Geography Reference
In-Depth Information
which inhibits the kind of layered geospatial historiographical analyses
advanced in this chapter.
32
Privileging metaphors such as “navigation,”
“mapping,” “sorting,” “searching,” and “excavating” over those of more
passive activities such as “spectating,” “gazing,” “viewing,” and “watch-
ing,” an emerging field of
cinematic cartography
is both a product of and a
response to the shifting cultural, spatial, and intellectual terrain toward
which much discussion and analysis in this area is increasingly turned.
Notes
With thanks to the UK Arts and Humani-
ties Research Council for funding the
Mapping the City in Film project.
1. R . Koeck, “Liverpool in Film: J. A. L.
Promio's Cinematic Urban Space,”
Early
Popular Visual Culture
7 (2009): 63-81.
2. Museum of Liverpool, htp://
www.liverpoolmuseums.org.uk/mol
/about/building.aspx.
3. B. Warf and S. Arias, eds.,
he
Spatial Turn: Interdisciplinary Perspectives
(Abingdon: Routledge, 2009); L. Roberts,
“Mapping Cultures - a Spatial Anthropol-
ogy,” in
Mapping Cultures: Place, Practice,
Performance,
ed. L. Roberts (Basingstoke:
Palgrave, 2012), 1-25.
4. L. Roberts, “Cinematic Cartogra-
phy: Projecting Place through Film,” in
Roberts,
Mapping Cultures,
68-84. For a
selection of some of the recent literature
on film, space, and place, see N. A lSay yad,
Cinematic Urbanism: A History of the
Modern from Reel to Real
(London: Rout-
ledge, 2006); G. Bruno,
Atlas of Emotion:
Journeys in Art, Architecture and Film
(New
York: Verso, 2002); C. Brunsdon,
London
in Cinema: The Cinematic City since 1945
(London: British Film Institute, 2007);
S. Caquard and D. R . F. Taylor, eds.,
“Cinematic Cartography,” special issue,
Cartographic Journal
46 (2009); T. Conley,
Cartographic Cinema
(Minneapolis: Uni-
versity of Minnesota Press, 2007);
T. Cresswell and D. Dixon, eds.,
Engaging
Film: Geographies of Mobility and Identity
(Lanham, Md.: Rowman and Litleield,
2002); E. Dimendberg,
Film Noir and the
Spaces of Modernity
(Cambridge, Mass.:
Harvard University Press, 2004); W. Ev-
eret and A. Goodbody, eds.,
Space and
Place in European Cinema
(Oxford: Peter
Lang, 2005); J. Hallam, “Mapping Urban
Space: Independent Filmmakers as Urban
Gazeteers,”
Journal of British Cinema and
Te l e v i s i o n
4 (2007): 272-84; R . Koeck and
L. Roberts, eds.,
The City and the Mov-
ing Image: Urban Projections
(London:
Palgrave, 2010); M. Konstantarakos, ed.,
Spaces in European Cinema
(Exeter: Intel-
lect, 2000); M. Lefebvre,
Landscape and
Film
(London: Routledge, 2006);
C. Lukinbeal and L. Zonn, eds., “Cinemat-
ic Geographies,” special issue,
GeoJournal
59 (2004); J. D. R hodes and E. Gorfinkel,
eds.,
Taking Place: Location and the Moving
Image
(Minneapolis: University of Minne-
sota Press, 2011); L. Roberts,
Film, Mobility
and Urban Space: A Cinematic Geography
of Liverpool
(Liverpool: Liverpool Univer-
sity Press, 2012).
5. H. Lefebvre,
The Production of
Space
(Oxford: Blackwell, 1991).
6. For examples of these genealogical
mappings, see D. B. Clarke,
The Cinematic
City
(London: Routledge, 1997); D. B.
Clarke and M. A. Doel, “Engineering
Space and Time: Moving Pictures and
Motionless Trips,”
Journal of Historical
