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Book ChapterDOI

Cinematic Cartography: Projecting Place Through Film

01 Jan 2012-pp 68-84

AbstractCouldn’t an exciting film be made from the map of Paris? From the unfolding of its various aspects in temporal succession? From the compression of a centuries-long movement of streets, boulevards, arcades, and squares into the space of half an hour? And does the flâneur do anything different? (Benjamin 1999: 83) A frame for cultural mappings, film is modern cartography. (Bruno 2002: 71)

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Citations
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Journal ArticleDOI
Abstract: This paper provides an overview of the multiple ways of envisioning the relationships between maps and narratives. This is approached from a map making perspective. Throughout the process of editing this special issue, we have identified two main types of relationships. Firstly, maps have been used to represent the spatio-temporal structures of stories and their relationships with places. Oral, written and audio-visual stories have been mapped extensively. They raise some common cartographic challenges, such as improving the spatial expression of time, emotions, ambiguity, connotation, as well as the mixing of personal and global scales, real and fictional places, dream and reality, joy and pain. Secondly, the potential of maps as narratives and the importance of connecting the map with the complete mapping process through narratives is addressed. Although the potential of maps to tell stories has already been widely acknowledged, we emphasize the increasing recognition of the importance of develo...

119 citations


Cites background from "Cinematic Cartography: Projecting P..."

  • ...In his attempt to map the emerging field of cinematic cartography, Les Roberts (2012) has formalized the different ways of envisioning the relationships between films and maps/mapping through five ‘overlapping clusters’ (see also Hallam and Roberts, 2014)....

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  • ...In this special issue, Les Roberts provides a compelling illustration of the power of video for emotional mapping....

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  • ...These clusters include ‘(1) maps and mapping in films; (2) mapping of film production and consumption; (3) movie mapping and cinematographic tourism; (4) cognitive and emotional mapping; and (5) film as spatial critique’ (Roberts, 2012, p. 70)....

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Journal ArticleDOI
Abstract: In this third report, I focus on cognitive cartography in order to examine how the historical division between empiricist and critical approaches in cartography has shifted recently. I do so by bui...

54 citations


Cites background from "Cinematic Cartography: Projecting P..."

  • ...…and ‘mental’ recurrently appeared in association with ‘cartography’, ‘maps’ and ‘mapping’, not only in the expected area of cognitive cartography, but also in other more surprising corners of the discipline such as literary cartography (Rossetto, 2013) and cinematic cartography (Roberts, 2012a)....

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  • ...The idea that maps cannot be divorced from the practices, interests and understandings of their makers and users has already been explored (see, for instance, Turnbull, 1989), and can be seen as self-evident in disciplines such as anthropology or ethnography (Roberts, 2012b)....

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Journal ArticleDOI
Abstract: This paper provides an introduction to the Humanities Special Issue on “Deep Mapping”. It sets out the rationale for the collection and explores the broad-ranging nature of perspectives and practices that fall within the “undisciplined” interdisciplinary domain of spatial humanities. Sketching a cross-current of ideas that have begun to coalesce around the concept of “deep mapping”, the paper argues that rather than attempting to outline a set of defining characteristics and “deep” cartographic features, a more instructive approach is to pay closer attention to the multivalent ways deep mapping is performatively put to work. Casting a critical and reflexive gaze over the developing discourse of deep mapping, it is argued that what deep mapping “is” cannot be reduced to the otherwise a-spatial and a-temporal fixity of the “deep map”. In this respect, as an undisciplined survey of this increasing expansive field of study and practice, the paper explores the ways in which deep mapping can engage broader discussion around questions of spatial anthropology.

25 citations

Journal ArticleDOI
Abstract: This article explores the connection between Cartography and Otherness, and intersects map and visual studies with the question of racial/ethnic identity. With the aim of making arguments through images, a visual/verbal text is staged to reflect on the ‘Map-Other’ connection in past and present times. Inspired by the epistemological turn from representation towards practice currently experienced within map theory, the article interrogates the various creative ways in which art, advertising, public communication and related fields enable post-representational ways of portraying maps. Public visual images of cartography can be read not only as an exposure of the firm, ideological meaning of maps, but also as illustrations of how maps work as shared, embodied and empowering objects. The treatment of maps as socialised, performed and relational thereby results in an involvement of Others as protagonists rather than subjects.

14 citations


Cites background from "Cinematic Cartography: Projecting P..."

  • ...Within the emerging field of interest on maps in movies (Conley, 2006; Roberts, 2012), a specific focus on various declination of Otherness should indeed be taken into consideration....

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  • ...(Conley, 2006; Roberts, 2012), a specific focus on various declination of Otherness should indeed be taken into consideration....

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Journal ArticleDOI
TL;DR: It is argued that, by adopting practices of wayfinding, and by being critically attentive to the ways in which film and video-making practices are also spatial practices, moving image cartographies can provide insights into lived and embedded spaces of memory, and the hidden or muted spatial stories to which they play host.
Abstract: This paper contributes to debates in the emerging field of cinematic cartography () by exploring the ways in which strategies of digital cinemapping can function as tools of critical spatial practice and urban wayfinding. More specifically, the paper considers the scope for digital video technologies to reshape, contest and ‘ground’ spaces of urban representation and the ‘spatial stories’ these bring into play. Basing my analysis on the mediation of the events surrounding the abduction and murder of the 2-year-old boy James Bulger in 1993, I examine the case as a constellation of spatial narratives within which I weave my own spatial story in the form of a video mapping of the abduction route (in Bootle near Liverpool) and the responses and issues this further mediation has provoked. Methodological reflections on the map-making process are discussed alongside narratives generated by the video on YouTube. The paper argues that, by adopting practices of wayfinding, and by being critically attentive ...

12 citations


Cites background from "Cinematic Cartography: Projecting P..."

  • ...…of wayfinding, and by being critically attentive to the ways in which film and video-making practices are also fundamentally spatial practices (Roberts, 2012b, p. 7), moving image cartographies can provoke insights into the anthropological and lived spaces of memory and trauma, and the hidden…...

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  • ...…(1995; Lynch 1960), through to the wellentrenched, if increasingly diffuse practices that cluster under the label of ‘psychogeography’ (Cooper and Roberts, 2012, p. 91); the gravitational (or centripetal) pull of the street as a performative space of embodied practice has furnished a rich…...

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  • ...…these stories is also to engage in a critical intervention in the spatial anthropology of media worlds and, by corollary, the ‘mapping cultures’ (Roberts, 2012a) and spatial practices that configure specific, and often contested narratives and place myths that constellate around affective…...

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  • ...Press outrage ensued, resulting in the gallery being closed for 2 days, the artwork being vandalised and the artist receiving death threats (Knifton, 2010, p. 86; Roberts, 2012b, p. 39)....

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  • ...6 For a survey of recent studies and critical perspectives that can be defined in terms of ‘cinematic cartography’ see Roberts (2012c)....

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References
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Abstract: What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion -- imageability -- and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

8,105 citations

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Abstract: What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion -- imageability -- and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.

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Abstract: First Published In 1962, This Wonderfully Provocative Book Introduced The Notion Of 'pseudo-events' -- Events Such As Press Conferences And Presidential Debates, Which Are Manufactured Solely In Order To Be Reported -- And The Contemporary Definition Of Celebrity As 'a Person Who Is Known For His Well-knownness.' Since Then Daniel J. Boorstin's Prophetic Vision Of An America Inundated By Its Own Illusions Has Become An Essential Resource For Any Reader Who Wants To Distinguish The Manifold Deceptions Of Our Culture From Its Few Enduring Truths.

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