Geography Reference
In-Depth Information
Geography
31 (2005): 41-60; and for a dif-
ferent perspective on gesture and embodi-
ment in cinema, see P. Valiaho,
Mapping
the Moving Image: Gesture, Thought and
Cinema circa 1900
(Amsterdam: Amster-
dam University Press, 2010).
7. Bruno,
Atlas of Emotion,
71.
8. R . C. A llen, “Relocating American
Film History: The 'Problem' of the Empiri-
cal,”
Cultural Studies
20 (2006): 48-88, 49.
9. Going to the Show, htp://docsouth
.unc.edu/gts/index.html.
10. J. K lenotic, “Puting Cinema His-
tory on the Map: Using GIS to Explore the
Spatiality of Cinema,” in
Explorations in
New Cinema History: Approaches and Case
Studies,
ed. R . Maltby, D. Biltereyst, and P.
Meers (Oxford: Blackwell, 2011), 58-84.
11. HoMER Project, htp://homer
project.blogs.wm.edu.
12. J. Hallam and L. Roberts, eds.,
Lo-
cating the Moving Image: New Approaches
to Film and Place
(Bloomington: Indiana
University Press, 2013).
13. L. Roberts, “Projecting Place:
Location Mapping, Consumption and
Cinematographic Tourism,” in Koeck and
Roberts,
The City and the Moving Image,
183-204.
14. See, for example, S. Beeton,
Film-
Induced Tourism
(Clevedon, UK: Channel
View, 2005); H. Kim and S. R ichardson,
“Motion Picture Impacts on Destination
Images,”
Annals of Tourism Research
30
(2003): 216-37; R . R iley, D. Baker, and
C. S. V. Doren, eds., “Movie Induced Tour-
ism,”
Annals of Tourism Research
25 (19 9 8):
919-35. For studies that bring a more criti-
cal approach to developments surrounding
film-related tourism, see R . Tzanelli,
he
Cinematic Tourist: Explorations in Globali-
zation, Culture and Resistance
(London:
Routledge, 2007); Roberts,
Film Mobility
and Urban Space,
128-81.
15. T. Conley, “
he 39 Steps
and the
Mental Map of Classical Cinema,” in
Rethinking Maps: New Frontiers in Car-
tographic Theory,
ed. M. Dodge, R . Kitch-
en, and C. Perkins (London: Routledge,
2009), 131-48, 132.
16. S. Caquard, “Foreshadowing
Contemporary Digital Cartography: A
Historical Review of Cinematic Maps in
Films,” in Caquard and Taylor, “Cinematic
Cartography,” special issue,
Cartographic
Journal
46 (2009): 46-55, 54.
17. Conley,
Cartographic Cinema;
Con-
ley, “
he 39 Steps
and the Mental Map”;
T. Conley, “Locations in Film Noir,” in
Caquard and Taylor, “Cinematic Cartog-
raphy,” special issue,
Cartographic Journal
46 (2009): 16-23.
18. Bruno,
Atlas of Emotion,
71.
19. Conley,
Cartographic Cinema,
1-2.
20. T. Castro, “Cinema's Mapping
Impulse: Questioning Visual Culture,” in
Caquard and Taylor, “Cinematic Cartog-
raphy,” special issue,
Cartographic Journal
46 (2009): 9-15; T. Castro, “Mapping the
City through Film: From 'Topophilia' to
Urban Mapscapes,” in Koeck and Roberts,
The City and the Moving Image,
144-55.
21. Castro, “Cinema's Mapping Im-
pulse,” 14.
22. P. Keiller, “Film as Spatial Cri-
tique,” in
Critical Architecture,
ed. J. Ren-
dell, J. Hill, M. Fraser, and M. Dorrian
(London: Routledge, 2007), 115-23.
23. Hallam, “Mapping Urban Space”;
L. Roberts, “Making Connections: Cross-
ing Boundaries of Place and Identity in
Liverpool and Merseyside Amateur Trans-
port Films,”
Mobilities
5 (2010): 83-109;
L. Roberts, “Dis/embedded Geographies
of Film: Virtual Panoramas and the Tour-
istic Consumption of Liverpool Water-
front,”
Space and Culture
13 (2010): 54-74.
24. Mapping the City in Film: A
Geo-historical Analysis, htp://www.liv
.ac.uk/lsa/cityinfilm.
25. Roberts,
Film, Mobility and Urban
Space.
26. V. Toulmin,
Electric Edwardians:
The Story of the Mitchell and Kenyon Col-
