New Nonfiction Film: Art, Poetics, and Documentary Theory

Cover\nHalf-title\nTitle\nCopyright\nDedication\nContents\nAcknowledgments\nIntroduction\n	New nonfiction film\n	A certain ratio (of negation)\n	Acts of experimentation\n1. Nonfiction as a speculative mode of inquiry: Subjectivity and the films of Ben Rivers and Ben Russell\n	Not documentary\n	The mechanistic “in itself”/ the speculative treatment of subjectivity\n	Part II\n	A film about a film within a film adapted from a short story\n	A marriage of form and content\n	“I don’t care about the other I am the other”\n2. (Self as) modèle environments: Nonfiction film\n	Into the abyss\n	“What”—“Who”\n3. The utopian promise: John Akomfrah’s poetics of the archive\n	The time of nonfiction\n	A poet (in and) of the archive\n	Back to a future\n	The time for promises\n	Conclusion\n4. “In my mind, my dreams are real”: Abbas Kiarostami and the roots of new nonfiction film\n	Before the law\n	The becoming reality of fiction\n	Kiarostami meets Erol Morris/Makhmalbaf meets Sabzian\n	Now, it’s nothing but flowers\n	Real traumas/traumas of the real: The Koker trilogy\n	The marriage of fiction and non-fiction\n5. After Kiarostami:cinemas of (speculative) nonfiction\n	Cinema of trauma\n	Trauma and speculative nonfiction\n	In search of the in itself\n	A documentary fallacy\n	The earth won’t listen\n6. Nonfiction, the cognitive turn, and chantal Akerman’s D’Est (1993)\n	Borderingon fiction\n	The displaced m(Other)\n	Metal repairs\n7. The poetic mode, depiction, and nonfiction: Sense-value and Gideon Koppel’s sleep furiously\n	To document (or) to depict\n	To speak or not to speak: The double entendre\n	The art of the document\nConclusion\n	Cinema will save us\n	The three S’s\n	A final note\nFilmography\nReferences\nIndex