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Here, through those nuances of movement we found in Mo ana, we come again to that "participation mystique" we found in Nanook. Here is the "way" of the camera, of this machine: through its sensitivity to movement it can take us into a new dimension of seeing, through the mysterious rhythmic impulses of life and love take us inward into the spirit, into the unity of the spirit.
Robert Flaherty let the camera see everything, avid as a child, filled with a childlike wonder. His pet word was "marvellous." Everything was marvellous, and his enthusiasm was equalled only by his patience. Patient as a scientist, he let the camera see everything exhaustively, and then, you remember, he brought all this to the screen, and screened and screened it, and went out and shot again, for one reason only: to give the camera a chance to find that "moment of truth," that flash of perception, that penetration into the heart of the matter, which he knew the camera, left to itself, could find. The point in this process was that it was purely visual. Words played no part in it; it went beyond words. It was simply a degree of seeing. As ice turns to water and water to steam, and a degree of temperature becomes a transformation, so a degree of seeing may become a transformation.
I experienced such a degree of seeing in Samoa. Samoa was my first experience of living, as Bob had lived so long, with people of another culture. They were a friendly people. When we met they greeted me, "Talofa!"— my love to you. We would talk a little, perhaps about their children and my children. They would say, "Manuia" — God be with you— and I had absolutely no feeling of being alien to them. Until this thing happened, and happened so suddenly, like a clap of thunder or a flash of lightning, that I remember it exactly, and exactly how I felt, as suddenly everything seemed to fall away from me, everything but the immediacy of that moment, and the presence, the overwhelming presence, of
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