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).

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 modèle ... Rich in theoretical scope.

• 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-Fiction5. After Kiarostami: Cinemas of (Speculative) NonfictionCinema 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

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).

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 modèle ... Rich in theoretical scope.

• 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-Fiction5. After Kiarostami: Cinemas of (Speculative) NonfictionCinema 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