A Spatial Typology of Cinematographic Narratives
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39 citations
Cites background from "A Spatial Typology of Cinematograph..."
...The digital humanities have consequently struggled to align the spatial imaginaries of film and text with the singular absolute spaces of the enlightenment map (Piatti, Reuschel, and Hurni 2013; Caquard and Naud 2014; Travis 2014)....
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38 citations
7 citations
Cites background or methods from "A Spatial Typology of Cinematograph..."
...mapping cinema developed by Caquard and colleagues [11, 14], events that happen in different locations are indicated by geolocated positions on a basemap rendered in web Mercator (with worldwide scope in a thought-provoking interpretation of one film), as shown in Figure 2....
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...[11, 14] have developed textual and cartographic methods to examine the spatial narrative of film....
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1 citations
References
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5 citations
"A Spatial Typology of Cinematograph..." refers background in this paper
...some of their attributes has revealed some general trends in the way Canadian cinema represents the world in general, and Canada in particular (see Caquard et al. (2012) for more details)....
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...The mapping of these narrative places and some of their attributes has revealed some general trends in the way Canadian cinema represents the world in general, and Canada in particular (see Caquard et al. (2012) for more details)....
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3 citations
"A Spatial Typology of Cinematograph..." refers background in this paper
...Through his analysis, Misek (2012) argues 1 An extended version of this paper will appear in Taylor and Lauriault (Forthcoming), Developments in the Theory and Practice of Cybercartography (2nd edition), Elsevier. that Rohmer’s films can be envisioned as a map of Paris, connecting hundreds of…...
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...In his essay on the mapping of Rohmer movies in post-war Paris, Richard Misek (2012) addresses the question “how can films map?” through a spatial approach to the everyday life dimension of the geography of Paris, as developed in 25 feature films....
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...In his essay on the mapping of Rohmer movies in post-war Paris, Richard Misek (2012) addresses the question “how can films map?” through a spatial approach to the everyday life dimension of the geography of Paris, as developed in 25 feature films. According to Misek (2012, 56), in these films “Rohmer provides a Parisian’s view of Paris rather than the more familiar touristic view that we often see in films set in Paris.” This Parisian view is made of cafés, parks, streets and public transportation, more than of monuments and famous landmarks. Through his analysis, Misek (2012) argues...
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...According to Misek (2012, 56), in these films “Rohmer provides a Parisian’s view of Paris rather than the more familiar touristic view that we often see in films set in Paris.”...
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3 citations