[Editor's Note: This is the latest entry in House contributor Kevin B. Lee's Shooting Down Pictures, a record of his ongoing quest to see every title on the list of the 1000 Greatest Films compiled by They Shoot Pictures, Don't They?]
Ever since Robert Flaherty aimed his camera at an Inuit named Nanook, the documentary film has had to contend with its multiple and often conflicting functions: as an authentic representation of reality, as a vehicle for conveying ideology, as a work of art. While many documentaries of the past may seem quaint on all three fronts through today's eyes, they are no more problematized than contemporary works. As a distributor of contemporary Chinese documentaries, I see these issues figuring as prominently in many of the films I review as in works dating back 75 years, whose presumptions towards objectivity or sophistication belie prejudices in perception, culture and aesthetics. Such a work is Song of Ceylon.
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