Subjectivity and the Films of Ben Rivers and Ben Russell NOTES & CITATIONS

Nonfiction as a Speculative Mode of Inquiry:
Subjectivity and the Films of Ben Rivers and Ben Russell

Dara Waldron


1. Coleen Fitzgibbon, "Ben Rivers" in Bomb: Artists in Conversation (2013)

2. Ibid.

3. Paul Arthur, "No Longer Absolute: Portraiture in American Avant-Garde and Documentary Films of the Sixties" in Rites of Realism: Essays on Corporeal Cinema, ed. Ivone Margulies (Durham, NC: Duke University Press, 2002), p. 114.

4. Patrick Tarrant, "Montage in the Portrait Film: Where Does the Hidden Time Lie?" Alphaville: Journal of Film and Screen Media 5 (Summer 2013).

5. The essay in question ''Near Documentary as Post-Bressonian Aesthetic: Cinematographic Excursions and the Dialogue between Jeff's Wall's Adrian Walker (1992) and Ben Rivers's Two Years at Sea (2011)" in Comparative Becomings, eds. Michael G. Kelly and Daragh O'Connell (New York: Peter Lang, 2015).

6. I make reference here to Stella Bruzzi's New Documentary: A Critical Introduction (2000) and its bold claim that all documentary has a performative dimension.

7. Violet Lucca, 2014. 'ND/NF Interview: Ben Rivers and Ben Russell' in: Film Comment

8. Michael Sicinski, "The Unbroken Path: Ben Russell's Let Each One Go Where He May," Cinema Scope: Expanding the Frame on International Cinema.'s-let-each-one-go-where-he-may.

9. Robert Bresson, Notes on Cinematography, trans. Jonathan Griffin (New York: Quartet Books, 1996), p. 43.

10. Ibid.

11. I recently explored this area in a catalogue essay for the Irish artist Martin Healy, whose practice can be said to mine a similar terrain regarding subjectivity as Rivers and Russell. Dara Waldron, "Earth, Speak to Me …"

12. Sicinski, "The Unbroken Path."

13. Fabio Gironi, Between Naturalism and Rationalism: A Realist Landscape (London: Equinox, 2012).

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