This book uniquely bridges the conceptual gap between the history of geographic, cartographic thought, and film theory with the technological and cultural shifts that shaped the emergence of cameras and cinema. Adorned with illustrative figures, examples, and case studies throughout, the book explores how cinema lends itself to cartography and, in turn, how cartography relates to both the individual and collective experience of cinema. By using cartography to understand space and scale in film, the book moves away from textual analysis or representation analysis to focus on the locational attribution of the sites where the cinematic landscape is being produced. It contends that viewers of moving images are active players in a complex network of cultural and mental geographies. This volume is essential reading for students, scholars, and academics of cinematography, human, cultural, and social geography, cartography, and media studies, as well as those interested in these areas more generally.

This book is a printed edition of the Special Issue "Deep Mapping" that was published in Humanities

An interdisciplinary collection exploring the practices and cultures of mapping in the arts, humanities and social sciences. It features contributions from scholars in critical cartography, social anthropology, film and cultural studies, literary studies, art and visual culture, marketing, museum studies, architecture, and popular music studies.

This book is comprised of a selection of the best papers presented during the 25th International Cartography Conference which was held in Paris between 3rd and 8th July 2011. The scope of the conference covers all fields of relevant GIS and Mapping research subjects, such as geovisualization, semiotics, SDI, standards, data quality, data integration, generalization, use and user issues, spatio-temporal modelling and analysis, open source technologies and web services, digital representation of historical maps, history of GIS and cartography as well as cartography for school children and education.

Cartography and cinema are what might be called locational machinery. Maps and movies tell their viewers where they are situated, what they are doing, and, to a strong degree, who they are. In this groundbreaking work, eminent scholar Tom Conley establishes the ideological power of maps in classic, contemporary, and avant-garde cinema to shape the imaginary and mediated relations we hold with the world. Cartographic Cinema examines the affinities of maps and movies through comparative theory and close analysis of films from the silent era to the French New Wave to Hollywood blockbusters. In doing so, Conley reveals that most of the movies we see contain maps of various kinds and almost invariably constitute a projective apparatus similar to cartography. In addition, he demonstrates that spatial signs in film foster a critical relation with the prevailing narrative and mimetic registers of cinema. Conley convincingly argues that the very act of watching films, and cinema itself, is actually a form of cartography. Unlike its function in an atlas, a map in a movie often causes the spectator to entertain broader questions—not only about cinema but also of the nature of space and being.

Reevaluating the significance of location in contemporary film practice and urban cultural theory, Film, Mobility and Urban Space explores the role of moving images in representations and perceptions of everyday urban landscapes. Les Roberts draws on over 1,700 films of Liverpool from 1897 to the present and combines critical spatial analysis, archival research, and qualitative methods to navigate the city's cinematic geographies as mapped across a broad spectrum of film genres, including amateur film, travelogues, newsreels, promotional films, documentaries, and features.

This Handbook offers a comprehensive overview of media geography, focusing on a range of different media viewed through the lenses of human geography and media theory. It addresses the spatial practices and processes associated with both old and new media, considering "media" not just as technologies and infrastructures, but also as networks, systems and assemblages of things that come together to enable communication in the real world. With contributions from academics specializing in geography and media studies, the Routledge Handbook of Media Geographies summarizes the recent developments in the field and explores key questions and challenges affecting various groups, such as women, minorities, and persons with visual impairment. It considers geographical aspects of disruptive media uses such as hacking, fake news, and racism. Written in an approachable style, chapters consider geographies of users, norms, rules, laws, values, attitudes, routines, customs, markets, and power relations. They shed light on how mobile media make users vulnerable to tracking and surveillance but also facilitate innovative forms of mobility, space perception and placemaking. Structured in four distinct sections centered around "control and access to digital media," "mass media," "mobile media and surveillance" and "media and the politics of knowledge," the Handbook explores digital divides and other manifestations of the uneven geographies of power. It also includes an overview of the alternative social media universe created by the Chinese government. Media geography is a burgeoning field of study that lies at the intersections of various social sciences, including human geography, political science, sociology, anthropology, communication/media studies, urban studies, and women and gender studies. Academics and students across these fields will greatly benefit from this Handbook.

This book proposes new methodological tools and approaches in order to tease out and elicit the different facets of urban fragmentation through the medium of cinema and the moving image, as a contribution to our understanding of cities and their topographies. In doing so it makes a significant contribution to the literature in the growing field of cartographic cinema and urban cinematics, by charting the many trajectories and points of contact between film and its topographical context. Under the influence of new technologies, the opening and the availability of previously unexplored archives but also the contribution of new scholars with novel approaches in addition to new work by experienced academics, Cinematic Urban Geographies demonstrates how we can reread the cinematic past with a view to construct the urban present and anticipate its future.

Writing on the relationship between war and cinema has largely been dominated by an emphasis on optics and weaponised vision. However, as this analysis of the Hollywood war film will show, a wider sensory field is powerfully evoked in this genre. Contouring war cinema as representing a somatic experience of space, the study applies a term recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier’s body. These assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also entail the involvement of the spectator’s body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts.

The Routledge Handbook of Cartographic Humanities offers a vibrant exploration of the intersection and convergence between map studies and the humanities through the multifaceted traditions and inclinations from different disciplinary, geographical and cultural contexts. With 42 chapters from leading scholars, this book provides an intellectual infrastructure to navigate core theories, critical concepts, phenomenologies and ecologies of mapping, while also providing insights into exciting new directions for future scholarship. It is organised into seven parts: Part 1 moves from the depths of the humans–maps relation to the posthuman dimension, from antiquity to the future of humanity, presenting a multidisciplinary perspective that bridges chronological distances, introspective instances and social engagements. Part 2 draws on ancient, archaeological, historical and literary sources, to consider the materialities and textures embedded in such texts. Fictional and non-fictional cartographies are explored, including layers of time, mobile historical phenomena, unmappable terrain features, and even animal perspectives. Part 3 examines maps and mappings from a medial perspective, offering theoretical insight into cartographic mediality as well as studies of its intermedial relations with other media. Part 4 explores how a cultural cartographic perspective can be productive in researching the digital as a human experience, considering the development of a cultural attentiveness to a wide range of map-related phenomena that interweave human subjectivities and nonhuman entities in a digital ecology. Part 5 addresses a range of issues and urgencies that have been, and still are, at the centre of critical cartographic thinking, from politics, inequalities and discrimination. Part 6 considers the growing amount of literature and creative experimentation that involve mapping in practices of eliciting individual life histories, collective identities and self-accounts. Part 7 examines the variety of ways in which we can think of maps in the public realm. This innovative and expansive Handbook will appeal to those in the fields of geography, art, philosophy, media and visual studies, anthropology, history, digital humanities and cultural studies as well as industry professionals.