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Nanook of the North and The Wedding of Palo , and other Films of Arctic Life Flicker Alley, $44.95 Reviewed by Russell A. Potter Some years ago, I was at a conference on Arctic films at Nipissing University when I heard an intriguing paper by the Greeenlandic scholar Erik Gant . His talk took aim at the curious bifurcation in filmed portrayals of Eskimo peoples, using Robert Flaherty's 1922 Nanook of the North and Friedrich Dalsheim's 1934 The Wedding of Palo as its bookends.  The title of his talk was " Good and Bad Eskimos " -- and as I listened I realized I'd only seen half, or rather less than half of the important films depicting Inuit life, since I'd never seen, or even heard of Palo . My ignorance was remedied, in part at least, later in the conference, when we watched almost all of a 16mm print of Palo that Dr. Gant had brought with him from Denmark (the conference organizers, unforgivably, shut down the film over time concerns before it had concl

Isuma: The Art and Imagination of Ruben Komangapik  Igloolik: Inhabit Media, $29.95 Reviewed by Russell A. Potter William Butler Yeats once said of the Greek sculptor Callimachus that he "handled marble as though it were bronze." The Inuit sculptor Ruben Komangapik handles no marble, but in his hands, wood, bone, and narhwal horns grow as smooth and fluid as polished metal, or even glass; it is almost as if some spirit hidden within the materials has animated them and brought them to vivid, viscid life. His sculptures play with surfaces, using and altering their texture to create singular effects. Eyes of polished stone gaze out from spongy bone in Taqanaqruluk ;  walrus heads with polished tusks peep out of a bony snowbank in Hard Times ; an osseous Sedna with an onyx face offers a  qulliq with a row of tiny stone flames in Sedna, the Oil Giver ; a hooded hunter is poised on a shelf of horn as an unsuspecting seal swims up toward its aglu from below in The Seal Hunter .  T