a></i>, Dec 2006</span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">Calder-Marshall</span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Hockings</span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text">Barsam</span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text">Calder-Marshall</span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">Winston</span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text">Winston</span> </li> <li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">Winston</span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Leacock, Richard; On Working With Robert and Frances Flaherty 26 April 1990</span> </li> <li id="cite_note-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-61">^</a></b></span> <span class="reference-text">Barsam</span> </li> <li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text">Corliss, R; The Man in the Iron Myth, Film comment, Nov-Dec 1973</span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">Corliss</span> </li> <li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text">Winston</span> </li> <li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text">McLoon</span> </li> <li id="cite_note-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-66">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.clashmusic.com/news/british-sea-power-soundtrack">British Sea Power Soundtrack. 'Man of Aran' nears release</a>, ClashMusic.com, 23 January 2009. Accessed online 8 April 2009.</span> </li> </ol></div></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Man_of_Aran&action=edit&section=9" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="https://www.imdb.com/title/tt0025456/"><i>Man of Aran</i></a> at <a href="/wiki/IMDb_(identifier)" class="mw-redirect" title="IMDb (identifier)">IMDb</a></li> <li><a rel="nofollow" class="external text" href="https://www.allmovie.com/movie/v31190"><i>Man of Aran</i></a> at <a href="/wiki/AllMovie" title="AllMovie">AllMovie</a></li> <li><a rel="nofollow" class="external text" href="https://www.tcm.com/tcmdb/title/497399/enwp"><i>Man of Aran</i></a> at the <a href="/wiki/Turner_Classic_Movies" title="Turner Classic Movies">TCM Movie Database</a></li> <li><a rel="nofollow" class="external text" href="https://catalog.afi.com/Catalog/moviedetails/8675"><i>Man of Aran</i></a> at the <em><a href="/wiki/AFI_Catalog_of_Feature_Films" title="AFI Catalog of Feature Films">AFI Catalog of Feature Films</a></em></li> <li><a rel="nofollow" class="external text" href="https://archive.org/details/manOfAran1934"><b>Watch film</b></a> at <a rel="nofollow" class="external text" href="https://archive.org">Archive.org</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output 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.mw-parser-output .navbox{display:none!important}}</style></div><div role="navigation" class="navbox" aria-labelledby="Films_directed_by_Robert_J._Flaherty" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Robert_J._Flaherty" title="Template:Robert J. Flaherty"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Robert_J._Flaherty" title="Template talk:Robert J. Flaherty"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Robert_J._Flaherty" title="Special:EditPage/Template:Robert J. Flaherty"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Films_directed_by_Robert_J._Flaherty" style="font-size:114%;margin:0 4em">Films directed by <a href="/wiki/Robert_J._Flaherty" title="Robert J. Flaherty">Robert J. Flaherty</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><i><a href="/wiki/Nanook_of_the_North" title="Nanook of the North">Nanook of the North</a></i> (1922)</li> <li><i><a href="/wiki/Moana_(1926_film)" title="Moana (1926 film)">Moana</a></i> (1926)</li> <li><i><a href="/w/index.php?title=The_Twenty-four_Dollar_Island&action=edit&redlink=1" class="new" title="The Twenty-four Dollar Island (page does not exist)">The Twenty-four Dollar Island</a></i> (1927)</li> <li><i><a href="/wiki/White_Shadows_in_the_South_Seas" title="White Shadows in the South Seas">White Shadows in the South Seas</a></i> (1928)</li> <li><i><a class="mw-selflink selflink">Man of Aran</a></i> (1934)</li> <li><i><a href="/wiki/Oidhche_Sheanchais" title="Oidhche Sheanchais">Oidhche Sheanchais</a></i> (1935)</li> <li><i><a href="/wiki/Elephant_Boy_(film)" title="Elephant Boy (film)">Elephant Boy</a></i> (1937)</li> <li><i><a href="/w/index.php?title=The_Land_(1942_film)&action=edit&redlink=1" class="new" title="The Land (1942 film) (page does not exist)">The Land</a> </i><span class="noprint" style="font-size:85%; font-style: normal;"> [<a href="https://www.wikidata.org/wiki/Special:EntityPage/Q123900865#sitelinks-wikipedia" class="extiw" title="d:Special:EntityPage/Q123900865"><span title=""The Land (1942 film)" in other languages">d</span></a>]</span> (1942)</li> <li><i><a href="/wiki/Louisiana_Story" title="Louisiana Story">Louisiana Story</a></i> (1948)</li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="National_Board_of_Review_Award_for_Best_Foreign_Language_Film" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2" style="background:"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:National_Board_of_Review_Award_for_Best_Foreign_Language_Film" title="Template:National Board of Review Award for Best Foreign Language Film"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:National_Board_of_Review_Award_for_Best_Foreign_Language_Film" title="Template talk:National Board of Review Award for Best Foreign Language Film"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:National_Board_of_Review_Award_for_Best_Foreign_Language_Film" title="Special:EditPage/Template:National Board of Review Award for Best Foreign Language Film"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="National_Board_of_Review_Award_for_Best_Foreign_Language_Film" style="font-size:114%;margin:0 4em"><a href="/wiki/National_Board_of_Review_Award_for_Best_Foreign_Language_Film" class="mw-redirect" title="National Board of Review Award for Best Foreign Language Film">National Board of Review Award for Best Foreign Language Film</a></div></th></tr><tr><th scope="row" class="navbox-group" style="background:;width:1%">1934–1950</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><span class="nowrap"><i><a class="mw-selflink selflink">Man of Aran</a></i> (1934)</span></li> <li><span class="nowrap">No Award (1935)</span></li> <li><span class="nowrap"><i><a href="/wiki/Carnival_in_Flanders_(film)" title="Carnival in Flanders (film)">Carnival in Flanders</a></i> (1936)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Eternal_Mask" title="The Eternal Mask">The Eternal Mask</a></i> (1937)</span></li> <li><span class="nowrap"><i><a href="/wiki/La_Grande_Illusion" title="La Grande Illusion">La Grande Illusion</a></i> (1938)</span></li> <li><span class="nowrap"><i><a href="/wiki/Port_of_Shadows" title="Port of Shadows">Port of Shadows</a></i> (1939)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Baker%27s_Wife_(film)" title="The Baker's Wife (film)">The Baker's Wife</a></i> (1940)</span></li> <li><span class="nowrap"><i><a href="/wiki/P%C3%A9p%C3%A9_le_Moko" title="Pépé le Moko">Pépé le Moko</a></i> (1941)</span></li> <li><span class="nowrap">No Award (1942–1949)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Titan:_Story_of_Michelangelo" title="The Titan: Story of Michelangelo">The Titan</a></i> (1950)</span></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:;width:1%">1951–1975</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><span class="nowrap"><i><a href="/wiki/Rashomon" title="Rashomon">Rashomon</a></i> (1951)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Sound_Barrier" title="The Sound Barrier">The Sound Barrier</a></i> (1952)</span></li> <li><span class="nowrap"><i><a href="/wiki/A_Queen_Is_Crowned" title="A Queen Is Crowned">A Queen Is Crowned</a></i> (1953)</span></li> <li><span class="nowrap"><i><a href="/wiki/Romeo_and_Juliet_(1954_film)" title="Romeo and Juliet (1954 film)">Romeo and Juliet</a></i> (1954)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Prisoner_(1955_film)" title="The Prisoner (1955 film)">The Prisoner</a></i> (1955)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Silent_World" title="The Silent World">The Silent World</a></i> (1956)</span></li> <li><span class="nowrap"><i><a href="/wiki/Ordet" title="Ordet">Ordet</a></i> (1957)</span></li> <li><span class="nowrap"><i><a href="/wiki/Pather_Panchali" title="Pather Panchali">Pather Panchali</a></i> (1958)</span></li> <li><span class="nowrap"><i><a href="/wiki/Wild_Strawberries_(film)" title="Wild Strawberries (film)">Wild Strawberries</a></i> (1959)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_World_of_Apu" title="The World of Apu">The World of Apu</a></i> (1960)</span></li> <li><span class="nowrap"><i><a href="/wiki/Die_Br%C3%BCcke_(film)" title="Die Brücke (film)">Die Brücke</a></i> (1961)</span></li> <li><span class="nowrap"><i><a href="/wiki/Sundays_and_Cybele" class="mw-redirect" title="Sundays and Cybele">Sundays and Cybele</a></i> (1962)</span></li> <li><span class="nowrap"><i><a href="/wiki/8%C2%BD" title="8½">8½</a></i> (1963)</span></li> <li><span class="nowrap"><i><a href="/wiki/World_Without_Sun" title="World Without Sun">World Without Sun</a></i> (1964)</span></li> <li><span class="nowrap"><i><a href="/wiki/Juliet_of_the_Spirits" title="Juliet of the Spirits">Juliet of the Spirits</a></i> (1965)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Sleeping_Car_Murders" title="The Sleeping Car Murders">The Sleeping Car Murders</a></i> (1966)</span></li> <li><span class="nowrap"><i><a href="/wiki/Elvira_Madigan_(1967_film)" title="Elvira Madigan (1967 film)">Elvira Madigan</a></i> (1967)</span></li> <li><span class="nowrap"><i><a href="/wiki/War_and_Peace_(film_series)" title="War and Peace (film series)">War and Peace</a></i> (1968)</span></li> <li><span class="nowrap"><i><a href="/wiki/Shame_(1968_film)" title="Shame (1968 film)">Shame</a></i> (1969)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Wild_Child" title="The Wild Child">The Wild Child</a></i> (1970)</span></li> <li><span class="nowrap"><i><a href="/wiki/Claire%27s_Knee" title="Claire's Knee">Claire's Knee</a></i> (1971)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Sorrow_and_the_Pity" title="The Sorrow and the Pity">The Sorrow and the Pity</a></i> (1972)</span></li> <li><span class="nowrap"><i><a href="/wiki/Cries_and_Whispers" title="Cries and Whispers">Cries and Whispers</a></i> (1973)</span></li> <li><span class="nowrap"><i><a href="/wiki/Amarcord" title="Amarcord">Amarcord</a></i> (1974)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Story_of_Adele_H." title="The Story of Adele H.">The Story of Adele H.</a></i> (1975)</span></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:;width:1%">1976–2000</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><span class="nowrap"><i><a href="/wiki/The_Marquise_of_O_(film)" title="The Marquise of O (film)">The Marquise of O</a></i> (1976)</span></li> <li><span class="nowrap"><i><a href="/wiki/That_Obscure_Object_of_Desire" title="That Obscure Object of Desire">That Obscure Object of Desire</a></i> (1977)</span></li> <li><span class="nowrap"><i><a href="/wiki/Autumn_Sonata" title="Autumn Sonata">Autumn Sonata</a></i> (1978)</span></li> <li><span class="nowrap"><i><a href="/wiki/La_Cage_aux_Folles_(film)" title="La Cage aux Folles (film)">La Cage aux Folles</a></i> (1979)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Tin_Drum_(film)" title="The Tin Drum (film)">The Tin Drum</a></i> (1980)</span></li> <li><span class="nowrap"><i><a href="/wiki/A_Few_Days_from_the_Life_of_I._I._Oblomov" title="A Few Days from the Life of I. I. Oblomov">A Few Days from the Life of I. I. Oblomov</a></i> (1981)</span></li> <li><span class="nowrap"><i><a href="/wiki/Mephisto_(1981_film)" title="Mephisto (1981 film)">Mephisto</a></i> (1982)</span></li> <li><span class="nowrap"><i><a href="/wiki/Fanny_and_Alexander" title="Fanny and Alexander">Fanny and Alexander</a></i> (1983)</span></li> <li><span class="nowrap"><i><a href="/wiki/A_Sunday_in_the_Country" title="A Sunday in the Country">A Sunday in the Country</a></i> (1984)</span></li> <li><span class="nowrap"><i><a href="/wiki/Ran_(film)" title="Ran (film)">Ran</a></i> (1985)</span></li> <li><span class="nowrap"><i><a href="/wiki/Otello_(1986_film)" title="Otello (1986 film)">Otello</a></i> (1986)</span></li> <li><span class="nowrap"><i><a href="/wiki/Jean_de_Florette" title="Jean de Florette">Jean de Florette</a></i> / <i><a href="/wiki/Manon_des_Sources_(1986_film)" title="Manon des Sources (1986 film)">Manon des Sources</a></i> (1987)</span></li> <li><span class="nowrap"><i><a href="/wiki/Women_on_the_Verge_of_a_Nervous_Breakdown" title="Women on the Verge of a Nervous Breakdown">Women on the Verge of a Nervous Breakdown</a></i> (1988)</span></li> <li><span class="nowrap"><i><a href="/wiki/Story_of_Women" title="Story of Women">Story of Women</a></i> (1989)</span></li> <li><span class="nowrap"><i><a href="/wiki/Cyrano_de_Bergerac_(1990_film)" title="Cyrano de Bergerac (1990 film)">Cyrano de Bergerac</a></i> (1990)</span></li> <li><span class="nowrap"><i><a href="/wiki/Europa_Europa" title="Europa Europa">Europa Europa</a></i> (1991)</span></li> <li><span class="nowrap"><i><a href="/wiki/Indochine_(film)" title="Indochine (film)">Indochine</a></i> (1992)</span></li> <li><span class="nowrap"><i><a href="/wiki/Farewell_My_Concubine_(film)" title="Farewell My Concubine (film)">Farewell My Concubine</a></i> (1993)</span></li> <li><span class="nowrap"><i><a href="/wiki/Eat_Drink_Man_Woman" title="Eat Drink Man Woman">Eat Drink Man Woman</a></i> (1994)</span></li> <li><span class="nowrap"><i><a href="/wiki/Shanghai_Triad" title="Shanghai Triad">Shanghai Triad</a></i> (1995)</span></li> <li><span class="nowrap"><i><a href="/wiki/Ridicule_(film)" title="Ridicule (film)">Ridicule</a></i> (1996)</span></li> <li><span class="nowrap"><i><a href="/wiki/Shall_We_Dance%3F_(1996_film)" title="Shall We Dance? (1996 film)">Shall We Dance?</a></i> (1997)</span></li> <li><span class="nowrap"><i><a href="/wiki/Central_Station_(film)" title="Central Station (film)">Central Station</a></i> (1998)</span></li> <li><span class="nowrap"><i><a href="/wiki/All_About_My_Mother" title="All About My Mother">All About My Mother</a></i> (1999)</span></li> <li><span class="nowrap"><i><a href="/wiki/Crouching_Tiger,_Hidden_Dragon" title="Crouching Tiger, Hidden Dragon">Crouching Tiger, Hidden Dragon</a></i> (2000)</span></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background:;width:1%">2001–present</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><span class="nowrap"><i><a href="/wiki/Amores_perros" title="Amores perros">Amores perros</a></i> (2001)</span></li> <li><span class="nowrap"><i><a href="/wiki/Talk_to_Her" title="Talk to Her">Talk to Her</a></i> (2002)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Barbarian_Invasions" title="The Barbarian Invasions">The Barbarian Invasions</a></i> (2003)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Sea_Inside" title="The Sea Inside">The Sea Inside</a></i> (2004)</span></li> <li><span class="nowrap"><i><a href="/wiki/Paradise_Now" title="Paradise Now">Paradise Now</a></i> (2005)</span></li> <li><span class="nowrap"><i><a href="/wiki/Volver" title="Volver">Volver</a></i> (2006)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Diving_Bell_and_the_Butterfly_(film)" title="The Diving Bell and the Butterfly (film)">The Diving Bell and the Butterfly</a></i> (2007)</span></li> <li><span class="nowrap"><i><a href="/wiki/Mongol_(film)" title="Mongol (film)">Mongol</a></i> (2008)</span></li> <li><span class="nowrap"><i><a href="/wiki/A_Prophet" title="A Prophet">A Prophet</a></i> (2009)</span></li> <li><span class="nowrap"><i><a href="/wiki/Of_Gods_and_Men_(film)" title="Of Gods and Men (film)">Of Gods and Men</a></i> (2010)</span></li> <li><span class="nowrap"><i><a href="/wiki/A_Separation" title="A Separation">A Separation</a></i> (2011)</span></li> <li><span class="nowrap"><i><a href="/wiki/Amour_(2012_film)" title="Amour (2012 film)">Amour</a></i> (2012)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Past_(2013_film)" title="The Past (2013 film)">The Past</a></i> (2013)</span></li> <li><span class="nowrap"><i><a href="/wiki/Wild_Tales_(film)" title="Wild Tales (film)">Wild Tales</a></i> (2014)</span></li> <li><span class="nowrap"><i><a href="/wiki/Son_of_Saul" title="Son of Saul">Son of Saul</a></i> (2015)</span></li> <li><span class="nowrap"><i><a href="/wiki/The_Salesman_(2016_film)" title="The Salesman (2016 film)">The Salesman</a></i> (2016)</span></li> <li><span class="nowrap"><i><a href="/wiki/Foxtrot_(2017_film)" title="Foxtrot (2017 film)">Foxtrot</a></i> (2017)</span></li> <li><span class="nowrap"><i><a href="/wiki/Cold_War_(2018_film)" title="Cold War (2018 film)">Cold War</a></i> (2018)</span></li> <li><span class="nowrap"><i><a href="/wiki/Parasite_(2019_film)" title="Parasite (2019 film)">Parasite</a></i> (2019)</span></li> <li><span class="nowrap"><i><a href="/wiki/La_Llorona_(2019_film)" title="La Llorona (2019 film)">La Llorona</a></i> (2020)</span></li> <li><span class="nowrap"><i><a href="/wiki/A_Hero" title="A Hero">A Hero</a></i> (2021)</span></li> <li><span class="nowrap"><i><a href="/wiki/Close_(2022_film)" title="Close (2022 film)">Close</a></i> (2022)</span></li> <li><span class="nowrap"><i><a href="/wiki/Anatomy_of_a_Fall" title="Anatomy of a Fall">Anatomy of a Fall</a></i> (2023)</span></li></ul> </div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; 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