| 1884 | Robert J. Flaherty is born in Iron Mountain, Michigan, USA | ![]() Robert Flaherty as a boy with his family |
| 1896 | Flaherty travels to Ontario, Canada with his father mining for gold | |
| It was from these experiences that Flaherty's idealism, his love of the 'primitive', and his fascination with the different ways of native life developed. | ||
| 1898 | His parents attempt to provide a structured education and Flaherty attends Upper Canada College in Toronto. |
| 1902 | Flaherty attends the Michigan College of Mines where he meets Francis Hubbard to whom he becomes engaged. He is expelled from the college after only seven months. |
| 1907 | Over the next years Flaherty works for various companies but always in a capacity that feeds and encourages his impulse for exploration: searching for iron-ore with U.S. Steel, prospecting for marble along the west coast of Vancouver Island, surveying the vast territory owned by the Grand Trunk Pacific Railway, and prospecting for a small mining syndicate above Lake Huron. |
| 1910 | In Toronto, Flaherty meets Sir William Mackenzie who employs him to explore the Nast Islands of Gulf Hazard along the sub-arctic coast of Hudson Bay. The expedition is a failure in the sense that what iron-ore Flaherty had been able to find was too lean to be economically valuable. However from his contacts with the Innuits Flaherty is led to believe that there may be more important iron ore stores to be found on a group of unexplored islands known as the Belchers a hundred miles to the west. |
| 1915 | After returning to America to marry Francis Hubbard, Flaherty undertakes another expedition to the Belcher Islands where he films the islanders crafts, ways of living, and methods of travel. |
| 1916 | Flaherty spends several months creating a print from the 70,000 feet of film he has now shot. The assembled print is sent to Harvard to be screened but while packing the negative to send to New York Flaherty drops his cigarette onto some scrap film and the entire 70,000 feet of negative goes up in flames (Flaherty is seriously injured trying to put out the fire). The only remaining Harvard print is shown to various groups to indifferent reaction. |
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| The lessons of the failed Harvard print undoubtedly contributed to Flaherty's philosophy of film making. |
| 1917 | Although Flaherty is keen to try again the constraints of the war mean finance cannot be found for another expedition so he stays in America and writes of his travels. |
| 1919 | A chance meeting with a Captain Thiery Mallet of the Revillon Freres company leads to the firm of French furriers agreeing to finance Flaherty to make his film at cost of around $35,000. The two conditions of the sponsorship are that the film should be based at one of the Revillon Freres trading posts, Port Harrison on the northeaster coast of the Hudson Bay, and that the opening titles of the film should carry the words Revillon Freres presents . |
| 1922 | Pathe agrees to distribute the film and Nanook of the North receives its opening run at the Capitol in New York. |
| 1926 | After the success of Nanook of the North Flaherty is feted by the film industry and goes on to make a series of films exploring the same drama of man pitted against nature in lesser developed societies, the first of which is Moana: A Romance of the Golden Age |
| 1929 | White Shadows in the South Seas is released | ![]() Flaherty, aged 43, departing by train for Hollywood to begin production of White Shadows in the South Seas |
| 1931 | Tabu, A Story of the South Seas is released |
| 1933 | Industrial Britain is released |
| 1934 | Man of Aran is released |
| 1937 | Elephant Boy wins best director with Zoltan Korda at the Venice Film Festival |
| 1942 | The Land is released |
| 1948 | Louisiana Story is released |
| 1949 | Flaherty is jointly nominated with Francis for best writing Oscar for Lousianna Story |
| 1950 | The Titan: the story of Michelangelo is released |
| 1951 | ![]() | Flaherty dies aged 67, his films revered by the documentary world as the standard by which all subsequent attempts to bring real life to the screen are judged. |