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.

中文翻译：

---

虚构景观

摘要本文提出了一种虚构的概念，该概念在某种程度上用其他叙事来刻意表象现实的暗示。它着重于这种艺术实践的特定视听示例，即电影文章或斯图尔特·霍姆（Stewart Home）所谓的“教义”。后者在事实与虚构之间，而且在虚构与理论之间，有时在个人与政治之间，都处于多孔边界上。特别是，本文关注的是，该学说如何涉及广义的景观呈现，以及复杂而分层的时间性的实例化，而时间性本身又涉及其他过去和可能的未来。“虚构景观”还指需要以某种方式执行这些不同的时空的方式，例如在朝圣中穿越或到达其他地方。本文通过对这种小说的四个案例研究进行分析：帕特里克·凯勒的鲁滨逊三部曲；贾斯汀·巴顿（Justin Barton）和马克·费舍尔（Mark Fisher）的《消失的土地》；史蒂夫·比尔德（Steve Beard）和维多利亚·哈尔福德（Victoria Halford）的伏都教科学园；以及Otolith集团的Otolith三部曲。