加拿大因紐特族電影《冰原快跑人》以其團結社群的創造動力，啟動精神自動機器的反思動作，透過影像製作銜接當代加拿大文化的臨場與即時。本文探討伊蘇瑪製片公司憑藉其反思的動力，成為凝聚社群的場域，更運用攝影技術銜接數位媒體和口述傳統，彙整了看似矛盾的時空。《冰原快跑人》從原先是為了服務家鄉社群而誕生的製作，進而要求觀眾思考北極圈影像，有策略地創造出因紐特族內與族外之間向來欠缺的溝通。本文從影片的傳奇劇情、呈現結構和數位技術三者的關係，分析因紐特自我影像製作的創造力。《冰原快跑人》的貢獻不只是抵制因紐特與加拿大政府兩者間的殖民糾纏，觀看或參與《冰原快跑人》的製作過程也不僅重新介入或改寫加拿大的後殖民空間，而且藉由快跑人的運動影像，本片跨越了過去族裔再現時所出現的去脈絡情況，使原本瀕臨死亡、破敗的北方在電影空間轉變為思考因紐特的潛在情境。

Atanarjuat The Fast Runner (2001), the first independent Inuit film by Igloolik Isuma Productions, images the here and now of Canada, while propelling the spiritual automaton of itself-thinking-itself that arises from the force of creation within Inuit communities. This article foregrounds the image of thought operating in communal creative processes to argue that cinematic technology, as a circuit that strings together digital media and oral tradition, reframes the drastic change of time and space in the film. It draws upon relations among legendary storyline, structure of presence, and digital technology to access the creation of Inuit self-filmmaking. Atanarjuat The Fast Runner serves Inuit home communities, but it also directs all viewers to think upon images of the Arctic; in doing so, the film strategically communicates the incommensurable relation between Inuit and non-Inuit people. Atanarjuat The Fast Runner may also contribute to resisting colonial entanglement between the Inuit and the Canadian government, in that producing the film, or even viewing it, entails more than reassessing postcolonial space. Building upon an argument that the movement-image of Atanarjuat offers a medium to get beyond de-contextualization in representing ethnic groups, this essay posits that the endangered, decaying North in the cinematic landscape of the film gives way to the virtual of thinking the Inuit.