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Book ChapterDOI

A Spatial Typology of Cinematographic Narratives

TLDR
In this article, a spatial typology of cinematographic narratives using a cybercartographic application has been developed to map the narrative structure of 46 contemporary Canadian films, characterized by the locations of the action, the movement between these locations, and the different places mentioned in these films.
Abstract
The research presented in this chapter aims to initiate the development of a spatial typology of cinematographic narratives, using a cybercartographic application. This application has been developed to map the narrative structure of 46 contemporary Canadian films. The spatial dimensions of these narrative structures were characterized by the locations of the action, the movement between these locations, and the different places mentioned in these films. Throughout the process of mapping and analysing these criteria, some recurrent narrative forms were identified, as well as some connections between certain cinematographic genres (such as documentaries) and complex spatial narrative structures. Based on these results, an initial spatial typology of cinematographic narratives is proposed.

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Citations
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Journal ArticleDOI

Spatiality, Maps, and Mathematics in Critical Human Geography: Toward a Repetition with Difference

TL;DR: The authors argue that some such methods have not always been and need not be so allied, and suggest neglected methods to revisit, new alliances to be forged with critical human geography and cultural critique, and possible paths to enliven geographical imaginations.
Journal ArticleDOI

How can we map stories? A cybercartographic application for narrative cartography

TL;DR: In this article, the authors present a cyber-cartographic application designed to address this issue and provide solutions to help properly map some of the many dimensions of narratives, including the places of the narration (geography), the connection between these places (geometry), as well as the temporal dimension inherent to storytelling.
Proceedings ArticleDOI

Computing with many spaces: Generalizing projections for the digital geohumanities and GIScience

TL;DR: This work suggests an approach to pluralizing the spaces available to geographic computation, and extends generalized projections to encompass spatial multiplicity, fragmented spaces, wormholes, and an expanded role for interruptions.
Proceedings ArticleDOI

Compute to Tell the Tale: Goal-Driven Narrative Generation

TL;DR: This paper reviews the problem of computational narrative generation where a goal-driven narrative (in the form of text with or without video) is generated from a single or multiple long videos and outlines a general narrative generation framework.
References
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Book ChapterDOI

Mapping the Soundscapes of Popular Music Heritage

TL;DR: In the summer of 2010, the Midland Arts Centre (mac) in south Birmingham reopened its doors after a £15 million refurbishment. Its main gallery featured Plug In, an exhibition curated by artist Simon Poulter celebrating various aspects of the city's identity and cultural heritage as mentioned in this paper.
Journal ArticleDOI

Mobilizing the cartographic paradox: tracing the aspect of cartography and prospect of cinema Mobilizando o paradoxo cartográfico: traçando o aspecto na cartografia e o prospecto no cinema

TL;DR: Palavras-chave as mentioned in this paper argues that understanding the mobilization of these scopic regimes may lead to the production of affective geovisualizations, which can be seen as a kind of Cartographic paradox.
Book Chapter

‘The stratified record upon which we set our feet’: The spatial turn and the multilayering of history, geography, and geology

Peta Mitchell
TL;DR: The authors draw out the relationships between history, narrative, geography, and geology revealed by this spatial turn and the questions these pose for thinking about the disciplinary relationship between geography and the humanities.
Journal ArticleDOI

Leonardo's Val di Chiana Map in the Mona Lisa

TL;DR: The identity of the sitter and opinions relevant to the background landscape are considered, Leonardo's developments in the depiction of depth outlined, and his technique of topographic perspective introduced.