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Author:   Dara Waldron (Limerick Institute of Technology, Republic of Ireland)
Publisher:   Bloomsbury Publishing Plc
Imprint:   Bloomsbury Academic USA
Dimensions:   Width: 15.00cm , Height: 1.60cm , Length: 22.80cm
Weight:   0.320kg
ISBN:  

9781501362163

ISBN 10:   150136216
Pages:   224
Publication Date:   20 February 2020
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

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

Reviews

[Waldron] is a perceptive analyst, engaging closely with the discursive organisation of his chosen texts and the experience of viewing them, while showing a lively interest in bringing wide-ranging ideas to bear. * Studies in Documentary Film * It is rare these days that a book delivers a new critical concept and category that completely transforms our understanding of cinema, but that's precisely what Dara Waldron does in New Nonfiction Film. Refusing the deadlock between the real and the fictive that has long circumscribed thinking about documentary, Waldron explores contemporary cinematic practices that seek truth by way of fiction. Through a series of revelatory readings of films by John Akomfrah, Chantal Akerman, Abbas Kiarostami, Pat Collins, and Ben Rivers, among others, Waldron's New Nonfiction Film identifies a poetics of the moving image that defines the boldest examples of contemporary filmmaking * Andrew Burke, Associate Professor, Department of English, University of Winnipeg, Canada * Waldron's book offers a much needed contribution to the study of documentary as art. He explores the poetics of documentary by focusing on its outliers-art forms and experimentations-that have much to offer the ways we think about the changing nature of nonfiction film. New Nonfiction Film: Art, Poetics and Documentary Theory provides an important and lucid reference point in the expanding terrain of documentary studies and is the product of a deep engagement with a range of filmmakers and their work. * Belinda Smaill, Associate Professor of Film and Television Studies, Monash University, Australia * New Nonfiction Film explores the work of Chantal Akerman, John Akomfrah, and Abbas Kiarostami, among other boundary-pushing artists and directors. Combining close analysis with philosophical speculation, Dara Waldron shows how a growing number of films are orbiting the categories of both fiction and documentary, yet resisting the gravitational pull of each, in search of new trajectories. Questions of ethics, aesthetics, knowledge, and subjectivity all come to bear in this valuable contribution to documentary studies. * Eric Ames, Professor of Cinema and Media Studies, University of Washington, USA, and author of Ferocious Reality: Documentary according to Werner Herzog (2012) *

An important book ... Refreshingly international in its references and framework. The book is at its best when it is engaged in close textual analysis informed by Bresson's modele ... Rich in theoretical scope. * Alphaville: Journal of Film and Screen Media * [Waldron] is a perceptive analyst, engaging closely with the discursive organisation of his chosen texts and the experience of viewing them, while showing a lively interest in bringing wide-ranging ideas to bear. * Studies in Documentary Film * It is rare these days that a book delivers a new critical concept and category that completely transforms our understanding of cinema, but that's precisely what Dara Waldron does in New Nonfiction Film. Refusing the deadlock between the real and the fictive that has long circumscribed thinking about documentary, Waldron explores contemporary cinematic practices that seek truth by way of fiction. Through a series of revelatory readings of films by John Akomfrah, Chantal Akerman, Abbas Kiarostami, Pat Collins, and Ben Rivers, among others, Waldron's New Nonfiction Film identifies a poetics of the moving image that defines the boldest examples of contemporary filmmaking * Andrew Burke, Associate Professor, Department of English, University of Winnipeg, Canada * Waldron's book offers a much needed contribution to the study of documentary as art. He explores the poetics of documentary by focusing on its outliers-art forms and experimentations-that have much to offer the ways we think about the changing nature of nonfiction film. New Nonfiction Film: Art, Poetics and Documentary Theory provides an important and lucid reference point in the expanding terrain of documentary studies and is the product of a deep engagement with a range of filmmakers and their work. * Belinda Smaill, Associate Professor of Film and Television Studies, Monash University, Australia * New Nonfiction Film explores the work of Chantal Akerman, John Akomfrah, and Abbas Kiarostami, among other boundary-pushing artists and directors. Combining close analysis with philosophical speculation, Dara Waldron shows how a growing number of films are orbiting the categories of both fiction and documentary, yet resisting the gravitational pull of each, in search of new trajectories. Questions of ethics, aesthetics, knowledge, and subjectivity all come to bear in this valuable contribution to documentary studies. * Eric Ames, Professor of Cinema and Media Studies, University of Washington, USA, and author of Ferocious Reality: Documentary according to Werner Herzog (2012) *

Author Information

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).

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