New Nonfiction Film

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).

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 Errol 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