Locating the Moving Image
New Approaches to Film and Place
Publication Year: 2013
Leading scholars in the interdisciplinary field of geo-spatial visual studies examine the social experience of cinema and the different ways in which film production developed as a commercial enterprise, as a leisure activity, and as modes of expression and communication. Their research charts new pathways in mapping the relationship between film production and local film practices, theatrical exhibition circuits and cinema going, creating new forms of spatial anthropology. Topics include cinematic practices in rural and urban communities, development of cinema by amateur filmmakers, and use of GIS in mapping the spatial development of film production and cinema going as social practices.
Published by: Indiana University Press
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Table of Contents
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This collection of essays explores the methodologies that are being used by film scholars to develop a new area of inquiry, one we have termed in our concluding comments “a spatial history” of the moving image. The contributors are interested in exploring film production, distribution, and consumption as spatial phenomena, using empirical data and maps ...
1. Film and Spatiality: Outline of a New Empiricism
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Metaphor is never innocent. It orients research and fixes results.In recent years ideas of the spatial and the cinematic have come together in an irresolute fashion, each fumbling hesitantly toward the other with-out appearing entirely sure of how or indeed if the other might respond. Discussions and debates around themes of, for example, cinematic geog-...
2. Getting to “Going to the Show”
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One of the first books I was assigned to read in graduate school more than thirty years ago was a collection of essays by Andre Bazin titled, in its English translation, What Is Cinema?1 David Rodowick introduces The Virtual Life of Film2 by arguing that nearly a half-century of scholarly books, journal articles, and conferences have still not produced a consen-...
3. Space, Place, and the Female Film Exhibitor: The Transformation of Cinema in Small-Town New Hampshire during the 1910s
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When she started some influential citizens regarded her enterprise with disfavor. . . . Now, it is safe to say, most of them realize that if Milford is to hold its own and grow as . . . a place where the “home folks” will be contented and which outsiders will like to visit, it is important to have an amusement place like the Star Theatre, a ...
4. Mapping Film Exhibition in Flanders (1920–1990): A Diachronic Analysis of Cinema Culture Combined with Demographic and Geographic Data
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Ever since the start of the film industry, Belgium was widely considered an open and lucrative film market.1 Being one of the most industrial-ized and prosperous countries in Europe before the First World War,2 the small kingdom had a vivid film exhibition scene with a high atten-dance rate as well as a wide range of cinemas. Before the war, Brussels, ...
5. Mapping the Ill-Disciplined? Spatial Analyses and Historical Change in the Postwar Film Industry
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Making maps is hard, but mapping Guizhou province is especially so. . . . Southern Guizhou has a multitude of mountain peaks. They are jumbled together, without any plains or marshes to space them out, or rivers or water courses to put limits to them. They are vexingly numerous and ill-disciplined. . . . Their configurations are difficult to ...
6. Mapping Film Audiences in Multicultural Canada: Examples from the Cybercartographic Atlas of Canadian Cinema
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Canadian cinema has historically been framed, much like Canadian soci-ety, by the tensions between French and English culture as well as by the large influence of its imposing neighbor to the south: the United States of America. This double influence is perfectly illustrated by the film Bon Cop Bad Cop (dir. Erik Canuel, 2006). This “buddy action comedy” set ...
7. The Geography of Film Production in Italy: A Spatial Analysis Using GIS
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The use of cartographic techniques and geographical principles for the study of cultural phenomena has recently started to be evaluated by schol-ars as a compelling instrument of analysis. New areas of scholarly concern are emerging that are examining the potential role of mapping technolo-gies in the study of cultural processes; among these are questions about ...
8. Mapping the “City” Film 1930–1980
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This chapter develops ideas about cartography and filmmaking as two kinds of visual practice that share a number of similarities in the ways they describe the surface of an area or territory. As Les Roberts and I discussed in chapter 1, the term “mapping” is now subject to a wide range of interpretive processes and applications in relation to film; here I am ...
9. Retracing the Local: Amateur Cine Culture and Oral Histories
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Oral history and moving images have considerable potential synergy.While amateur films/footage of landscapes and sociocultural practices often account for the majority of regional film collections, accompany-ing materials such as scrapbooks and interview transcripts can take up more physical space than an archive can reasonably be expected to store ...
10. Beyond the Boundary: Vernacular Mapping and the Sharing of Historical Authority
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It’s easy to lose the humanity when you start showcasing tech.We are damned by the arrogance with which we ignore the immensity of the territories we presume to tame with our absurdly precise instruments of measure, and redeemed by a cunning, even courageous naiveté that persuades us to believe that they are approachable, knowable, chartable....
11. Afterword: Toward a Spatial History of the Moving Image
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This book has aimed to provide a preliminary navigational guide through the new and emergent interdisciplinary landscapes that distinguish the ways in which “the spatial turn” in the humanities has generated a new wave of film scholarship in recent years. It has focused in particular on the way mapping technologies such as GIS and Google Maps have been ...
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Page Count: 276
Illustrations: 40 b&w illus.
Publication Year: 2013
Series Title: The Spatial Humanities