Fictioning the Landscape

Abstract This paper develops a concept of fictioning when this names, in part, the deliberate imbrication of an apparent reality with other narratives. It focuses on a particular audio-visual example of this kind of art practice, known as the film-essay or what Stewart Home has called called the “docufiction.” The latter operates on a porous border between fact and fiction, but also between fiction and theory and, at times, the personal and political. In particular the paper is concerned with how the docufiction can involve a presentation of landscape, broadly construed, alongside the instantiation of a complex and layered temporality which itself involves the foregrounding of other pasts and possible futures. “Fictioning the landscape” also refers to the way in which these different space-times need to be performed in some way, for example with a journey through or to some other place as in a pilgrimage. The paper proceeds through analysing four case studies of this fictioning: Patrick Keiller’s Robinson trilogy; Justin Barton and Mark Fisher’s On Vanishing Land; Steve Beard and Victoria Halford’s Voodoo Science Park; and the Otolith trilogy by The Otolith Group.