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Book ChapterDOI

Cinematic Cartography: Projecting Place Through Film

01 Jan 2012-pp 68-84
TL;DR: A frame for cultural mappings, film is modern cartography as discussed by the authors, and does the flâneur do anything different from the map of Paris? But it is difficult to make a movie from a map of the city.
Abstract: Couldn’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)
Citations
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Journal ArticleDOI
TL;DR: The potential of maps as narratives and the importance of connecting the map with the complete mapping process through narratives is addressed in this paper, which is approached from a map-making perspective, as well as the mixing of personal and global scales, real and fictional places, dream and reality, joy and pain.
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...

147 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
TL;DR: In this article, the historical division between empiricist and critical approaches in cartography has shifted recently, and the authors focus on cognitive cartography in order to examine how this historical division has shifted.
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...

58 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
TL;DR: The Humanities Special Issue on Deep Mapping as mentioned in this paper explores the broad-ranging nature of perspectives and practices that fall within the "undisciplined" interdisciplinary domain of spatial humanities and argues that what deep mapping "is" cannot be reduced to the otherwise a-spatial and a-temporal fixity of the "deep map".
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.

34 citations

Journal ArticleDOI
TL;DR: This article explored the connection between Cartography and Otherness, and intersected 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.
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.

15 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: The authors examined the use of landscape in the Norwegian series Occupied (2015-2020) and Nobel (2016) and examined the ways in which cityscapes and panoramas of the natural environment are employed as affective, as well as aesthetic tools for storytelling within a geopolitically inflected framework.
Abstract: Abstract Focusing on the use of landscape in the Norwegian series Occupied (2015–2020) and Nobel (2016), this article examines the ways in which cityscapes and panoramas of the natural environment are employed as affective, as well as aesthetic tools for storytelling within a geopolitically inflected framework. Drawing on literature from popular geopolitics, geocriticism, and visual politics, my analysis interrogates the ways in which geopolitical codes and visions manifest via televisual fiction, reflecting a variety of insecurities associated with Norway's current position in world affairs, as well as contemporary challenges to Norwegian national identity. This article also discusses how these two series have adapted key geovisual elements of the what I deem the “near Nordic Noir” style to focus more explicitly on geopolitical questions, linking Occupied and Nobel to other geopolitically inflected series from Nordic Europe.

12 citations


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

  • ...While the study of landscape in television series in still in its ascendancy, the importance of landscape in cinema is well established (cf. DeLue & Elkins, 2008; Harper & Rayner, 2010; Lefebvre, 2007b; Mitchell, 2002; Roberts, 2012b)....

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References
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Journal ArticleDOI
TL;DR: In this article, the authors assess the role and broader applications of a place-based moving image database and online catalogue in researching film and cities, and assesses the role of such a database and catalogue.
Abstract: This article critically assesses the role and broader applications of a place-based moving image database and online catalogue in researching film and cities. Unlike the sprawling metropolises of B...

11 citations


"Cinematic Cartography: Projecting P..." refers background in this paper

  • ...The last in my suggested five-point typology of cinematic cartography is what the artist and film-maker Patrick Keiller (2007) has dubbed ‘film as spatial critique’....

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Journal ArticleDOI
TL;DR: In this paper, two films (The Killers and The Crooked Way) are studied to show how the mapping agency that prevails as of the end of the Second World War finds its most precocious and enduring formulas in the conventions of this cinema.
Abstract: Maps and mapping are evident almost everywhere in post-war cinema. The end of the Second World War and the advent of the Cold War had caused many of the world's borders to be redrawn. Cinema played a vital role in bringing forward the dilemmas that came with these shifts. Film noir offers a singular cartography of cinema: it dislocates its viewers through its 'mental maps' that call into question the specific times and places of their settings. Its force owes much to two conflicting cartographies: one, that is psychic, is at odds with another, which is geographic. Two films (The Killers and The Crooked Way) are studied to show how the mapping agency that prevails as of the end of the Second World War finds its most precocious and enduring formulas in the conventions of this cinema.

8 citations

Book ChapterDOI
12 Sep 2007

8 citations

Proceedings ArticleDOI
01 Dec 2009
TL;DR: It is argued that digital and geospatial resources such as those offered by GIS technology enable researchers to ‘navigate’ the spatial histories attached to landscapes in film and develop new frameworks of analytical enquiry in relation to film, place and memory.
Abstract: Drawing on on-going archival research into Liverpool and Merseyside on film, this paper explores the role of Geographic Information Systems (GIS) technology in historiographical research into film, place and space in an urban setting. Mapping the correlations between categories of genre, date, and location as assessed in relation to records in a spatial database consisting of over 1700 Merseyside films, we examine ways in which cartographic readings of film texts and practices can illuminate historical understandings of urban and regional place-making. Reflecting broader theoretical trends, a growth of interest in cartographic methods in recent historical studies on film is indicative of an emergent ‘spatial turn’ in social science and humanities research. Responding to these developments, we argue that digital and geospatial resources such as those offered by GIS technology enable researchers to: (1) ‘navigate’ the spatial histories attached to landscapes in film; (2) develop new frameworks of analytical enquiry in relation to film, place and memory; and (3) to re-think and reformulate some of the questions critically addressing the ‘place’ of archival images of cities in discourses of cultural memory, regeneration, and urban place-making.

7 citations

Journal ArticleDOI
TL;DR: Early Swedish Cinema and Cartography as mentioned in this paper is a collection of early Swedish non-fiction movies and Cartographies. Historical Journal of Film, Radio and Television: Vol. 22, No. 3, pp 275-290.
Abstract: (2002). Early Swedish (Non-fiction) Cinema and Cartography. Historical Journal of Film, Radio and Television: Vol. 22, No. 3, pp. 275-290.

7 citations