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, ...
1. Film and Spatiality: Outline of a New Empiricism
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In recent years ideas of the spatial and the cinematic have come together in an irresolute fashion, each fumbling hesitantly toward the other without appearing entirely sure of how or indeed if the other might respond. Discussions and debates around themes of, for example, cinematic geography, cartographic cinema, cinematic cartography, ...
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, ...
3. Space, Place, and the Female Film Exhibitor: The Transformation of Cinema in Small-Town New Hampshire during the 1910s
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By the mid-1910s, the town of Milford, New Hampshire, had established a pattern of film exhibition in which only one proprietor was permitted a license to present moving pictures.1 To the surprise of many, a woman vied to fill this role. Although women in the United States had not yet gained full voting rights, they were becoming increasingly visible at work, ...
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 industrialized and prosperous countries in Europe before the First World War,2 the small kingdom had a vivid film exhibition scene with a high attendance rate as well as a wide range of cinemas. ...
5. Mapping the Ill-Disciplined? Spatial Analyses and Historical Change in the Postwar Film Industry
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As part of a broad disciplinary shift from a focus on measuring the value and meaning of cultural artifacts to understanding the import of cultural flows, humanities researchers are progressively turning to other disciplines and disciplinary practices to inform their research. ...
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 society, 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). ...
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 scholars as a compelling instrument of analysis. New areas of scholarly concern are emerging that are examining the potential role of mapping technologies in the study of cultural processes; ...
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; ...
9. Retracing the Local: Amateur Cine Culture and Oral Histories
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While amateur films/footage of landscapes and sociocultural practices often account for the majority of regional film collections, accompanying materials such as scrapbooks and interview transcripts can take up more physical space than an archive can reasonably be expected to store in the long term. ...
10. Beyond the Boundary: Vernacular Mapping and the Sharing of Historical Authority
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For the past ten years, a substantial international community of cinema historians has been drawing attention to factors that traditional cinema studies had a tendency to overlook: first, that wherever cinema attendance is a social habit, it is not exclusively or even strongly shaped by the content of films themselves, ...
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 harnessed ...
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Page Count: 276
Illustrations: 40 b&w illus.
Publication Year: 2013
Series Title: The Spatial Humanities