New Nonfiction Film

**New Nonfiction Film: Art, Poetics and Documentary Theory is the first book to offer a lengthy examination of the relationship between fiction and documentary from the perspective of art and poetics. The premise of the book is to propose a new category of nonfiction film that is distinguished from - as opposed to being conflated with - the documentary film in its multiple historical guises; a premise explored in case-studies of films by distinguished artists and filmmakers (Abbas Kiarostami, Ben Rivers, Chantal Akerman, Ben Russell Pat Collins and Gideon Koppel). The book builds a case for this new category of film, calling it the 'new nonfiction film,' and argues, in the process, that this kind of film works to dismantle the old distinctions between fiction and documentary film and therefore the axioms of Film and Cinema Studies as a discipline of study.

Autorentext

Dr. Dara Waldron is a Lecturer in Critical and Contextual Studies at the Limerick Institute of Technology, Republic of Ireland, with a particular focus on Lens-Based media (differing forms of moving image practices). He is the author of Cinema and Evil: Moral Complexities and the "Dangerous" Film (2013).

Klappentext

New Nonfiction Film: Art, Poetics and Documentary Theory is the first book to offer a lengthy examination of the relationship between fiction and documentary from the perspective of art and poetics. The premise of the book is to propose a new category of nonfiction film that is distinguished from - as opposed to being conflated with - the documentary film in its multiple historical guises; a premise explored in case-studies of films by distinguished artists and filmmakers (Abbas Kiarostami, Ben Rivers, Chantal Akerman, Ben Russell Pat Collins and Gideon Koppel). The book builds a case for this new category of film, calling it the 'new nonfiction film,' and argues, in the process, that this kind of film works to dismantle the old distinctions between fiction and documentary film and therefore the axioms of Film and Cinema Studies as a discipline of study.

Inhalt

Introduction
New Nonfiction Film
A Certain Ratio (of Negation)
Acts of Experimentation . . .
Nonfiction as a Speculative Mode of Inquiry: Subjectivity and the Films of Ben Rivers and Ben Russell
Not Documentary . . .
The Mechanistic "In Itself" / the Speculative Treatment of Subjectivity

1.A Film About a Film Within a Film Adapted from a Short Story . . .
A Marriage of Form and Content
"I Don't Care about the Other. I am the Other."

2. (Self as) Modèle Environments: Nonfiction Film
   Into the Abyss
   "What"- "Who"
3. The Utopian Promise: John Akomfrah's Poetics of the Archive
   The Time of Nonfiction
   A Poet (in and) of the Archive
   Back to a Future
   The Time for Promises
   Conclusion
4. "In My Mind, My Dreams are Real": Abbas Kiarostami and the Roots of New Nonfiction Film
   Before the Law
   The Becoming Reality of Fiction
   Kiarostami Meets Erol Morris/ Makhmalbaf Meets Sabzian
   Now, it's Nothing but Flowers
   Real Traumas/ Traumas of the Real: The Koker Trilogy
   The Marriage of Fiction and Non-Fiction
5. After Kiarostami: Cinemas of (Speculative) Nonfiction
   Cinema of Trauma
   Trauma and Speculative Nonfiction
   In Search of the In-Itself
   A Documentary Fallacy
   The Earth Won't Listen
6. Nonfiction, the Cognitive Turn, and Chantal Akerman's D'Est (1993)
   Bordering on Fiction
   The Displaced m(Other)
   Metal Repairs
7. The Poetic Mode, Depiction and Nonfiction: Sense- Value and Gideon Koppel's Sleep Furiously(2007)
   To Document . . . (or) . . . to Depict
   To Speak or Not to Speak: The Double Entendre
   The Art of the Document

Conclusion
Cinema Will Save Us
The Three S's
A Final Note