had an affair with his lead actress, the young Inuk woman who played Nanook's wife. A few months after he left, she gave birth to his son, Josephie (December 25, 1921 – 1984), whom he never acknowledged. Josephie was one of the Inuit who were relocated in the 1950s to very difficult living conditions in Resolute and Grise Fiord, in the extreme north. Corroboration of McGrath's account is not readily available and Flaherty never discussed the matter. Nanook began a series of films that Flaherty made on the same theme of humanity against the elements. Others included Moana: A Romance of the Golden Age, set in Samoa, and Man of Aran, set in the Aran Islands of Ireland. All these films employ the same rhetorical devices: the dangers of nature and the struggle of the communities to eke out an existence. Hollywood Nanook of the North (1922) was a successful film, and Flaherty was in great demand afterwards. On a contract with Paramount to produce another film on the order of Nanook, he went to Samoa to film Moana (1926). He shot the film in Safune on the island of Savai'i where he lived with his wife and family for more than a year. The studio heads repeatedly asked for daily rushes but Flaherty had nothing to show because he had not filmed anything yet — his approach was to try to live with the community, becoming familiar with their way of life before writing a story about it to film. He was also concerned that there was no inherent conflict in the islanders' way of life, providing further incentive not to shoot anything. Eventually he decided to build the film around the ritual of a boy's entry to manhood. Flaherty was in Samoa from April 1923 until December 1924, with the film completed in December 1925 and released the following month. The film, on its release, was not as successful as Nanook of the North domestically, but it did very well in Europe, inspiring John Grierson to coin the word "documentary." Before the release of Moana, Flaherty made two short films in New York City with private backing, The Pottery Maker (1925) and The Twenty-Four Dollar Island (1927). Irving Thalberg of Metro-Goldwyn-Mayer invited Flaherty to film White Shadows in the South Seas (1928) in collaboration with W. S. Van Dyke, but their talents proved an uncomfortable fit, and Flaherty