St. John's Newfoundland: Memorial University Press, 2022
Reviewed by Russell A. Potter
This remarkable book about Inuit cinema certainly catches the eye with its cover art by Jessica Winters, which depicts a camera operator, a director, and a sound technician with a boom mic standing in the snow (it takes a moment to sort this out). It also catches the ear with a relatively new word: TakugatsaliuKatiget, which indicates "cinema" but can be literally translated as "those who are working together on making that which will be able to be seen." It's a fair definition of what cinema -- and this book -- encompasses.
The format is also surprising at first, as the first two-thirds consists of transcribed interviews with Inuit filmmakers, actors, and organizers -- but indeed, this makes eminent sense, as they are the ones who are actually working together to produce Inuit cinema. Turner is also seeking -- rightly, I believe -- to avoid defining a still-emerging area of cultural activity in any way that would seek to overwrite the Inuit's own sense of what it means and where it's going. This is not, therefore, a comprehensive account of the field of Inuit cinema (though the filmography and other materials at the end -- of which more anon -- approach this possibility), but a snapshot of a moment in the development of something that is still in the process of arriving into being.
The interviewees include a number of key figures in the recent emergence of Inuit cinema: a group associated with Arnait Video Productions (including Lucy Tulugarjuk, known for her performance as Puja in Zacharias Kunuk's Atanarjuat); media producer Stephen Agluvak Puskas (who adds a "checklist for making film in and with Inuit communities"); filmmaker Isabella Rose Weetaluktuk; Inuk Silis Høegh; and members of Nain's OkâlaKatiget Society. The discussions range widely, from the personal experiences of each interviewee to how they got involved in film, to what they see as the current direction for Inuit films to come. At times, they offer some insights into the recent history of such films, but there's also a fair amount of general chatter, not all of which really seems to advance the book's purposes. For me, the most interesting part was learning about the emergence of filmmaking in the Nunatsiavut region, with which I hadn't been very familiar.
|Esther Eneutseak with her daughter Nancy Columbia
But I digress. Turner's book is a landmark in this field, and should be a part of any collection or library focused on Inuit culture -- as well as any with a focus on film and film history.